These two Bordeaux-born beatmakers mix electronic-infused hip-hop with the groove and melodies of 1930’s swing. Percussion solos played with scratches, beats, and melodies banged out on the MPC, everything is performed live, often incorporating guitars, brass sections, and drum sets. Currently the duo released their second album, ‘Running to the Moon’ in 2016, featuring the voices of Ua Tea, Blake Worrell, ASM among others.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A stunning setting for this wonderful tenorist – a record that has the great George Coleman blowing with only the piano of Tete Montoliu for accompaniment – with really wonderful results! George has all that full, deep tone we know from his bigger group recordings – and it really seems to set the record on fire from the start, and bring out these bold rhythmic lines from Montoliu, who plays with a blocky sense of power that reminds us of his sublime late 60s album for MPS!
French-Spanish musician Garcia-Fons is a trailblazer on the double bass, to which he has added a fifth string. On one of his musical journeys he met Derya Turkan, a virtuoso of the Turkish fiddle, with whom he recreated classical Ottoman court music as if it had always been meant to be played by a string duo. Their long-standing wish to make a new album together was realised in 2014. In the Bimhuis Amsterdam the duo will present Silk Moon: original compositions nurtured by Oriental and South European influences, and inspired by the profound song tradition of the Oriental maqam and the Andalusian cante jondo.
DANCER AND THE MOON is BLACKMORE’S NIGHT’s 8th original studio album, with each disc topping the European and American Billboard's New Age charts….
…"Colour to the Moon" represents the work of an artist at the height of his powers, looking back as well as forward, few people can convey with such eloquence their life experiences.
Although the cover art might suggest that this compiles, features, or in some way includes material from Michael Nesmith's four-year (1966-1970) tenure as a Monkee, this isn't the case at all. Additionally confusing matters is that the same 25 tracks on this collection are replicated – right down to the exact running order – on the unimaginatively titled Best Of: Original Hits. Regardless, the contents of both have been culled from Nesmith's first half-dozen post-Monkees long-players.