Black Orfeo

Jordi Sabates i Toti Soler - Jordi Sabates amb Toti Soler (1973) {Picap ‎910694-02 rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 187 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 600 dpi (jpg) -> 35 Mb | 5% repair rar
© 1973, 2008 Edigsa / Picap | 910694-02
Jazz / Contemporary Jazz / World Fusion / Flamenco / Piano / Guitar

How do I start talking about this compact and capital work? Perhaps saying that the magnificent cover, a drawing by Jordi Graells, in which the pair of musicians on stage, on the back, under a light bulb, is playing in an empty room (well, there are four cats), the I have framed and hung in my studio …? It was in 1973, neither the Mirasol Orchestra nor the Dharma existed yet. So, as today, open-minded adventures were a matter of four cats. It is what it touches when it lacks the parameters of the pop and the law of the majorities. This record has nothing to do with it.

Keiner Liebt Mich / Nobody Loves Me - by Doris Dörrie (1994)

On the brink of her 30th birthday, Fanny feels the door to marital happiness closing up on her. She is obsessed with death, even visits evening classes on dying and so it seems fitting, that she encounters a skeleton in the malfunctioning elevator of her apartment building. The skeleton is her neighbour Orfeo, a black, gay self-declared psychic, who convinces her that she is about to meet "him".

Limited 12 CD set. Steeleye Span are amongst the biggest and most commercially successful folk rock bands. Their career, spanning over 50 years, has seen them achieve four Top 40 albums and two Top 20 singles as well as countless sold out live shows. Through an everchanging line up, their popularity has continued to this day. This collection brings together their recordings over an 11 year tenure with Chrysalis Records covering the years 1972-1983. Housed in a clamshell box with a 56 page perfect bound book, there are 145 tracks, (46 unreleased) over 12 CDs include a number of unreleased studio tracks…

This is a brooding, dense album, which is the reason why it is so unique and enjoyable, unlike many albums where the density of constantly changing rhythmic enchantment mingles with even denser harmonies. It is not hard to wrap the mind around these harmonies, but it certainly is amazing to note that these have been created by just two keyboards, an occasional saxophonist or two and a percussion colorist as wise beyond his years as Eric Harland. This is evident as much on the stunning recasting of Charlie Parker's "Moose The Mooche" as it is on the dark beauty of the magical and mysterious "Manhã de Carnaval."