Gost Skull

Oliver Nelson - Skull Session (1975) {Flying Dutchman–BMG 74321887132 rel 2002}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 293 Mb | MP3 @320 -> 96 Mb | Artwork | 5% repair rar
© 1975, 2002 Flying Dutchman / RCA Victor / BMG | 74321887132
Jazz / Jazz Funk / Soul Jazz / Post Bop

Anyone, who has been fortunate enough to play in a band that uses Oliver Nelson arrangements, will vouch for how clever and musical they are. On this session he was asked to include electronic instruments and incorporate the rhythms they are often associated with them. This has been attempted before and usually results in the most horrible ‘hodgepodge’ of sounds that please no one. Oliver Nelson however succeeds in incorporating the newer instruments without detracting in any way from the normal quality of his work. This is a very good album; every track is an original composition with a strong melody line and an imaginative arrangement.

The glittering technological future we were all promised has turned into a dystopian nightmare. If music must reflect the times, the hour has plainly come to reject the mainstream status quo and get down to the roots and rhythms of life’s elemental heaviness. And that’s where Beastmaker come in. Purveyors of some of the most ecstatically thunderous and raw doom metal to emerge in decades, this three-man riffing machine from Fresno, California, are manifestly the real deal. Their sound is instantly recognisable and yet thrillingly otherworldly, like all your favourite riffs fed through some perverse malevolent prism and reborn in fresh, overdriven grotesquery.

First album of Antony Soler, (drummer and bearer of this project) who surrounds himself with a shock team (Laurent David: electric bass, Thomas Puybasset: saxophones, and Alexandre Saada on piano and Fender Rhodes) to record some pearls; popsongs, french songs and other wonders gleaned here and there, who rocked his youth so much and so much, to the point of printing the inside of his skull, irremediably. Unpublished raw materials for many of these pretexts to improvisation as well as to the excellent surprises which, through the masterful play of the four musicians particularly invested, renew without affeter with the best of the contemporary jazz.