This is a great little collection of Mid/Late '70s Soul that crept out courtesy of Italian label IRMA back in 2002.
Box set, celebrating its 20th anniversary this year of "Free Soul," a popular compilation series that focus on soul music songs mainly taken from the 1970's.
At the beginning of the 70s in Yugoslavia not many artists were given opportunity to record an album. Indeed, when speaking of rock music, the preferred media format still was a single or EP, and of course the rock discographic industry was underdeveloped. However, among the first four LP records of rock music issued in this period, the two belonged to the progressive genre - the first TIME album and this one. "Korni grupa" is excellent example of early Yugoslavian prog rock which will remain unique effort of the best known line-up of Kovac, Bocek, Hreljac, Furduj and Pejakovic…
In his extensive discography, Gilberto Gil has explored almost every possible shade of pop music. In this album, produced by the independent label Pau Brasil (Gil is a WEA artist), he felt safe to shamelessly go back to earlier days, where his wonderful melodies were free of the artist's anxiety for fame and success.
Contains fewer crossover hits than previous volumes, but R&B scorchers like "Funky Music Sho' Nuff Turns Me On," by Yvonne Fair, and Bonnie Pointer's "Free My From My Freedom," will liven any party. High Energy's energetic "He's a Pretender" sounds like a smash, but failed to sell, the Mary Jane Girls' erotic "Candy Man" did much better. The only Pop hits are Thelma Houston's "Don't Leave Me This Way," and "The Boss," by Diana Ross, but crankers by Tata Vega, Syreeta Wright, and the Supremes rate high on the groove meter. However, Milira's jazzy "Mercy Mercy Me" doesn't belong on a collection called Funkology: Dance Divas.
"Der Begriff der imaginären Folklore, der zunächst von Béla Bartók geprägt wurde, wurde von der Musikerinitiative ARFI - Association à la Recherche d'un Folklore Imaginaire aus Lyon auf den zeitgenössischen Jazz übertragen. Mit ihrem Konzept einer "imaginären Folklore" führte sie den europäischen Jazz zu neuen Improvisationsmöglichkeiten über Strukturen und Harmonien, die vertraut klingen und entfernt an Volkslieder und alte Tänze erinnern…"