
Que lo disfruten

Morrisey te ha dado una buena pista, otra posibilidad sería la de Kultur Shock, un grupo con integrantes de varias nacionalidades pero en el que priman los ritmos balcánicos.Alguien conoce grupos o artistas que hagan una musica similar a la de Emir Kusturica? Muchas gracias







Luego quería poner otro enlace a un disco que ya habia mencionado Morrissey: LCD SOUNDSYSTEM, pero yo os pongo un enlace a la versión de 2 cds de ese disco. En el 2º cd, contiene todos los maxi singles sacados anteriormente (que es lo mejor). Deciros que este es el grupo propio de los productores de moda DFA, que han hecho la producción de discos como RAPTURE, RADIO 4, etc ...Si conjugas la agresividad post-punk con una terminación basada en texturas de rock supuestamente "experimental", la recitas con una entonación pop y lo adornas con una intensidad de progresividad hipnótica, tienes el sonido de Electrelane en ”The Power Out”, su segundo disco.

ya recomendé, creo, este disco, en otro hilo que hablaba de jazz, pero no lo he encontrado en la mula, así que lo comprimo y lo pongo en lanzamiento:There is something appropriately autumnal in Lewis's selections here, suggesting reflection and reminisce. But, more importantly, there is a joyous unpredictability of an ageless spirit here too, a sense of daring and a romance with adventure.
Evolution is, quite simply, outstanding and perhaps the greatest achievement in John Lewis's already impressive career. Some of Lewis best performances and loveliest ruminations can be found here. What a pleasure to possess a performance that is all yours. What a pleasure this master makes it to enjoy again and again. Grand indeed.
all about jazz
Web oficialThe Jazz Mandolin Project? Mandolin and Jazz? Jazz played by a Mandolin? Throw your preconceptions out the window and open up your ears to experience a Xenoblast through time. The Jazz Mandolin Project, who are at home at the Bell Atlantic Jazz Festival or a Jamband Festival such as the Berkshire Mountain Music Fest, return with opus numero three ready to dispense their eclectic blend of jazz, classical, rock and drum n bass on the uninitiated. Did I say jazz, classical, rock and drum n bass? And a mandolin at its epicenter? Yes, it�s true and entirely infectious.
all about jazz
If you like your music spirited, you're in the right place. Perhaps due to the nature of the project, perhaps not, each of the nine tracks on Xenoblast exudes energy and enthusiasm.
popmatters
Web oficial...me vi obligado a explicarle quién era Manos Hadjidakis, hube de descubrirle que en realidad conocía alguna cosa suya (así fuera sólo Los niños de El Pireo), me tocó contarle que fue el gran renovador de la música griega a partir de la posguerra, cómo recuperó y dignificó la música barriobajera de su país (el rebetiko), cómo logró que colaboraran con él algunos de los poetas helenos más insignes del pasado siglo XX... y cómo la jovencísima Savina Yannatou, con la colaboración inestimable de la musicóloga y pianista Lena Platonós, había hecho una selección de sus piezas más hermosas y sentidas, fijándolas en un disco inimitable, emocionante, que podría rivalizar en delicadeza, elegancia y fragilidad con el más cuidado cristal de la vieja y extinta Checoslovaquia.
...resulta que ahora, casi diez años después de la muerte de Hadjidakis, una Savina Yannatou algo menos juvenil pero bastante más sabia ha decidido, con el auxilio sempiterno de Lyra, poner en el mercado una nueva tanda de canciones maravillosas de Hadjidakis, algunas rescatadas de trabajos anteriores, otras nuevas, todas en versiones estudiadas para la ocasión.
Me declaro incapaz de describirlo. La gran música no se comenta: se escucha. Comprad el disco, buscaos un lugar tranquilo, decidid que queréis sumergiros en un mar de encanto –el Mediterráneo, en concreto– y dedicaos a escuchar a Yannatou cantando a Hadjidakis. Una y otra vez.
Javier Ortiz

Si os gusta lo retro y lo funky bajaroslo, no os arrepentireis.Banda de siete integrantes formada a mediados del año 2000 y según lo que ellos dicen se trata de un manifiesto afro-funk, un canto a la vida y a los placeres de ésta, un guiño al latir más rítmico y más cálido, en formato de CD.
Su música cultiva la musica negra como el funk y hip hop, pero con el relajo y estilo que da el jazz

Karen Dalton sang the blues and played the twelve string Gibson guitar and a long neck banjo. Her second album , In My Own Time, was recorded at Bearsville studios, produced by Bob Dylan's former bass player Harvey Brooks, with liner notes by Fred Neil, originally released on Michael Lang's (Woodstock promoter) label, Just Sunshine. The cover photos were taken by Elliot Landy, and The Band's current pianoplayer Richard Bell guested on the album. Less common is her first album for Capitol, It's Hard To Tell Who's Going To Love You The Best, re-released by Koch Records in 1996. Known as "the folksinger's answer to Billie Holiday" and "Sweet Mother K.D.", it is said that the song "Katie's Been Gone" by The Band from the Basement Tapes was written about her. In My Own Time includes a cover version of Richard Manuel's beautiful "In a Station" from Music from Big Pink.
Tracks
1. Something on Your Mind (Valenti,Dino)
2. When a Man Loves a Woman (Lewis,Calvin/Wright,Andrew)
3. In My Own Dream (Butterfield,Paul)
4. Katie Cruel (Traditional)
5. How Sweet It Is (Dozier,Holland/Holland)
6. In a Station (Manuel,Richard)
7. Take Me (Jones,George/Payne,L.)
8. Same Old Man (Traditional)
9. One Night of Love (Tate,Joe)
10. Are You Leaving for the Country (Tucker,Richard)
Karen Dalton - In My Own Time - 1971 - Paramount 6008





inthemix.com.au escribió:I remember when Richie Hawtin released Decks n’ EFX. It was hailed as the greatest compilation of techno, ever. Then he did DE9-II [Closer to The Edit] and people were rightly confused. Then of course came ‘Closer’ by which time, he had completely fooled everybody. And because it was not what people had come to expect, it was met with misunderstanding and derision. Both praise and scorn came quickly – some bellowed it was a revelation and forward-in-thought, while others claimed it was part-time and unremarkable. So what am I getting at here?
Controversy will always follow the conceptually elite. Artists [film makers alike] who are not conventional, risk becoming at odds with their fan base. Likewise Jeff Mills – himself an axiom of electronic music – has compiled and produced all manner of obscure and sundry material that is as divisive as it is brilliant. A consummate producer and a dazzling DJ with an unassuming façade, he is a man who needs to be understood. How many ‘techno’ producers do you know that would attempt to effect art-house cinema with electronica? For it is much harder to blend a silent motion picture with sound, than it is to play ‘The Bells’ to a room full of people. And this proves that he is himself beyond definition. Perhaps not even intentionally, rather this is ‘him’. A character who revels in his own diversity, he cannot stand still like many of his contemporaries, nor does he want to.
Let me also say then, that ‘Three Ages’ [1923] is a masterstroke of cinema. You need only witness the innocent simplicity of the acting and direction in this 57 minute short, to understand how complex our own world actually is. The name ‘Buster Keaton’ may not be a familiar one to the modern day movie connoisseur, but for this chameleon, life was dedicated to the release of an extraordinarily authentic range of period films that were pure and unpretentious. In turn, ‘Three Ages’ tells the amusing story of love and seduction between the sexes across three ages of history. Mills of course, has completed the musical score in a typically graceful and timeless fashion [this is not his first foray into cinema; Mills composed the score for Fritz Lang’s ‘Metropolis’]. Needless to say, both men are legends.
The double pack contains the music of the 12 tracks, themselves characteristically Millsean in their ease and minimalism. There is little offensive about his music – it is always created with an understanding of time and place while emphasizing the soulful nature of his Detroit roots. It is experimental; it is glitchy; interestingly, some of it is even pure Detroit 909. But it makes for fascinating listening over a seemingly unrelated picture. Somehow the initial yet apparent lack of cohesion between sight and sound make this all so positive. It would be grand if everyone in the world appreciated this release – not only because it subliminally highlights the vulnerability of mankind, but also because it transcends boundaries and proves that it is possible to do things that would have even Buster Keaton turning in his grave!
Publicado en su propio sello -13 amp-, el debut homónimo de David Holmes&The Free Association elude las ambientaciones cinemáticas y los remansos ambientales. A cambio, incluye una decena de temas en el sentido clásico negroide que palpitan entre el big beat, el funk abstracto, aires de soul y apuntes de electrónica. Todo, con una ambientación densa, entre el carácter narcótico y cadencioso del dub y un tono oscuro y claustrofóbico que remite a un Tricky con el que David ha colaborado.
