Funeral

Gruzelementen is the 6th studio album in the bands 30 year history. ‘ One of the great advantages of a “one man band” is the freedom to do what you want in your music not caring about the opinion of others……. “Gruzelementen” turns out to be one of the best releases of the style this year and certainly marks the highest point in FUNERAL WINDS’ long journey into the underground ‘ Black Metal Terror Magazine

Henry Purcell - Love's Goddess Sure was Blind: The Complete Funeral Music for Queen Mary
The Sixteen / The Symphony of Harmony and Invention / Harry Christophers
EAC+LOG+CUE | FLAC (tracks): 330 MB | Artwork: 36 MB | 5% Recovery Info
Label/Cat#: Coro # COR16024 | Country/Year: UK 2004
Genre: Classical | Style: Baroque, Vocal, Sacred

"…But now, in the middle of the 2000s, they're back, and they've brought with them an even more wonderful recording of Purcell's funeral music. It's more wonderful because, good as the Collins recording sounded, this Coro recording sounds even better: deeper, richer, warmer, and even more detailed. It's more wonderful because, good as the earlier performances were, these performances sound even better: more passionate, more precise, and even more powerful. And it's more wonderful because while this is exactly the same recording that appeared on Collins, it somehow sounds more wonderful released on the Coro label. How this is possible is impossible to know, but that it does is indisputable. If you don't have Harry Christophers and the Sixteen's Music for the Funeral of Queen Mary, here it is again. This time, don't miss it."

The assassination of Gustav III, Sweden's "theatre king", ended one of the most brilliant periods in the country's culture. And it was followed by a ceremony fully on a par with the tragic event itself: a kind of heroic opera about the Third of the Gustavs, staged in the royal burial church, Riddarholmskyrkan. Joseph Martin Kraus, the greatest of the Gustavian composers and royal Kapellmeister, conducted his Funeral Cantata. Strongly personal in its despair, wrath, and grief, this highly dramatic creation was the joint work of three of the age's leading minds, in music, poetry and décor.

The Gary Burton Quartet - Lofty Fake Anagram / A Genuine Tong Funeral (1967-68) [2CD] {2006 BGO Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 455 Mb | MP3 @320 -> 194 Mb
Full Artwork @ 300 dpi (jpg) -> 22 Mb | 5% repair rar
© 2006 BGO Records / Sony BMG Music | BGOCD723
Jazz / Post Bop / Vibes

This two-fer brings together two key Gary Burton Quartet works of the the late '60s. After 1967's Duster, the Quartet went on to collaborate with composer Carla Bley on A Genuine Tong Funeral, a quirky, mordant jazz "opera" that owes as much to Kurt Weill as to Charles Mingus. Besides Burton, guitarist Larry Coryell, and bassist Steve Swallow, the free-spirited drummer Bob Moses makes his appearnce, having replaced veteran Roy Haynes. Other Bley stalwarts include saxophonists Gato Barbieri and Steve Lacy, who pop in and out of the vivid cartoon-like musical narrative.

This two-fer brings together two key Gary Burton Quartet works of the the late '60s. After 1967's Duster, the Quartet went on to collaborate with composer Carla Bley on A Genuine Tong Funeral, a quirky, mordant jazz "opera" that owes as much to Kurt Weill as to Charles Mingus. Besides Burton, guitarist Larry Coryell, and bassist Steve Swallow, the free-spirited drummer Bob Moses makes his appearnce, having replaced veteran Roy Haynes. Other Bley stalwarts include saxophonists Gato Barbieri and Steve Lacy, who pop in and out of the vivid cartoon-like musical narrative.
The shaggy Moses is key to the musical feel of Lofty Fake Anagram, the official follow-up to the outstanding Duster. With the exception of Duke Ellington's "Fleurette Africaine" however, the writing isn't quite as strong as on the previous date's…

Out May 3, ‘Funeral For Justice’ is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2021 breakout ‘Afrique Victime,’ it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down.