O.c A.g

Produced and arranged by N.A.G. (New Age Generation) for Mic Mac Music. Recorded ain 64 tracks at ersailles Station (France) by P. Besombes, T. Arconte, F. Junker.

Herbie Hancock - Hear, O Israel: A Prayer Ceremony In Jazz (1968) {Jonny Records JBH025CD rel 2008}
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© 1968, 2008 Jonny Records / Trunk | JBH025CD
Jazz / Post Bop / Modal Music / Soul Jazz / Modern Creative

In 1965, encouraged by his rabbi, the 17-year-old Jonathan Klein wrote a selection of jazz themes for a Jewish Sabbath concert. Originally recorded in 1968 by an all-star cast of musicians that included Herbie Hancock, Thad Jones, and Ron Carter, the collection is a unique, free-flowing series of pieces that perfectly complement the accompanying Jewish Sabbath prayers, and provides a rare opportunity to hear these talented musicians performing in a unique setting that's at once creative and intensely devotional.

This album was released in 1973 following the amazingly original albums 'Back To Front' and 'Himself' released in 1972 and 1971. It seems the 70s are O'Sullivan's vintage era and it is astonishing he could keep writing so many songs of highest quality and originality. Like the previous album, this one includes, not only hit songs like 'Get Down' and 'Ooh Baby', but also heart-warming and memorable songs like 'Where peaceful waters fllow', 'Afriend of mine' and 'They've only themselves to blame'. One of the characteristics of this album is the unabashed sense of humour and striking melodies which go very well with the witty lyrics in the songs like 'I'm a writer not a fighter', 'Who knows perhaps maybe' and 'If you love me like you love me'. This is certainly one of the best albums by O'Sullivan.

Christopher O’Riley’s THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach’s famous masterwork, revealing the composer’s nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach’s profound lyricism and informed by historical insights, O’Riley’s interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach’s compositions. Through meticulous attention to intonation and rhythmic flexibility, O’Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach’s universe, where every pause resonates with depth and possibility.

Christopher O’Riley’s THE WELL-TEMPERED CLAVIER BOOK I delves into the subtle intricacies of Bach’s famous masterwork, revealing the composer’s nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach’s profound lyricism and informed by historical insights, O’Riley’s interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach’s compositions. Through meticulous attention to intonation and rhythmic flexibility, O’Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach’s universe, where every pause resonates with depth and possibility.