With Mbókò, pianist-composer David Virelles – based now in New York but born and bred in Cuba – has taken the folkloric rhythms of Afro-Cuban religious ritual and transmuted them into a 21st-century music resonating with mystery and meaning. The main title, Mbókò, can mean “fundament” or “sugar cane” or “The Voice,” not the human voice but The Voice that is believed in Abakuá culture to be the voice of a spirit, or spirits. Sound is an element revered in this culture, and that idea – the worship of sound itself – was a shaping force in the performances of Virelles’ compositions on Mbókò.
For his third ECM release as a leader, Chris Potter presents a new acoustic quartet that naturally blends melodic rhapsody with rhythmic muscle. The group includes superlative musicians well known to followers of ECM’s many recordings from New York over the past decade: keyboardist David Virelles, bassist Joe Martin and drummer Marcus Gilmore, who each shine in addition to the leader on multiple horns. The Dreamer Is the Dream features Potter on tenor saxophone the instrument that has made him one of the most admired players of his generation in the striking opener “Heart in Hand” and such album highlights as “Yasodhara,” as well as on soprano sax (“Memory and Desire”) and bass clarinet (the title track).
Obliterating the concept of guilty musical pleasures, I Get Wet turns hair metal hedonism, punk energy, and pop melodies into an instant, insistent blast of fun with all the power of a beer commercial. From the opening anthem, "It's Time to Party," to the excellently named finale, "Don't Stop Living in the Red," the album is all climax – the blasting guitars, blaring keyboards, and Andrew W.K. himself are all turned up to 11 throughout. W.K. is a one-man manifesto, dedicated to spreading the way of the party with songs like "Party Hard" ("We do what we like and we like what we do!" could be "Dirty deeds done dirt cheap" several generations down the road), "Party Til You Puke," and "I Get Wet," and the fact that he looks like the stoner bully from high school only adds to his cred. Guessing whether or not Andrew W.K. is a big joke or not is almost beside the point; he comes on so strong that he either really means it, maaan, or he's got his tongue stuck firmly in his bloodied cheek.
Percussionist Charles K. Noyes was a very active member of the downtown New York avant scene of the late '70s and early '80s, performing with musicians such as John Zorn, Elliott Sharp, and Fred Frith, before retreating from view during the '90s. Full Stop provides a fairly full picture of what he was up to, compiling solo works recorded from 1990-1999. The overall mood is a bleak and harsh kind of ambient music, soundtracks for a barren, desensitized landscape but one that holds more than a hint of mystery. Percussion as a rhythmic element is almost entirely absent here. Instead, Noyes utilizes a range of processed sounds, strings, electronics, and the occasional musical saw to produce sonic pictures that might be described as the Eno of On Land in a particularly morose and misanthropic mood…
The tender musical heart of this enchanted take on The Man Who Fell to Earth belongs to composer Edward Shearmur, who turns in a largely synthesized score where spare, delicate piano melodies often recall Thomas Newman's deft sense of space and dynamics. While the general musical ethos seems a throwback to the mid-'80s heyday of pioneering electronic scores by Vangelis and Tangerine Dream, contemporary technical advances have allowed Shearmur to impart an ethereal and distinctly organic aural patina to these cues. Though informed by his atmospheric session work with Pink Floyd (The Division Bell), Shearmur's K-PAX score stands apart: quiet, mystically introspective music that seems as uncomplicated–and yet innately profound–as an autumn breeze.
David Britten - Whale Song (1997). Since time eternal the Majesty of the Whale has fascinated and enchanted our senses with its wide range of voices and songs. Over thousands of miles of ocean these peaceful giants communicate with each other using bass notes so low that we could only feel their power as vibrations. Throught time their songs have inspired a natural musical form from which many famous composers have sought inspiration.
The musical experience on this album combines the natural Songs of the Whales, the power of the sea and the sounds of nature which blends them with specially composed music inspired by these undisputed keepers of the oceans. This tranquill musical experience will take you on untold journeys that will leave you feeling relaxed an renewed…