Rita Or´a

For her directorial debut, Jessica Hausner (Lourdes) has created an honest and revealing portrait of Rita, a wilful and unruly teenager on the verge of womanhood. Her sexual awakening leads her to intimacy with a schoolboy too young and a bus driver, too old. Her efforts to break out of her solitude and claustrophobic environment isolate her even more, until one day she crosses the line…

This is the first album Rita Lee recorded as a solo artist outside the legendary cult group Os Mutantes. However, as Mutantes members Arnaldo Baptista and Liminha both perform on this one, it could in fact almost be considered another Mutantes album. Build Up was also recorded in 1970, the same year that Mutantes recorded its brilliant third album A Divina Comedia ou Ando Meio Desligado. As one would expect under these circumstances, the music on Build Up sounds very Mutantes-like, with all the inventiveness, originality, and stylistic diversity that characterized the work of that group.

Listening to vocalist CAROL BACH-Y-RITA sing, it comes as no surprise that she’s also a dancer. Her singing has a supple fluidity that suggests a body in motion. On her newest CD, MINHA CASA / my house, she performs re-imagined standards and original songs that celebrate both well- and lesser-known Brazilian rhythms. Bach-y-Rita’s band features stellar musicians who are leaders in their own right, including LARRY KOONSE on guitar, BILL CANTOS on piano, JOHN LEFTWICH on bass, and MIKE SHAPIRO on drums and percussion. They are joined on one track by Brazilian percussion master DUDU FUENTES. According to Bach-y-Rita, “I wanted to work with musicians who really know how to play both straight-ahead jazz and Brazilian music. There are a lot of great musicians who can play one or the other, but I’m lucky to work with bandmates who can soar in both styles.”

Cuba, 1948. Chico is a young piano player with big dreams. Rita is a beautiful singer with an extraordinary voice. Music and romantic desire unites them, but their journey - in the tradition of the Latin ballad, the bolero - brings heartache and torment. From Havana to New York, Paris, Hollywood and Las Vegas, two passionate individuals battle impossible odds to unite in music and love.

Rita Coolidge's third album is a fine mixture of covers and originals that manages to showcase her fine vocal abilities as well as show off an impressive array of friends.

Kristoffer "Kris" Kristofferson is an American country music singer, songwriter, musician, and film actor. He is known for such hits as "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night". Kristofferson is the sole writer of most of his songs, and he has collaborated with various other figures of the Nashville scene such as Shel Silverstein. In 1985, Kristofferson joined fellow country artists Waylon Jennings, Willie Nelson and Johnny Cash in forming the country music supergroup "The Highwaymen". In 2004, Kristofferson was inducted into the Country Music Hall of Fame. Collection includes: Kristofferson (1970); The Silver Tongued Devil And I (1971); Border Lord (1972); Jesus Was A Capricorn (1972); Breakaway (1974) with Rita Coolidge; A Star Is Born (1976) with Barbra Streisand; Natural Act (1978) with Rita Coolidge; A Moment of Forever (1995); The Austin Sessions (1999); The Essential Kris Kristofferson (2004) 2CD; This Old Road (2006); Closer To The Bone (2009); Please Don't Tell Me How The Story Ends: The Publishing Demos 1968-72 (2010); Feeling Mortal (2012).

Although Rita Moss (1918-2015) took piano lessons as a child, she was mostly a self-taught multi-instrumentalist who could play piano, organ and drums. She later became a singer too, endowed with a unique sound.

This great album was distributed with the 12th issue of the quality greek musical magazine "Difono" and contains 15 famous zeibekika songs in their original recordings. Enjoy a rare collection of authentic greek dancing songs with legendary singers like Markos Vamvakaris, Stratos Pagioumtzis, Stelios Kazantzidis, Rita Sakelariou, Dimitris Mitropanos and others. A collector's item in lossless, for all greek music fans.

Music is a universal language. It transcends linguistic and (most) cultural borders. Yet it is not nationless or without idiosyncrasies determined by place and local culture. There are, therefore, instruments which are more closely associated with a particular place than with another. This does not apply just to folk instruments (as the Scottish bagpipes, the Spanish guitar, or the Russian balalaika, to name but few) but also to instruments which are fully part of the “international” musical panorama and of the Classical Symphony Orchestra. Thus, the violin is by no means a “local” instrument; yet, there is a closeness between Hungarian/gipsy music and the violin which is lacking elsewhere. Similarly, the flute is as universal an instrument as there can be (it is probably the most common instrument in all epochs and cultures), but it has a privileged relationship with France.