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14 mars 2012 3 14 /03 /mars /2012 15:00

http://www.pias.com/nl/wordpress/wp-content/uploads/2011/10/Move-Me-cover.jpg

http://www.rensketaminiau.com
https://www.myspace.com/rensketaminiau


Origine du Groupe : Nederlands
Style : Nu-Jazz , Jazz
Sortie : 2011


From http://www.musicfrom.nl

After her debut album "Waiting To Be Told" is Renske Taminiau with her second album 'Move Me'. This album has eleven self-penned songs Renske and her band to sound. The CD case is beautifully designed by Renske itself and has a mysterious look.

'Love' bites the ball rolling. A sound like you're watching an old movie in which two special lovers together at last in the arms. A romantic sound so good you can dream. 'Paris' is a French song and just as lovely as 'Love'. You can not speak French, it is still a beautiful song.

In "To You We Sing 'is a bit more in the pit. "I'll do whatever I can to put his mind at ease. I promise I'll be his best companion. In good times or in better." 'Stay' has beautiful backing vocals and a cheerful melody. "I Told You So 'has a somewhat tougher character. "What keeps us from being honest?" The background vocals are uplifting and the instruments work together to build an exciting under Renske's vocals. She shows in this song more her feelings are harder to get through and more to play with her intonation and vibration. The valve, 'Luna', as the usual jazz songs by Renske, only the voltage is great here built and detonated it at the end.

Striking Renske's flawless sound is that they really tell a story. Her polished voice fits into the whole and her band creates a full sound. Renske's goal with this piece was an exciting result to put down than her debut. And even though the songs on 'Move Me' generally peaceful in nature, Renske should be proud of her second gem. This record she made ​​with another motive: self enjoy music instead of always meet the needs of others. And so the album sound so pure. "Move Me" is a CD full of sensitive lyrics and dreamy melodies that in any way certainly moves.


Tracklist :   
1. Love (2:06)
2. Ny sirens (4:14)
3. Paris (3:13)
4. Modern chaingang (4:35)
5. Metamorphoses (4:26)
6. To you we sing (5:23)
7. Move me (4:33)
8. Stay (4:43)
9. To have & yo hold (3:25)
10. I told you so (4:16)
11. Luna (5:07)

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15 février 2012 3 15 /02 /février /2012 12:00

http://ecx.images-amazon.com/images/I/51BR5fHLIyL._SL500_AA300_.jpg

http://www.jazzecho.de
http://www.myspace.com/maliaofficial


Origine du Groupe : Malawi
Style : Jazz , Soul
Sortie : 2012


Par Victor M.  pour http://dynamhit.org

La voilà, la grande, la classieuse à la voix de velours. Elle arrive avec sous le bras un nouvel album, Black Orchid, dédié à la diva américaine décédée en 2003, Nina Simone.
En effet Malia revient avec ce quatrième album produit par Universal. Elle reprend ainsi avec classe une partie du répertoire de Nina Simone, y ajoutant sa voix envoutante, chaude et sensuelle imprimée de son accent soul, blues et gospel.

Plus qu’un hommage, un grand merci. En effet la chanteuse originaire du Malawi livre : "Évidemment, Nina Simone était une grande musicienne. Mais ce qu’elle m’a donné va bien au-delà. Elle m’a donné confiance en moi-même, elle m’a donné envie de me battre. Elle fut avant tout un guide spirituel. Je crois que pour moi la question de faire un album de reprises de ses chansons ne s’est même pas posée. C’est venu naturellement. Il s’agissait d’exorciser une envie parce que, si j’ai toujours voulu réaliser un tel disque, jusqu’à présent je n’en avais jamais eu le courage."

La londonienne est particulièrement impressionante dans ses interprétations de If You Go Away, I Put A Spell On You et Feeling Good dans lesquels on redécouvre avec plaisir la beauté de ces standars de la musique jazz.

Mon seul regret est que bizarrement ni Sinnerman ni Images ne soient présent sur l’album.


Tracklist :
01 – My baby just cares for you
02 – Don’t explain
03 – Baltimore
04 – Feeling good
05 – Four woman
06 – I love you Porgy
07 – If you go away
08 – I put a spell on you
09 – Keeper of the flame
10 – He ain’t comin’ home no more
11 – Marriage is for old folks
12 – Wild in the wind
13 – That’s all I want from you
14 – I’m going back home

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29 janvier 2012 7 29 /01 /janvier /2012 17:00

Cover-copie-11.jpg

http://bbpiratesradio.over-blog.com


Origine du Groupe : V.A
Style : Jazz , Compilation
Sortie : 2012


Tracklist :
01 - Zara McFarlane - Feed the Spirit (The Children and the Warlock)
02 - Tom Harrell - Modern life
03 - Sinto - Cosa Rica
04 - Mikromusic - Bo mi
05 - Tok Tok Tok - Being for the benefit of mr. Kitel
06 - William Parker - Raining on the Moon
07 - Soil & Pimp Sessions - Sea of Tranquility
08 - Laïka Fatien - Visions
09 - Muzykoterapia - Love Haunting
10 - Terri Lyne Carrington - Magic And Music
11 - Nicola Conte - Love and Revolution
12 - MGT - Icarus
13 - Nikki Yanofsky - At Last
14 - Jerry Gonzalez Y Chano Domingu - Cómo Fue
15 - Terje Rypdal - Bleak House
16 - The Omer Avital Group - Ballad
17 - Nina Simone - Four Women
18 - Brassroots - Seven Nation Army

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12 janvier 2012 4 12 /01 /janvier /2012 11:00

http://img.photobucket.com/albums/v627/Flabbergast/folder-292.jpg

http://www.andy-bey.com
http://www.myspace.com/andybey


Origine du Groupe : North America
Style : Jazz , Soul
Sortie : 1974

By Flabbergast from http://flabbergasted-vibes.blogspot.com

Yes, this is one ugly album cover. But what's inside is as beautiful a record as you're likely to come across.

A long long time ago I promised a flood of music from Gary Bartz. I didn't deliver on that promise. What can I say, my life is a morass of unfulfilled potential and broken promises. At least, that's how it seems some of the time.

Until I put on this and then everything is suddenly fine. Andy Bey is easily one of the most underrated figures in music. His work with Horace Silver and Gary Bartz especially is phenomenal. And this album is, well, eternal. It's largely a laid-back affair, brimming with the echoes of cosmic soul in ways that aren't too different from a lot of other contemporary albums, but this one has a certain fire and heart that just isn't very common. It begins with a slowed down take on his 'Celestial Blues' that he had already recorded with Bartz' NTU Troop. First time I heard this version I didn't know how to react. I felt like a fly suspended in sweet funky amber. Followed by 'Experience', the most frantic and uptempo tune on the record, full of lyrics that would be difficult for anybody but Andy to sing and make sound this cool in elongated melodic gospel shouts from the lotus seat. "Judgment", the other side of the coin, is slowly and heavier on the funk with some wickedly-recorded wah-guitar sounding like the microphone was in the hallway during the session. Andy deserves more credit as a pianist than he usually gets but it must be said that keys man Bill Fischer steals the show here. Acting as producer and also composer on some of the tunes, he definitely has a 'mark' of production here - but with his exquisite taste in analog synth tones and the absolutely perfect mix, you won't hear me complaining about his production. His synth work and electric piano weave in and out of the music faster than an arcade old-school centipede, there and gone halfway before your awareness has caught up. In trying to find some more info on this album on the All-Knowing Interwebs, I have seen this album compared to Gil Scott-Heron in a few places. Which really makes no sense in terms of Gil's vision and gestalt.. Where there IS a similarity is between this album and Brian Jackson, Gil's co-conspirator. Now, THAT makes sense to me.

Really really I mean it, not a bad song here. The scaled-down funk poetry of 'Hibiscus' hits all my buttons in the right place, perfect in every way of composition, lyric, execution, tonalities, textures, production. A heavily spiritual mind-expanding vibration just billows forth from your stereo speakers (or, um, iPod earbuds, I guess) to envelop you. "You Should've Have Seen The Way" is easily the funniest song about meditation I've ever come across. Granted, that makes it kind of a big fish in a small pool, but still... Story of guy taking a friend's advice by trying to clear his mind and find his way through meditation, but he just can't stop thinking about making love to a woman. Deep, metaphysical, sensual as hell. For all the buddhist vibe on this album it's good to know Bey and company can keep it real. "Tune Up" is a more serious tune on a similar wavelength, one of my friend TY's favorite tracks on this. More lyrics that would sound weird from anyone but Andy Bey, "like hypnotizing yourself up to a certain point," it just kind of works on you and achieves in the listener an analog of what he's singing about.

So far there is nothing remotely commercial about whats been presented here (jazz purists be damned, this stuff is too obscure and deep to be selling out to anyone). Then we should be all the more surprised by the next tune, a ballad lifted from Neil Sedaka. That's right - Neil fucking Sedaka! And he just kills us with it. It becomes a love sonnet sung from across the veil of mortality, sung from a dead man to his widow. Granted all that was already in the lyrics but goddamn if Andy Bey doesn't make it all come together and work on this album. By now we are 3/4 through the album and the remainder is pretty low-key and mellow. Nothing to grab you like what's already come before but just enough going on to keep you engaged, going out on a wonderfully optimistic and sensual mindsex epic of "The Power of My Mind".

It's always weird to stop and think about how friends are brought together out of seemingly random occurrences, some drifting apart, some always there, some coming back like cycles of the moon. And when I ask myself why it took me so long to post this record, because it had been on my 'short list' for about a year now, I think it must have to do with that elusive ephemeral thing called friendship. I remembered it, suddenly, and sent it to someone who I think may have needed it right then. And a few days later we were having an intense conversation that ostensibly had nothing to do with this album but yet also had everything to do with this album. And that is one of the great qualities of "Experience and Judgment" - although you can call it 'soul jazz' or 'spiritual jazz', it is of an earthly sort of cosmic consciousness, one imbued with the substance of day to day living and struggle, that keeps its lyrics even at their most abstract from flying untethered into the blinding light of oneness, instead staying in the air for a while to light our way as we listen. I can't recommend this album enough.

p.s. the HDCD mastering is a nice touch. Several digital players can recognize the coding and provide the up-sampling, leave a note if you want to know more.


Recorded at Regent Studios, NY

Andy Bey - Vocals, Acoustic Piano
Buddy Williams, Jimmy Young - drums
Wilbur Bascomb - Bass
William Fischer - Electric Piano, Organ, Harpsichord, Synthesizer, Percussion
Electric Bass - Wilbur Bascomb
George Davis - guitar (Track 2 only)
Richard Resnicoff - guitar
Engineer - Bob Liftin
Guitar - George Davis (2) , Richard Resnicoff (tracks: 2, 3, 8, 9)
Selwart Clarke - Violen, viola

Produced by by William Fischer


Tracklist :
1 Celestial Blues 3:24
2 Experience 2:57
3 Judgment 2:58
4 I Know This Love Can't Be Wrong 4:22
5 Hibiscus 4:39
6 You Should've Seen The Way 2:31
7 Tune Up 4:11
8 Rosemary Blue 3:24
9 Being Uptight 3:05
10 A Place Where Love Is 4:38
11 Trust Us To Find The Way 2:39
12 The Power Of My Mind 2:55

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23 décembre 2011 5 23 /12 /décembre /2011 12:00

http://denovali.com/dalecooper/meta200.jpg

http://denovali.com/dalecooper
http://www.myspace.com/dalecooperquartet


Origine du Groupe : France
Style : Dark Jazz , Downbeat , Electronic Ambient
Sortie : 2011

From http://denovali.com

The bizarre Dark Jazz cabaret has opened again. Finally, after years of waiting, the 2nd full length of the sophisticated experimental collective from France will be released. It features vocals of Gaëlle Kerrien (YANN TIERSEN) and all lovers of DAVID LYNCH movies, artists like KILIMANJARO DARKJAZZ ENSEMBLE or BOHREN UND DER CLUB OF GORE and blue cigarette smoke in dark bars will exult again.

Métamanoir sees the band shift from their smooth, minimal and instrumental landscapes on the debut record Parole De Navarre to a more lively and rich sound. Always based upon improvisation and sound research, the solo parts of their music are now embodied by vocals.

The Quartet invited several musicians and singers to record, giving a phantomatic sound with oboe, clarinet, whitewashed drones popping out of the songs. The sheer chants of Zalie Bellacicco – who appeared on the debut album - the deep tone of Ronan Mac Erlaine and the crystal-clear voice of Gaëlle Kerrien (Yann Tiersen's singer on his last Mute album) interlaces with the still dark jazz of the band.

Always influenced by classic 50s cool jazz and the more contemporary noise and experimental styles, the Quartet and his guests built a dreamy card castle who swing and grow deeply rooted in fierce strangeness of David Lynch movies.

Métamanoir has been recorded in their native Britanny country, deep west of France, a land swept by climatic inconstancy fed by wind, rain and mystery. A place which gives the music an overwhelming but beautiful darkness.


Tracklist :
01 Une Petit Cellier
02 Eux Exquis Acrostole
03 Ma Insaisissable Abri
04 Sa Prodigieux Hermitage
05 Le Implacable Gentilhommière
06 Elle Agréable Rendez-Vous de Chasse
07 Mon Tragique Chartreuse
08 La Terrible Palais
09 Il Mélodieux Manoir
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dale cooper quartet & the dictaphones - 10 june 2011, christuskirche bochum - I from thepostrock.de

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7 décembre 2011 3 07 /12 /décembre /2011 12:00

http://www.allflac.com/covers/b_60311_Terje_Rypdal-Bleak_House-1968.jpg

 

http://www.myspace.com/terjerypdalodyssey

Origine du Groupe : Norwegia
Style : Jazz , Electric Jazz , Jazz Rock Progressive
Sortie : 1968

 

Wikipedia :

Terje Rypdal (born 23 August 1947 in Oslo) is a Norwegian guitarist and composer. Most of his music has been released on albums of the German record label ECM. Rypdal has collaborated both as a guitarist and as a composer with other ECM artists such as Ketil Bjørnstad and David Darling. Over the years, he has been an important member in the Norwegian jazz community.

Starting out as a Hank Marvin-influenced rock guitarist with The Vanguards, Rypdal turned towards jazz in 1968 and joined Jan Garbarek's group and later George Russell's sextet and orchestra. An important step towards international attention was his participation in the free jazz festival in Baden-Baden, Germany in 1969, where he was part of a band led by Lester Bowie. During his musical studies at Oslo university and conservatory, he led the orchestra of the Norwegian version of the musical Hair. He has often been recorded on the ECM record label, both jazz-oriented material and classical compositions (some of which do not feature Rypdal's guitar).

His compositions "Last Nite" and "Mystery Man" were featured in the Michael Mann film Heat, and included on the soundtrack of the same name.

 

Tracklist :
1. Dead Man´s Tale (7:03)
2. Wes (4:15)
3. Winter Serenade (6:04)
   a) Falling Snow
   b) Snow Storm
   c) Melting Snow
4. Bleak House (7:05)
5. Sonority (5:21)
6. A Feeling Of Harmony (2:29)

 

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30 novembre 2011 3 30 /11 /novembre /2011 16:00

http://www.gilscottheron.fr/rep-des-images/evolution-and-flashback-the-very-best-of-gil-scott-heron,529,image1,fr1273403920,L612.jpg

http://gilscottheron.net

Origine du Groupe : North America
Style : Jazz , Soul , Funk , Spoken word
Sortie : 1999

Wikipedia :

Scott-Heron est né à Chicago. Il est le fils d'une bibliothécaire et du footballeur jamaïcain Gil Heron, également connu sous le nom de Black Arrow (flèche noire) lorsqu'il portait le maillot du club du Celtic FC, le célèbre club de football de Glasgow (Écosse). Après le divorce de ses parents, il passe son enfance dans le Tennessee au côté de sa grand-mère Lillie Scott, puis déménage à New York dans le quartier du Bronx pour y suivre ses études secondaires. Après avoir passé un an à la Lincoln University en Pennsylvanie, il publie son premier roman, The Vulture (Le Vautour) un polar qui brosse un portrait satirique de la société américaine, mais qui ne reçoit aucun écho à sa sortie .

Il commence à enregistrer en 1970 avec le 33-tours Small Talk at 125th & Lennox avec le soutien de Bob Thiele et comme coauteurs Brian Jackson, Hubert Laws, Bernard Purdie, Charlie Saunders, Eddie Knowles, Ron Carter et Bert Jones, tous musiciens de jazz (voir 1970 en musique). L'album, avec une chanson comme Whitey On The Moon, contient une diatribe contre le monde des médias, possédé principalement par des Blancs, et contre l'ignorance qu'ont les classes moyennes américaines des problèmes des populations pauvres des centres-villes.

L'album Pieces of a Man (1971) est de facture plus conventionnelle comparée aux chansons libres et souvent scandées du premier, mais il ne connut le succès qu'en 1975 avec Johannesburg. Son plus grand succès fut The Bottle (1975), produit par Scott-Heron et son associé, qui atteignit la 15e place sur la liste des meilleurs ventes de R&B (voir 1978 en musique).

Pendant les années 1980, Scott-Heron continue d'enregistrer, attaquant souvent le président Ronald Reagan et sa politique conservatrice :

    « The idea concerns the fact that this country wants nostalgia. They want to go back as far as they can – even if it’s only as far as last week. Not to face now or tomorrow, but to face backwards. And yesterday was the day of our cinema heroes riding to the rescue at the last possible moment. The day of the man in the white hat or the man on the white horse - or the man who always came to save America at the last moment – someone always came to save America at the last moment – especially in “B” movies. And when America found itself having a hard time facing the future, they looked for people like John Wayne. But since John Wayne was no longer available, they settled for Ronald Reagan – and it has placed us in a situation that we can only look at – like a B movie. »
        — Gil Scott-Heron, "B" Movie

Scott-Heron fut écarté du label Arista Records en 1985, et arrêta d'enregistrer, bien qu'il continuât à tourner. En 1993, il signa pour TVT Records et sortit Spirits, un disque contenant le morceau Message To The Messengers. La première piste est une prise de position à l'attention des rappeurs de l'époque, et contient des commentaires comme :

    « Four letter words or fours syllable words won't make you a poet, It will only magnify how shallow you are and let ev'rybody know it. »
    « Tell all them gun-totin' young brothers that the 'man' is glad to see us out there killin' one another! We raised too much hell, when they was shootin' us down. »
    « Young rappers, one more suggestion, before I get outta your way. I appreciate the respect you give to me and what you've got to say. »

Gil Scott-Heron y lance un appel envers les nouveaux rappeurs afin qu'ils recherchent le changement au lieu de perpétuer la situation sociale, pour qu'ils aient un discours plus clair et produisent des chansons plus artistiques : « There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humour. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing »

En 2001, Gil Scott-Heron fut incarcéré pour consommation de drogue et/ou violences domestiques. Apparemment, la mort de sa mère alliée à la consommation de crack et de cocaïne l'entrainèrent dans un cercle vicieux.[réf. nécessaire] Sorti de prison en 2002, Gil Scott-Heron enregistra et apparut sur l'album de Blackalicious, Blazing Arrow.

En 2010, il signe son grand retour avec l'album I'm New Here , dont treize morceaux sont remixés par Jamie Smith des XX dans We're New Here .

Tombé malade au cours d'un récent voyage en Europe, Gil Scott-Heron s'éteint le 27 mai 2011 dans un hôpital de New York .


Tracklist :
01 - Paint It Black
02 - Evolution (and Flashback)
03 - Free Will
04 - Whitey On The Moon
05 - The Vulture
06 - Small Talk at 125th and Lenox
07 - Billy Green Is Dead
08 - Ain't No New Thing
09 - Get Out Of The Ghetto Blues
10 - The King Alfred Plan
11 - No Knock
12 - Enough
13 - Who'll Pay Reparations On My Soul?
14 - Home Is Where The Hatred Is
15 - The Revolution Will Not Be Televised

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22 novembre 2011 2 22 /11 /novembre /2011 14:30

http://www.qobuz.com/images/jaquettes/0884/0884385864941_600.jpg

http://www.ninasimone.com

Origine du Groupe : North America
Style : Jazz
Sortie : 2009

Wikipedia :

Eunice Kathleen Waymon et de nom de scène Nina Simone, née le 21 février 1933 à Tryon (États-Unis) et décédée le 21 avril 2003 à Carry-le-Rouet (France), est une pianiste américaine, chanteuse, compositrice et militante pour les droits civiques et principalement associée à la musique jazz.

Née dans une famille religieuse, la jeune Nina est très attirée par la musique mais les réalités de la pauvreté et les préjugés raciaux ont raison de ses ambitions. Désirant à l'origine devenir une pianiste classique, Simone a finalement joué dans des styles musicaux variés notamment le jazz, le blues, le classique, la soul, le folk, le R&B, le gospel et la pop.

Son parcours musical change de direction lorsqu'elle se voit refuser une bourse d'étude à l'Institut Curtis. Alors qu'elle joue et chante dans un petit club de Philadelphie elle est contactée par le label Bethlehem Records pour un enregistrement et le morceau I Love you Porgy devient un grand succès en Amérique en 1958.

Simone enregistre au cours de sa carrière plus de 40 albums, de ses débuts avec l'album Little Blue Girl en 1958 jusqu'en 1974 environ.

Son style original est issu de la fusion de chansons gospel et pop avec la musique classique. Après vingt ans de scène, elle s'engage dans le mouvement de défense des droits civiques et sa vie change de direction une fois de plus. La musique de Simone est très influente dans la lutte pour l'égalité des droits que mènent les Noirs à cette période aux États-Unis. Sa musique puissante est une source d'inspiration pour cette génération et continue de l'être pour celles qui suivent.


Tracklist :
1. Compensation
2. Please Dont Let Me Be Misunderstood
3. Stick Together
4. Strange Fruit
5. Medley Moon of Alabama - In Childhoods Bright Endeavor - In My Life - Stick Together
6. Revolution
7. In My Life
8. Born Under a Bad Sign
9. I Cant See Nobody
10. Who Am I
11. I Wish I Knew How It Would Feel To Be Free
12. Save Me
13. I Shall Be Released
14. Aint Got No I Got Life
15. My Baby Just Cares For Me
16. Im On My Way
17. Sinnerman
18. Nobodys Fault But Mine
19. Hes Got The Whole World
20. A Mighty Fortress instrumental
21. The Blood
22. Church Jazz instrumental
23. He's My God
24. What A Blessing In Jesus
25. Nearer Blessed Lord
26. Children Go Where I Send You
27. Oh Happy Day
28. Revolution
29. Mississippi Goddamn
30. Old Jim Crow
31. Backlash Blues
32. Four Women
33. Nobody
34. I Wish I Knew How It Would Feel To Be Free
35. Definition of an Artist
36. Why The King of Love is Dead
37. To Be Young Gifted and Black
38. Strange Fruit
39. Fine and Mellow
40. Tell Me More
41. Love Me or Leave Me
42. I Got It Bad and That Aint Good
43. Do Nothin Till You Hear From Me
44. It Dont Mean a Thing
45. You Dont Know What Love Is
46. Just In Time
47. Chauffeur
48. I Love You Porgy
49. I Love To Love
50. Wild Is The Wind

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21 novembre 2011 1 21 /11 /novembre /2011 13:00

http://multimedia.fnac.com/multimedia/FR/images_produits/FR/Fnac.com/ZoomPE/2/9/1/5060180321192.jpg

http://www.myspace.com/zaramcfarlane

Origine du Groupe : U.K
Style : Jazz
Sortie : 2011

By from http://potholesinmyblog.com

trans Zara McFarlane Until TomorrowWe’ll get the obvious out of the way right off the bat. Zara McFarlane’s Until Tomorrow is a deliberately retro exercise in jazz vocals, and an remarkably well-executed one at that. Externally, the album art nods not-so-subtly to late-50’s Ella Fitzgerald, so it’s quite fitting that the opening jazz ballad, “More Than Mine” dates right back to that era as well. However, it’s not merely McFarlane’s ability to recall her predecessors with striking accuracy that gives Until Tomorrow its backbone, but it’s the balance with which the album pools various musical stylings together without once sounding jumbled or confused.

Until Tomorrow weaves between slinky swing tracks, be-bop and smooth ballads, while tossing around various instruments all the while. Many tracks are primarily piano-backed and barely whisked with light percussion, which fits Zara’s warm vocals well. It’s on these tracks that listeners might be reminded of Brownswood contemporary Jose James. Other tracks are less structured, orienting themselves around the freewheeling and experimental side of jazz. The standout track, “Feed the Spirit (The Children and Warlock) is a bass-heavy affair that has Zara doing her best Yukimi Nagano for the first half, while the latter lets loose into an all out Coltrane mish-mash. It’s unorganized, unpredictable, and altogether satisfying. Meanwhile, the title track provides welcome contrast as it is almost lullaby-worthy.

The album’s ability to pass between various sub-genres of jazz is impressive, but make no mistake – this is Zara’s stage from the very first note. Her vocals command your attention, not in the Alicia-Keys-gonna-kill-my-vocal-chords way, but simply because she is able to gently exude deep emotion with each word. She has a profound discourse on the life of relationships and love, which granted is not the most original of all topics, but Zara performs her songs with a level of authenticity that is not easily (or often) replicated.

In case there was any doubt about it before, this album just cements the fact that Brownswood, along with Tru Thoughts and a handful of others, stand steadily at the forefront of modern jazz. But it should come as no surprise. With new artists like Zara McFarlane in the roster, this is an exciting time for the UK jazz scene with fresh voices emerging each year. Until Tomorrow is a fascinating listen that at once hints at the past and the future simultaneously.


Tracklist :
01 More Than Mine 04:51
02 Captured (part 3) 04:17
03 Mama Done 03:45
04 Until Tomorrow 05:12
05 Blossom Tree 04:03
06 Feed the Spirit (The Children and the Warlock) 05:13
07 Waking Sleep (Thoughts) 02:36
08 Chiaroscuro 04:49
09 Desire 04:08
10 More Than Mine (alternate take) 04:41

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18 novembre 2011 5 18 /11 /novembre /2011 16:00

http://breathe-comp.com/wp-content/uploads/2011/09/1horiso_covs_800x8001.jpg

http://horiso.dsw.pl

http://www.myspace.com/horiso

Origine du Groupe : Poland
Style : Jazz , Electro Jazz , Alternative , Ambient
Sortie : 2011

From http://breathe-comp.com

In the long tradition of polish jazz we can find a lot of singularities but nobody like horiso, composer, programmer, multiinstrumentalist, technician and now singer, he recreate the conception of words like art and improvisation. he and other both creatures represent a step beyond into the journey of a man and his trumpet, surprising one time and again. Breathe proudly to presents this original digital edition, including quality sound files, artwork, lyrics and other information. Support your artists sharing their work entire.

 


Tracklist :
1. feeling good
2. kaa
3. it will rain
4. yol ev
5. remembring
6. night in tunisia
7. 4
8. en anden
9. summertime

mp3FREE DOWNLOAD FROM NETLABEL http://breathe-comp.com/wp-content/uploads/2010/03/breathe-bw.png

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