Pyramid Flac

They've done this in the past, back in the days of 'Masque' and 'Do They Hurt', when where they'll do one or two numbers with a 'steppin' out' rhythm (examples: AWB's 'Pick Up the Pieces' and Janet Jackson's 'What Have You Done For Me Lately'), but fully half of this album has that same quarter note-driven rhythm. It's an interesting mix–that sort of beat behind guitarist Goodsall's crisp tonalities. The track 'Virus' at nearly eight minutes is the longest one they've done in at least fifteen years. This album isn't as minimalist as its predecessor 'Xcommunication', which was based almost entirely on guitar, bass and drums–they use a session keyboarist occasionally, along with some new MIDI-powered synth and sampler tonalities done by Goodsall.

World class fusion drummer, and one of the most celebrated modern jazz musicians of all-time, presents this phenomenal live album recorded in Tokyo 1992! This incredible show finds Cobham working his percussive magic in a trio with bassist Ira Coleman and keyboardist Joe Chindamo!

The second part of Cobham's brilliant 1992 live performance in Tokyo with bassist Ira Coleman and pianist Joe Chindamo. Drummers and jazz aficionados worldwide will not want to miss these breathtaking performances by the man many call the greatest drummer of all-time!

Amir Abbey follows up Secret Pyramid's last album, Movements of Night, with Two Shadows Collide, an ever deeper exploration of the sounds between consciousness and transcendence. Carefully built and fluidly performed, the record deepens Abbey's relationship with modern composition and abstract songcraft. Songs have an exploratory immensity fueled by cosmic awe, basking in a dreamlike presence. Abbey's works move slow, building substantive monolithic odes of awe which shift and morph into fully fleshed paeans of possibility…

Santana - The Birth Of Santana: The Complete Early Years (2003) {3CD Set, Purple Pyramid CLP1278-2 rec 1968-1969}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.10 Gb | MP3 @320 -> 510 Mb
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© 1968-69, 2003 Purple Pyramid / Cleopatra Records | CLP 1278-2
Rock / Hard Rock / Latin Rock / Prog Rock / Psychedelic Rock

Available for the first time in the US, the early recordings of one of the greatest rock bands ever all on one beautifully packaged 3-CD set! Features early demo versions of Soul Sacrifice and Jingo as well as an amazing live performance recorded at the Fillmore Theater, San Francisco 1969! Santana merged blues and Latin styles into a percussive, colorful and unique collage that continues to thrill audiences worldwide. Packaged with rare photos and remastered in Japan on K2 laser cutting technology for the clearest audio sound quality available today!

Azteca - Pyramid Of The Moon (1973) {2013 Remastered & Expanded - Big Break Records CDBBR0206}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 303 Mb | MP3 @320 -> 103 Mb
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© 1973, 2013 Columbia / Big Break Records / Cherry Red Records | CDBBR 0206
Rock / Jazz / Fusion / Funk / Latin Rock

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh.

Reissued on CD by the Black Saint/Soul Note labels, this entry from Paul Bley's IAI label features fairly free playing from an unusual trio comprised of Lee Konitz (on alto and soprano), keyboardist Bley and Bill Connors on electric and acoustic guitars. Actually, due to the free nature of the pieces, the music is less exciting than one might hope. Everyone takes chances in their solos but several of the pieces wander on much too long. Overall this session does not reach the heights one might expect from these great players.