Ghost Blade

Charles Lloyd's 2024 musical offering, The Sky Will Still Be There Tomorrow, is a majestic double album of new studio recordings from the legendary saxophonist which will be released on March 15, 2024, Lloyd's 86th birthday. One of the most significant musicians of the 20th and 21st centuries, Lloyd remains at the peak of his powers in the company of a newly assembled quartet of four distinctive voices with the NEA Jazz Master joined by pianist Jason Moran, bassist Larry Grenadier, and drummer Brian Blade.

Charles Lloyd's 2024 musical offering, The Sky Will Still Be There Tomorrow, is a majestic double album of new studio recordings from the legendary saxophonist which will be released on March 15, 2024, Lloyd's 86th birthday. One of the most significant musicians of the 20th and 21st centuries, Lloyd remains at the peak of his powers in the company of a newly assembled quartet of four distinctive voices with the NEA Jazz Master joined by pianist Jason Moran, bassist Larry Grenadier, and drummer Brian Blade.

Charles Lloyd's 2024 musical offering, The Sky Will Still Be There Tomorrow, is a majestic double album of new studio recordings from the legendary saxophonist which will be released on March 15, 2024, Lloyd's 86th birthday. One of the most significant musicians of the 20th and 21st centuries, Lloyd remains at the peak of his powers in the company of a newly assembled quartet of four distinctive voices with the NEA Jazz Master joined by pianist Jason Moran, bassist Larry Grenadier, and drummer Brian Blade.

Iron & Wine - Ghost On Ghost (2013) {4AD CAD3306CD}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 262 Mb | MP3 @320 -> 104 Mb
Full Artwork @ 300 dpi (png) -> 247 Mb | 5% repair rar
© 2013 4AD / Nonesuch | CAD3306CD
Indie Folk / Indie Rock / Indie Pop / Blues / Jazz / Soft Rock

After expanding his intimate indie folk sound about as far as it could go on the last Iron & Wine album, Kiss Each Other Clean, Sam Beam (and trusty producer Brian Deck) take a step back on Ghost on Ghost and deliver something less suited for large arenas and more late-night jazz club-sized. The arrangements on that album were stuffed with instruments and seemed built to reach the back row; this time there are still plenty of horns, violins, and female backing vocals in the mix, but they are employed with a much lighter touch. Working with jazz drummer Brian Blade and a standup bass and mixing together elements of country, jazz, indie rock, and soft rock, the album has a much more intimate feel that suits Beam's quietly soulful vocals much more naturally.