The Danish trio (Rune Tonsgaard Sørensen, violin; Ale Carr, cittern; Nikolaj Busk, piano & accordion) returns with their second recording of cross-genre folk music. Guests include a folk choir and The Danish String Quartet. The artists say: "We met by chance one night during a folk festival in Copenhagen. Ale and Rune were standing in the corner of a pub jamming some folk tunes. Nikolaj just came in, sat at the piano and began to play along. The three of us ended up playing together all through the night. That was in 2009. Six months after we met, Rune held his debut concert at the Royal Danish Academy of Music.
Is there a better trio than the Florestan playing today? All three members are consummate artists, outstanding instrumentalists, and ensemble players to the manner born, but it’s the playing of pianist Susan Tomes that carries these performances to their greatest heights. Since the ensemble is perfectly judged by all concerned, it may seem unjust to single out the playing of one member for special comment, but such is the extreme sophistication, the extraordinary subtlety and the expressive range of this artist that I can see no alternative. The tonal control, the exquisite shaping of phrases, the rhythmical suppleness and structural backbone are of an order seldom encountered in the playing even of many famous soloists. But what renders her playing here still more remarkable is the exemplary precision with which it’s matched to the different sonorities and qualities of attack, so-called, of the string players. And what players they are. For all of the above this is not a pianist-dominated performance, except insofar as Schubert wrote the piece that way.
Jack DeJohnette knows how to turn traditions inside out. He can invest light-touch cymbal playing with the feel of pulsing funk. His freer patterns of blast can sound like some of the most refined avant-percussion you've ever heard. Though while DeJohnette is obviously an original, he's not bent on tearing down all the boundaries between jazz sub-genres. His engagement with various aspects of blues and swing flows from an evident reverence for each specific style. Even when pushing his own creative language to new places, DeJohnette manages to keep the inherited forms in view.
First ever CD release for this 1975 instrumental set from Isaac Hayes’ renowned backing band
Digitally remastered and expanded two CD edition of this 1981 album from the Manchester quartet, one of the most successful and consistent bands of the '80s and beyond. After the suicide of vocalist, Ian Curtis, the three surviving members of Joy Division regrouped under the band name New Order, adding Gillian Gilbert on keyboards. The rest, as they say, is history. Disc One in this package contains the original album in its digitally remastered glory. Disc Two is filled with 10 non-album singles, B-sides and remixes. This is as great as it gets!
After the release of the two highly successful 12inches "Filicium" and "Third Space", which generated the first UK Big Beat charts entrance for the Elektrolux label, Hamburg/Germany based electro specialists N)E(M deliver their first longplayer. "Northern Electro Movement" is a groundbreaking album, which represents all aspects of contemporary Electro and helps to push the music another step further. The producers of this master work, 3DJ Dirsch and Andreas Roll, already rank among the top german Electro artists, performing live all over the country (listen to "United Meadow" and "Silikon").
In a turn away from his arena-sized, progressive-house origins, Brian Transeau chose to diversify for his third album. With an inspired cast of co-producers and guest vocalists, Movement in Still Life takes on electro-funk and breakbeat techno with plenty of room for nods to the kind of epic trance that made his name on dancefloors all over the world. Three of the biggest names in late-'90s trance (Sasha, Paul Van Dyk, and Hybrid) help out here, and Transeau moves further afield with help from breakbeat maestros Adam Freeland and Kevin Beber on "Hip Hop Phenomenon." Elsewhere an array of familiar names lend their talents to the album – Soul Coughing's M. Doughty, drum'n'bass superstar-in-waiting DJ Rap, former Opus III vocalist Kirsty Hawkshaw – but the best moments here are pure Transeau. The majestic atmosphere of "Mercury and Solace" and "Godspeed" prove that Transeau can range as far as he wants for his inspirations without sacrificing the sound that made him one of the most noted dance producers in the world.
This important collection of folk songs from the Chicano movement, which began in the Southwest in the mid-'60s and continues today, covers 30 years of history. The heulga (strike) songs, moviemento (anthems), and the corridos (narrative songs of heroism and valor) come out of many forms including the conjunto sounds of the Texas-Mexico border. None of these tunes were recorded for commercial or critical purposes but rather as documents of struggle and inspiration. (…) Rolas de Aztlán is an original and necessary document of essential American musical history.