O Púbis da Rosa

20.6.25

ART ZOYD – Phase IV (1982-2008) 2CD | Two Version | FLAC (image+.tracks+.cue), lossless

Drummerless French contemporary music ensemble Art Zoyd pursued a unique and evolving artistic vision during the '70s and '80s, and the uncompromising classic 1982 opus Phase IV is justifiably considered one of the group's peak accomplishments. On this sprawling fourth album -- a two-LP set produced by Henry Cow/Art Bears' Chris Cutler, engineered by the great Etienne Conod, and released on Recommended Records -- the Rock in Opposition co-founders marry dark, unsettling atmospherics à la Univers Zero to precise minimalist constructs with hints of Philip Glass or Steve Reich. One hears antecedents to Phase IV in the lengthy tracks penned by Gérard Hourbette or Thierry Zaboitzeff on the group's preceding albums between 1976 and 1980, with their layered motifs, bold and crisply defined rhythmic attack despite the lack of drums, and fits of urgency amidst the general disquiet, but the band could occasionally seem surprisingly lighthearted on those discs, veering into expressive chamber music, uptempo jazziness, and Samlas or Gong-style oddball vocals rather than the more typical ritualistic Magma-esque chanting. Phase IV found Art Zoyd pursuing a more unified aesthetic. Reduced from the sextet configuration heard on 1980's Génération Sans Futur to a quintet with violinist/violist Hourbette, electric bassist/cellist Zaboitzeff, and trumpeter/flügelhornist Jean-Pierre Soarez the only holdovers, Art Zoyd were now solidly a vehicle for the compositions of Zaboitzeff and Hourbette, the latter of whom also played piano and synthesizer for the first time, joining incoming pianist/keyboardist Thierry Willems (saxophonist Didier Pietton was the other newcomer, replacing Gilles Renard).
The stunningly adept Zaboitzeff's 14-plus-minute "État d'Urgence" begins the album with a tense pulse and rising horns that emerge from an intro fanfare and undercurrents of agitated crowd noise; later on, a thick bass drone, insistent keyboard figure, and guttural vocal give way to riffs and phrases employed by the bandmembers with phenomenal dexterity and unflagging momentum. The craziness escalates with shouted voices, cacophonous keys, and squealy free jazz sax, but the underlying pulse is unrelenting as the dynamic draws down to animated percolations before gradually gaining force beneath Soarez's multi-tracked canonical trumpets. For all its shifts in tempo and dynamics, "État d'Urgence" remains cohesive in its rigorous adherence to structure, astringent harmonics, and meld of electric and acoustic timbres -- and the same can be said of Phase IV as a whole. Wailing sax and horns and ghostly string overtones occasionally draw from the world of creative improvisation, but they're pitted against bass and keys that refuse to budge from their implacable course, whether glacially paced or more frantic. Yet unexpected moments of lyricism and beauty also emerge, notably in Zaboitzeff's alternately lovely, cinematic, and exuberant "Ballade," a four-minute track sandwiched amidst a handful of short pieces on the album's second side. Best of all are the moments when, as in Hourbette's "Vue d'un Manège" or "La Nuit," Art Zoyd open the door to consonance and achieve expansive vistas in sound while never sacrificing the darkness at their music's heart. Dave Lynch
Tracklist 1 :
1. État D'Urgence 14:35
Composed By – T. Zaboitzeff
2. Naufrage 6:43
Composed By – G. Hourbette
3. Dernière Danse 4:35
Composed By – T. Zaboitzeff
4. Et Avec Votre Esprit 5:18
Composed By – G. Hourbette
5. Ballade 4:05
Composed By – T. Zaboitzeff
6. Deux Préludes 2:15
Composed By – G. Hourbette
7. La Musique D'Erich Faes 0:14
Tracklist 2 :
1. Chemins De Lumière 15:16
Composed By – G. Hourbette
2. Du Sang Sur La Neige 4:18
Composed By – T. Zaboitzeff
3. Vue D'Un Manège 4:12
Composed By – G. Hourbette
4. La Nuit 13:06
Composed By – G. Hourbette
5. Les Larmes De Christina 3:44
Composed By – G. Hourbette
6. Manège (1975) Live 12:38
Bass Guitar – Thierry Zaboitzeff
Cello, Violin – Franck Cardon
Composed By – F. Cardon, G. Hourbette, T. Zaboitzeff
Trumpet – Jean-Pierre Soarez
Violin – Gérard Hourbette
Credits :
Bass Guitar, Cello, Guitar, Voice – Thierry Zaboitzeff (tracks: 1-1 to 2-5)
Piano, Keyboards – Thierry Willems (tracks: 1-1 to 2-5)
Saxophone – Didier Pietton (tracks: 1-1 to 2-5)
Trumpet, Cornet, Percussion – Jean-Pierre Soarez (tracks: 1-1 to 2-5)
Viola, Violin, Keyboards – Gérard Hourbette (tracks: 1-1 to 2-5)

18.6.25

KEN McINTYRE · ERIC DOLPHY — Looking Ahead (1961-1994) RM | FLAC (tracks+.cue), lossless

It was quite fitting that Ken McIntyre had an opportunity to record in a quintet with Eric Dolphy, for his multi-instrumental approach was similar to Dolphy's, although he always had a very different sound. On this CD reissue, McIntyre plays alto on four tunes and flute on two others (his work on bassoon, oboe, and bass clarinet would come slightly later), while Dolphy mostly plays alto but doubles on flute on one number and switches to bass clarinet for "Dianna." With pianist Walter Bishop, Jr., bassist Sam Jones, and drummer Art Taylor offering concise solos and swinging support, McIntyre somehow almost holds his own with Dolphy on a variety of originals and George Gershwin's "They All Laughed." A very interesting date. Scott Yanow
Tracklist :
1. Lautir 4:03
Composed By – Ken McIntyre
2. Curtsy 5:51
Composed By – Ken McIntyre
3. Geo's Tune 7:13
Composed By – Ken McIntyre
4. They All Laughed 5:06
Composed By – Gershwin-Gershwin
5. Head Shakin' 10:45
Composed By – Ken McIntyre
6. Dianna 9:05
Composed By – Ken McIntyre
Credits :
Alto Saxophone, Flute – Ken McIntyre
Alto Saxophone, Flute, Bass Clarinet – Eric Dolphy
Bass – Sam Jones
Drums – Arthur Taylor
Piano – Walter Bishop, Jr.

ANNETTE HANSHAW — The Girl Next Door 1927 · 1932 (1994) FLAC (tracks+.cue), lossless

Here's an excellent, chronologically presented introduction to Annette Hanshaw, a marvelous singer whose personality glowed with unique warmth, even when deliberately mimicking Helen Kane's baby talk or Ruth Etting's nice-girl persona. Annette Hanshaw generally surpassed her peers by being true to her own heart while developing a personal approach to intuitive jazz sensibilities and scat singing, wrapping herself around each melody with irresistible charm and everyday elegance, often tagging her recordings with the offhand phrase "That's all!" An excellent set of liner notes were written by Roy Evans, a dedicated fan who befriended the elderly chanteuse in 1969. His commentary provides valuable insight into just who Annette Hanshaw really was. Self-critical and unusually modest to the point of insecurity, the singer was notorious for requesting multiple takes in order to get a song exactly right. Both Hanshaw and Evans disparaged "I Love a Ukelele," recorded in April of 1930 with Frank Ferera's Hawaiian Trio. But this is a perfectly harmless Hawaiian novelty tune, and the singer sounds heavenly. She could sing anything, anything at all, in any company, and sound like nobody else. Throughout this delightful retrospective Annette Hanshaw may also be heard accompanied by her own Novelty Orchestra and her Sizzlin' Syncopators, and with Rudy Vallée's Connecticut Yankees, the New Englanders, and the Three Blue Streaks, as well as a quaint, unidentified male chorus on "Happy Days Are Here Again." arwulf arwulf
Tracklist :
1. It All Depends On You 2:42
(DeSylva-Brown-Henderson)
Piano : Irving Brodsky
2. My Blackbirds Are Bluebirds Now 2:38
(Friend-Caesar)
with her Novelty Orchestra
3. I Can't Give You Anything But Love 2:57
(McHugh-Fields)
with her Sizzin' Syncopators
4. In A Great Big Way 3:04
(McHugh-Fields)
accomp. by Connecticut Yankees / Show: Hello Daddy
5. Lover Come Back To Me 3:02
(Romberg-Hammerstein 2nd)
Show: The New Moon
6. You Wouldn't Fool Me Would You 2:34
(DeSylva-Brown-Henderson)
Show: Full Thru
7. Button Up Your Overcoat 2:52
(DeSylva-Brown-Henderson)
Show: Full Thru
8 I Get The Blues When It Rains 2:38
(Stoddard-Klauber)
accomp. by The New Englanders
9. That's You Baby 2:35
(Gotler-Mitchell-Conrad)
Film: Fox Movietone Follies of 1929
10. Big City Blues 2:57
(Gotler-Mitchell-Conrad)
Film: Fox Movietone Follies of 1929
11. My Sin 3:01
(DeSylva-Brown-Henderson)
accomp. by The New Englanders
12. I Think You'll Like It 2:42
(Whiting-Marion Jr.)
Film: Sweetle
13. Daddy Won't You Please Come Home 2:57
(Coslow)
Film: Thunderbolt
14. I Love A Ukulele 2:58
(Fields-Hall)
with Frank Ferera's Hawaiian Trio
15. Am I Blue 3:11
(Akst-Clarke)
accomp. by The New Engladers
Film: On with the show
16. (I'm A Dreamer) Aren't We All 2:59
(DeSylva-Brown-Henderson)
accomp. by Three Blue Streaks
17. I Have To Have You 2:55
(Robin-Whiting)
Film: Pointed Heels
18. Happy Days Are Here Again 3:08
(Ager-Yellen)
with male chorus
Film: Chasings Rainbows
19. Ho Hum 3:00
(Suesse-Heyman)
20 Say It Isn't So 2:58
(Irving Berlin)

DIAHANN CARROLL — Fun Life (1961-2002) FLAC (tracks), lossless

Still only in her mid-twenties, Diahann Carroll had a varied career leading up to her sole Atlantic Records album, including nightclub appearances, several albums on RCA Victor and United Artists, and appearances in such musical films as Carmen Jones and Porgy & Bess (although her singing was dubbed in by others). But she remained best-known for her appearance in the 1954 Broadway musical House of Flowers, a succès d'estime that annotator Roger Whitaker brought up immediately in his liner notes to Fun Life. It was that credit which legitimized Carroll's credentials as an interpreter of show music, but she further made her case here, handling favorites by Irving Berlin and the Gershwins. The obvious antecedent for Carroll was Lena Horne, but her voice had a purer tone and much less archness. She was content to float where Horne might have pounced, and this was most noticeable in her versions of two songs associated with the quintessentially arch Marlene Dietrich, "Falling in Love Again, Can't Help It" and "The Boys in the Backroom." Where Dietrich sang the former with a bored sophistication and the latter with a raucous lustiness, Carroll remained playful and kittenish throughout. As usual, arranger/conductor Peter Matz contoured his charts to match his singer's style and energy; he even contributed a good tune, "Once Is Enough for Me." Carroll's lightness of tone made her an excellent choice for her next defining stage role, which was less than a year away, the black lover of a white writer in Richard Rodgers' No Strings. William Ruhlmann
Tracklist :
1 Let's Face the Music and Dance 2:42
Irving Berlin
2 Runnin' Wild 2:49
Arthur Gibbs / Joe Grey / Leo Wood
3 Once Is Enough for Me 2:52
Peter Matz
4 Falling in Love Again 3:12
Frederick Hollander / Sammy Lerner
5 Don't Worry 'Bout Me 2:18
Rube Bloom / Ted Koehler
6 I'm Not at All in Love 1:45
Richard Adler / Jerry Ross
7 The Boys in the Backroom 3:04
Frederick Hollander / Frank Loesser
8 Fun Life 2:12
Fran Landesman / Tommy Wolf
9 Do What You Wanna Do 2:08
Vernon Duke / John Latouche
10 There'll Be Some Changes Made 3:06
Billy Higgins / W. Benton Overstreet
11 Blah, Blah, Blah 2:51
George Gershwin / Ira Gershwin
12 I Don't Care 1:46
Jean Lenox
Credits :
Peter Matz - Arranger, Conductor
Vocals - Diahann Carroll

JESSICA MOLASKEY — Make Believe (2004) FLAC (tracks+.cue), lossless

Veteran Broadway actress Jessica Molaskey's third CD for PS Classics is a mix of favorites from musicals and standards from the Great American Songbook, though many of these compositions have not been recorded much at all for quite some time. Backed by a band that includes husband John Pizzarelli on guitar along with her guitarist father-in-law Bucky Pizzarelli, trombonist John Mosca, tenor saxophonist Harry Allen, and a number of superb New York-based musicians, Molaskey's acting skills come across even though the listener can't see her perform these timeless tunes. She sounds young and flirty in "I Cain't Say No" (from Oklahoma!) in a superb orchestration by John Clayton, while restoring the often omitted verse. She soars in the stunning strings and piano arrangement of "Make Believe." But one of the assets of Molaskey's choice of songs is rediscovering overlooked gems like "Stepsisters' Lament," making the most of its hilarious lyrics in a rapid-fire rendition. A very welcome guest is singer Adam Guettel (Richard Rodgers' grandson) in the warm duet of Rodgers' melancholy "Glad to Be Unhappy" with a brilliant orchestration by Don Sebesky. Husband John Pizzarelli sings with his wife in the humorous interwoven medley of Jon Hendricks' bop classic "Cloudburst" and Stephen Sondheim's "Getting Married Today," a real laugh riot arranged by Jason Robert Brown. Molaskey jointly wrote the bittersweet ballad "Cradle and All" with Ricky Ian Gordon, which features another fine orchestration by Sebesky. The only thing better than listening to this outstanding CD is getting to hear Jessica Molaskey perform in person. Ken Dryden
Tracklist:
1 I Cain't Say No
Arranged By – John Clayton
Orchestrated By – John Clayton
Written-By – Rodgers & Hammerstein
2 Guys And Dolls
Arranged By – John Clayton
Orchestrated By – John Clayton
Written-By – Frank Loesser
3 Make Believe
Arranged By – Larry Goldings
Orchestrated By – Don Sebesky
Written By – Hammerstein-Kern
4 Stepsisters' Lament
Arranged By, Orchestrated By – Don Sebesky
Written-By – Rodgers & Hammerstein
5 Glad To Be Happy
Arranged By, Orchestrated By – Don Sebesky
Written-By – Rodgers & Hart
6 Hey, Look Me Over, [With A Touch Of] Big Spender
Written-By – Carolyn Leigh, Cy Coleman, Dorothy Fields
7 So Many People
Written-By – Stephen Sondheim
8 Medley
Orchestrated By – Don Sebesky
8a Cloudburst
Written-By – Jon Hendricks
8b Getting Married Today
Written-By – Stephen Sondheim
9 Growing Pains
Written-By – Arthur Schwartz, Dorothy Fields
10 All That Jazz
Arranged By, Orchestrated By – John Clayton
Written-By – Kander And Ebb
11 Right As The Rain
Written-By – E.Y. Harburg, Harold Arlen
12 You're A Builder Upper
Written-By – E.Y. Harburg, Harold Arlen, Ira Gershwin
13 Cradle And All
Orchestrated By – Don Sebesky
Written-By – Jessica Molaskey, Ricky Ian Gordon
14 Goodnight My Someone
Written-By – Meredith Willson
Credits :
Alto Saxophone – Andy Fusco
Baritone Saxophone – Ken Berger
Bass – Martin Pizzarelli
Cello – Clay Ruede
Drums – Tony Tedesco
Flute – Pam Sklar, Shelley Woodworth
Guitar – Bucky Pizzarelli, John Pizzarelli (tracks: 9)
Lead Vocals, Liner Notes – Jessica Molaskey
Piano – Larry Goldings (tracks: 3, 7, 11, 14), Lee Musiker, Ray Kennedy (tracks: 6, 8)
Producer – John Pizzarelli
Tenor Saxophone – Harry Allen
Trombone – John Mosca
Trumpet – "Bud" Burridge, Tony Kadleck
Viola – Conway Kuo
Violin – Antoine Silverman, Paul Woodiel
Vocals – Adam Guettel (tracks: 5), John Pizzarelli (tracks: 8)

MARGE DODSON — In The Still Of The Night (1959) Vynil LP | MONO | FLAC (tracks) 24-48Hz

In the Still of the Night is Marge Dodson's initial effort for Columbia and neither she nor the label's A&R man, the indefatigable Mitch Miller, were taking no chances. All the tunes on the program are major entries in the Great American Songbook, with a full half of them from the pens of the Gershwin brothers or the team of Richard Rodgers and Lorenz Hart. Dodson delivers them all competently with a pleasant, clear voice with good diction, medium range and virtually no vibrato, sounding like a blend of Dinah Shore and June Christy. But she brings nothing distinctive to the vocal table on this album, except for an unusual rendition of "Little Girl Blue." Here she uses a quirky beat pattern giving a different interpretation than one usually hears. To her credit, she also does a respectable, mid-tempo version of "But Not for Me." She is accompanied on all but one of the tracks by an assortment of small groups led by Michael Colicchio. On "Little Girl Blue," her husband Coleridge Perkinson does the honors. However, there is one constant on each track, her principal support is supplied by a bass player, never identified. The other instruments play subsidiary roles. Dodson was to cut another album for Columbia and one for Decca then seems to have disappeared not even remembered by a footnote in any of the standard works on vocal jazz. Dave Nathan
Tracklist :
1. Sand in My Shoes 3:30
Frank Loesser / Victor Schertzinger
2. Someone to Watch over Me 3:20
George Gershwin / Ira Gershwin
3. Spring Is Here 3:00
Lorenz Hart / Richard Rodgers
4. But Not for Me 3:13
George Gershwin / Ira Gershwin
5. The End of a Love Affair 3:00
Edward Redding
6. Looking for a Boy 2:55
George Gershwin / Ira Gershwin
7. Little Girl Blue 4:22
Lorenz Hart / Richard Rodgers
8. When Your Lover Has Gone 2:20
Einar A. Swan
9. These Foolish Things 3:25
Harry Link / Holt Marvell / Jack Strachey
10. The Man I Love 2:45
George Gershwin / Ira Gershwin
11. I Cover the Waterfront 3:26
Johnny Green / Edward Heyman
12. In the Still of the Night 1:50
Cole Porter
Credits :
Vocals - Marge Dodson
Accompanied By - Michael Colicchio (tracks: 1 to 6, 8, 12), Coleridge Perkinson (tracks: 7)

17.6.25

BETTY BENNETT — Nobody Else But Me (1955-1991) MONO | Ladies Sing Jazz Series | FLAC (tracks), lossless

Nobody Else But Me illuminates the dark corners of romance with rare depth and maturity -- Betty Bennett's sultry, knowing vocals further establish the palpable feeling that this is a record for adults. Shorty Rogers and André Previn share arranger duties, and both operate in a framework emphasizing nuance and restraint, enabling Bennett to articulate her tales of love and loss without embellishment or redundancy. Equal parts stylist and storyteller, she fully inhabits relatively little-known songs like "This Is the Moment" and "Treat Me Rough." Jason Ankeny
Tracklist :
1    Nobody Else But Me 3:38
Oscar Hammerstein II / Jerome Kern
2    You're Driving Me Crazy 2:54
Walter Donaldson
3    My Man's Gone Now 3:27
George Gershwin / Ira Gershwin / DuBose Heyward
4    Island In The West Indies 2:58
Vernon Duke / Ira Gershwin
5    The Next Time I Care 3:14
Bronislaw Kaper / John Latouche
6    Tomorrow Mountain 3:29
Duke Ellington / John Latouche
7    Treat Me Rough 2:49
George Gershwin / Ira Gershwin
8    Mountain Greenery 2:33
Lorenz Hart / Richard Rodgers
9    This Is The Moment 3:20
Frederick Hollander / Leo Robin
10    You Took Advantage Of Me 2:50
Lorenz Hart / Richard Rodgers
11    Have Yourself A Merry Little Christmas
Martin / Blane
12    Sidewalks Of Cuba 2:31
Irving Mills / Ben Oakland / Mitchell Parish
Credits :
Alto Saxophone – Harry Klee
Bass – Ralph Pena
Bass, Arranged By – Jimmy Giuffre
Drums – Irv Cottler
Guitar – Barney Kessel
Piano, Arranged By – André Previn
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet, Flugelhorn, Arranged By – Shorty Rogers
Vocals – Betty Bennett

MORGANA KING — Morgana King Sings The Blues (1956-1989) FLAC (tracks), lossless

Tracklist :
1 More Than You Know 4:04
Edward Eliscu / Billy Rose / Vincent Youmans
2 Frankie and Johnnie 2:42
Traditional
3 Mean to Me 3:26
Fred E. Ahlert / Roy Turk
4 When Your Lover Has Gone 3:16

Einar A. Swan
5 Something to Remember You By 3:46
Howard Dietz / Arthur Schwartz
6 I See Two Lovers 3:57 Mort Dixon / Allie Wrubel
7 Body and Soul 4:08
Frank Eyton / Johnny Green / Edward Heyman
8 Mad About the Boy 3:29
Noël Coward
9 It's Only a Paper Moon 2:50
Harold Arlen / E.Y. "Yip" Harburg / Billy Rose
10 Bill 2:50
Oscar Hammerstein II / Jerome Kern / P.G. Wodehouse
11 Can't Help Lovin' Dat Man 3:56
Oscar Hammerstein II / Jerome Kern
12 Why Was I Born? 3:56
Oscar Hammerstein II / Jerome Kern
Credits :
Bass – Ernie Furtado
Drums – Ralph Pollack
Guitar – Barry Galbraith
Piano – Harvey Leonard
Vibraphone [Vibraharp] – Terry Gibbs

PELL MELL – Rhyming Guitars (1981-1990) FLAC (tracks+.cue), lossless

The name Rhyming Guitars certainly fits this album, since the signature interplay that is the heart of Pell Mell's sound involves both echoing guitars and musical phrases. This EP came out shortly after the successful release of The Bumper Crop, and though there is a slightly more strident sound to the instrumentals here, most of these cuts could have fit on that album. The exception is the weird "Week of Corn," a goofy dub edit of the band's semi-hit "Week of Fire" intercut with a recording of an old man singing "Jimmy Cracked Corn," with a heavy bass and occasional sound effects tossed in for good measure. The band definitely wasn't taking themselves too seriously when they recorded this track, and giving in to self-satire turned out to be a good career move. "Week of Corn" actually got some airplay on the same stations that had previously played other Pell Mell tunes. Richard Foss
Tracklist :
1. New Saigon 8:15
2. Spy Vs Spy 2:51
3. Par Avion 4:09
4. Red Rhythm 6:02
5. Week Of Corn 5:23
Assemblage [Assembled By, May 1989] – Steve Fisk
Credits :
Written-By, Performer – Arni May, Bill Owen, Jon-Lars Sorenson, Bob Beerman

PELL MELL– Bumper Crop (1987) FLAC (tracks+.cue), lossless

Given that two members of Pell Mell were renowned record producers, it's not surprising that the sound on Bumper Crop is polished to a high gloss. Instrumental rock needs pristine sound, and the crisp mix here allows every nuance to shine. The musical interplay is seamless, with every track drawing variously from surf music, indie rock, and pop, with just a dash of punk energy to make things interesting. What makes this instrumental cooperation astonishing is that for most of Pell Mell's existence, the bandmembers all lived in different cities and composed many of these tight, complex melodies by recording cassettes and mailing them to each other. Some of the material here had been recorded as early as 1981, others as late as 1985, but the character is the same throughout. Greg Freeman and Dave Spalding create interlocking guitar melodies that are subtly modified and expanded by Steve Fisk's keyboards and held together by Bob Beerman's quick, agile drumming. It all works well and was very well-received -- critics raved, and despite rock radio's aversion to instrumentals, the cut "Week of Fire" got airplay across America. On Bumper Crop, Pell Mell recorded a nearly perfect album, and while they did some fine work afterward, they never quite hit this level again. [Note: Different and extended versions of some of these songs are available on the cassette For Years We Stood Clearly As One Thing, released on K Records.] Richard Foss
Tracklist :
1. Week Of Fire 6:03
2. Dad's Top Drawer 3:29
3. All This And More 3:04
4. 6 9 Or 20 4:00
5. Love Trek 6:00
6. Alligator Stomp 4:14
7. My Three Sons 2:32
8. Estacada 5:00
9. Cinecitta 5:21
10. F T B 5:06
11. Pet Dub 4:43
12. Chroma-key Beach 2:26
13. Work, Health And Love 9:16
Credits :
Bass – Greg Freeman
Drums – Bob Beerman
Guitar – Bill Owen
Organ, Synthesizer – Steve Fisk

PELL MELL – Flow (1991) FLAC (tracks+.cue), lossless

Tracklist :
1. American Eagle 2:23
2. Breach Of Promise 3:56
3. Bring On The China 3:22
4. The Devil Bush 2:19
5. Smoke 4:04
6. Aero 3:55
7. Flood 7:02
8. Little Blue Dance 4:12
9. Signal 3:54
10. Blaming The Messenger 1:53
11. Mopping Up 3:34
Credits :
Bass, Guitar – Greg Freeman
Drums, Guitar – Robert Beerman
Guitar [Guitars] – Bill Owen, David Spalding
Painting, Photography By [Photo] – Kelly Spalding
Piano, Sampler – Steve Fisk

PELL MELL– Interstate (1995) FLAC (tracks+.cue), lossless

The idea that Pell Mell would have ended up on a company run by David Geffen must have seemed truly bizarre when the band first started, but that's what a little Nirvana can do for bands (and so it must have seemed for many an alternative outfit in the early '90s). By the time of Interstate's recording, David Spalding had been established as a new key and core member, and the resultant effort of the quartet was a striking and often emotional take on instrumental rock. Pell Mell's unsurprising ability to self-produce and engineer, helped out by the abilities of Tim O'Heir as well, resulted in a full-sounding, dramatic album that, even so, couldn't have been expected to be a commercial breakout by the label. As a mighty fine example of Pell Mell's talents, though, it couldn't be finer. The title is lived up to not only with the cover art, but with the wide-open feeling of many of the songs, suggesting a slightly dreamy America where there's little around but the weather and the land. "Anna Karina," with its slow pace and hints of steel guitar twang, and the lovely "Constellation" are two examples of many that call those images to mind. Then there's the motorik drive of such songs as "Saucer" (even at three and a half minutes, still a grand Can tribute [or Stereolab, if one prefers]) and "Blacktop," showing the band's longtime fascination with Krautrock now in sync with a new decade's zeitgeist. Steve Fisk's abilities to provide just the right amount of texture and drive throughout, whether it's the buzzing organ break on "Revival" or his Hammond work on "Vegetable Kingdom," show just how brilliant of a not-so-secret weapon he is, but to single him out does a disservice to the whole band. It's an ensemble performance at heart, and an excellent one. Ned Raggett
Tracklist :
1. Nothing Lies Still Long 4:11
2. Revival 4:33
3. Anna Karina 3:02
4. Saucer 3:30
5. Pound Cake 3:43
6. Constellation 4:00
7. Blacktop 3:24
8. Butterfly Effect 4:34
9. Drift 4:10
10. Vegetable Kingdom 6:27
11. Ether 4:39
12. Floating Gate 3:03
Credits :
Bass, Guitar – Greg Freeman
Drums, Guitar – Robert Beerman
Guitar, Bass – David Spalding
Piano, Organ, Noises – Steve Fisk
Written-By – David Spalding (tracks: 1, 2, 5 to 12), Greg Freeman (tracks: 3, 4, 11, 12), Pell Mell, Robert Beerman (tracks: 6, 10)

JOHN ABERCROMBIE — The First Quartet (2015) RM | 3CD-SET | Old & New Masters Edition Series | FLAC (tracks+.cue), lossless

As part of ECM's Old & New Masters series of box sets, John Abercrombie's The First Quartet collects three albums recorded for the label between 1978 and 1980. Two titles, 1979's Abercrombie Quartet and 1981's M, have been unavailable for decades. By the guitarist's own admission, this band represents the guitarist's first time as a "proper" bandleader. His earlier dates on ECM had been co-led sessions (Timeless, Gateway, Sargasso Sea), a solo album (Characters), and sideman gigs (Jack DeJohnette's New Directions, David Liebman's Lookout Farm, etc.). These three dates also represent an important foundation for Abercrombie as a composer. Arcade's title track is an energetic post-bop number that borders on jazz-rock, with keen interactions between the front-line players and the rhythm section. Another aspect of the band's conversational ability can be heard on Richie Beirach's gentle "Nightlake." Their lyrical interplay on the ballad "Paramour" is almost luxurious. The long journey on the pianist's "Alchemy" spends its first half as a ballad, but eventually moves into higher gear with almost euphoric group improvisation. Abercrombie Quartet's most inspiring moments include the syncopated cooking on "Blue Wolf," the moody yet focused "Dear Rain," and the more rockist groove that drives "Riddles." It gets more ponderous on "Stray" (where the piano solo jumps from the tune's nearly washed-out body as a genuine surprise) and on the closing "Foolish Dog" -- despite a fine mandolin-guitar break and woody, fluent solo from George Mraz. "Boat Song," the opening track on M, showcases a deeper collective confidence all around. The tune emerges rather than begins. The foundation is a repetitive six-note pattern by Beirach. Abercrombie catches and builds on it, seemingly one extra note at a time, until he's sliding through one series of fluid harmonic inventions to the next during his solo. The shimmering cymbal and snare work by Peter Donald adds a swinging waltz feel to the bottom. "What Are the Rules" is a canny open improvisation that works exceptionally well. "Flashback" haltingly follows suit before transforming itself into a funky groover. Closer "Pebbles," written by the bassist, seems to circle back to "Boat Song," but it's more elliptical until his bassline grounds the more atmospheric interplay of the front line and Donald becomes the bridge to communication. While none of these recordings is perfect, they are all necessary parts of Abercrombie's catalog. What's more, they remain thoroughly engaging after all these decades. The simple fact that the quartet form remains one of this guitarist's favorite ways of working well into the 21st century can be attributed to the creative fire and enduring merit of what is found here.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Arcade (1979)
1. Arcade 9:43
Composed By – John Abercrombie
2. Nightlake 5:35
Composed By – Richie Beirach
3. Paramour 5:09
Composed By – John Abercrombie
4. Neptune 7:34
Composed By – Richie Beirach
5. Alchemy 11:33
Composed By – Richie Beirach
Abercrombie Quartet (1980)
1. Blue Wolf 8:33
Composed By – John Abercrombie
2. Dear Rain 6:54
Composed By – John Abercrombie
3. Stray 6:36
Composed By – Richie Beirach
4. Madagascar 9:05
Composed By – Richie Beirach
5. Riddles 8:12
Composed By – Richie Beirach
6. Foolish Dog 6:18
Composed By – John Abercrombie
M (1981)
1. Boat Song 9:57
Composed By – John Abercrombie
2. M 6:19
Composed By – John Abercrombie
3. What Are the Rules 7:33
Composed By – Richie Beirach
4. Flashback 6:17
Composed By – Richie Beirach
5. To Be 5:17
Composed By – John Abercrombie
6. Veils 5:44
Composed By – Richie Beirach
7. Pebbles 4:45
Composed By – George Mraz
Credits :
Double Bass – George Mraz
Drums – Peter Donald
Guitar, Mandoguitar [Mandolin Guitar] – John Abercrombie
Piano – Richie Beirach

16.6.25

GARY PEACOCK · RALPH TOWNER — Oracle (1993) Two Version | FLAC (image+.tracks+.cue), lossless

This set of duets by bassist Gary Peacock and guitarist Ralph Towner, as one might expect from an ECM album, makes expert use of space and has its quiet moments. But there is a surprising amount of ferocious interplay between the two musicians. They may play at a consistently low volume, but the set of originals has a few rather passionate grooves and a little more energy than one would have predicted. Scott Yanow
Tracklist :
1. Gaya 5:45
Gary Peacock
2. Flutter Step 5:45
Gary Peacock
3. Empty Carrousel 5:48
Gary Peacock
4. Hat And Cane 5:12
Ralph Towner
5. Inside Inside 5:55
Gary Peacock
6. St. Helens 1:52
Gary Peacock
7. Oracle 7:20
Gary Peacock / Ralph Towner
8. Burly Hello 5:53
Gary Peacock
9. Tramonto 6:21
Ralph Towner
Credits :
Gary Peacock - Double Bass
Ralph Towner - Classical and 12-String Guitars

KATHLEEN FERRIER — Edition (2004) 10xCD BOX-SET | Kathleen Ferrier Edition Series | APE (image+.cue), lossless

Although her career was tragically short, Kathleen Ferrier was among the most famous English singers of the twentieth century. Her contralto voice -- a rarity in itself -- was characterized by a firm, warm tone that found its expressive niche in the great works of oratorio and art song, as well as in her two operatic roles (only two!): Lucretia in Britten's The Rape of Lucretia and Orfeo in Gluck's Orfeo ed Euridice.

Born in Lancashire on April 22, 1912, Ferrier studied the piano with great success as a child and intended a concert career; her concurrent vocal studies were considered more recreational in nature. In her mid-20s, however, after taking two first prizes at the 1937 Carlisle Festival -- one for piano and one for singing -- she made the decision to pursue singing as her vocation. She studied with J.E. Hutchinson in Newcastle upon Tyne, then with Roy Henderson in London.

During the years of WWII Ferrier toured widely in England, gaining a reputation as an especially fine concert artist. She joined the Bach Choir in London, and was alto soloist for a 1943 performance of Handel's Messiah at Westminster Abbey. Benjamin Britten first put her on the operatic stage at Glyndebourne on July 12, 1946, in the premiere of his chamber opera The Rape of Lucretia. She then toured with the work throughout England and appeared on an historic recording of major extracts from the work conducted by the composer. Britten would later compose the alto part in his Canticle No. 2 for her.

She appeared in the United States for the first time in Mahler's Das Lied von der Erde with the New York Philharmonic and Bruno Walter; her subsequent recording of the work -- also under Walter's direction -- remains a classic. Walter also appeared as her accompanist in lieder recitals in Edinburgh and London. Another of Ferrier's notable successes was the part of the Angel in Elgar's The Dream of Gerontius.

In February 1953, Covent Garden staged Gluck's Orfeo ed Euridice specifically for Ferrier, who was deemed ideal for the part of Orpheus. However, she was able to appear in only two of the scheduled four performances because of weakness caused by her already advanced cancer. These were her last appearances; she died in London on October 8, 1953. Before she died she was made a Commander of the Order of the British Empire. Rovi Staff

Tracklist :

CD01 Gluck - Orfeo ed Euridice
CD02 Bach St Matthew Passion
CD03 Kathleen Ferrier
CD04 Schumann-Brahms-Schubert
CD05 Chausson-Brahms-Ferguson-Wordsworth-Rubbra-Ferrier
CD06 Purcell-Handel-Bach-Wolf-Stanford-Warlock
CD07 Historical Recordings 1947-1952
CD08 Blow the Wind Southerly - Traditional Songs
CD09 Bruno Walter - The Legendary Edinburgh Festival
CD10 Mahler-Brahms

15.6.25

LAMBERT, HENDRICKS & ROSS — Everybody's Boppin (1989) RM | Columbia Jazz Masterpieces Series | Two Version | APE + FLAC (image+.tracks+.cue), lossless

Lambert, Hendricks and Ross made their debut on Columbia in 1959, and this CD contains not only all of the music from their first CBS album, but five titles from two later records. This set has many memorable classics from the great singers Dave Lambert, Jon Hendricks (the top vocalese lyricist) and Annie Ross. Highlights include the upbeat "Charleston Alley," a remake of Ross' "Twisted," the heated "Cloudburst," Hendricks' humorous "Gimme That Wine," "Summertime" (a recreation of Miles Davis' version with Gil Evans), and "Come on Home." Although Lambert, Hendricks and Ross only lasted a few years, their influence on other vocal groups was enormous. This set is a perfect place for collectors to begin to explore their vocal magic. Scott Yanow
Tracklist :
1. Charleston Alley 3:18
Horace Henderson / Jon Hendricks / Leroy Kirkland
2. Moanin' 2:34
Bobby Timmons
3. Twisted 2:15
Wardell Gray / Annie Ross
4. Bijou 3:16
Ralph Burns / Jon Hendricks
5. Cloudburst 2:15
Jimmy Harris / Leroy Kirkland
6. Centerpiece 2:26
Harry "Sweets" Edison / Jon Hendricks
7. Gimme That Wine 2:58
Jon Hendricks
8; Sermonette 3:47
Cannonball Adderley / Jon Hendricks
9. Summertime 1:43
George Gershwin / Ira Gershwin / DuBose Heyward
10. Everybody's Boppin' 4:11
Jon Hendricks
11. Home Cookin' 4:25
Horace Silver
12. Blue 3:48
Gildo Mahones
13. Come On Home 5:26
Horace Silver
14. Cottontail 2:55
Duke Ellington
15. Midnight Indigo 2:33
Duke Ellington
Credits :
Bass – Charles "Ike" Isaacs
Drums – Jimmy Wormworth (tracks: 4, 7 to 15), Walter Lee Bolden (tracks: 1 to 3, 5, 6)
Performer – The Ike Isaacs Trio (tracks: 11 to 14)
Piano – Gildo Mahones
Trumpet – Harry 'Sweets' Edison (tracks: 1 to 10)
Vocals – Annie Ross, Dave Lambert, Jon Hendricks

ANOUAR BRAHEM – بعد السماء الأخيرة = After The Last Sky (2025) FLAC (tracks+.cue), lossless

Oudist and composer Anouar Brahem has kept a low profile since 2017's Blue Maqams. He appeared with Anja Lechner and Francois Couturier on Lontano, but has otherwise been absent. Brahem enlists longtime collaborator/bassist Dave Holland and pianist Django Bates -- both appeared on Blue Maqams. Lechner appears in place of the last album's drummer, Jack DeJohnette, and is the first cellist to appear on one of Brahem's LPs. Recorded in Switzerland, it was produced by Manfred Eicher. The album's name echoes the title of a 1986 book by cultural critic, activist, and author Edward Said, and was derived from a line by Palestinian poet Mahmoud Darwish: "Where should the birds fly, after the last sky?" Begun before October 6, 2023, it is nonetheless deeply inspired by the horror and suffering experienced by Palestinians in Gaza. Brahem wrote new compositions and reworked some of the earlier ones to communicate and evoke raw emotion about this situation. Lechner's poignant cello is primary, up front. She and Brahem move through Eastern modes and motifs, blurring the lines between folk, classical, and jazz.

Opener "Remembering Hind" is a case in point. Under two minutes, the cello and piano deliver Brahem's minor-key melody with nearly processional grace and, despite the relative quiet, rippling emotion. The title track, at nearly six minutes, commences with an oud solo that foreshadows the melody. When Bates enters, he accedes to the restraint, at least until the cellist joins in, and it becomes a melancholy fantasia. The interplay between Holland and Brahem is almost symbiotic. "The Eternal Olive Tree," an oud/bass duet, showcases warmly dissonant harmonies in a celebration of survival and resilience. The duo embrace the blues directly in highlighting Gaza's struggle alongside modal and jazz motivics in their improvisation. "Awake," the set's hinge track, melds classical crossover, Tunisian folk styles, and restrained improv. The bass pattern that introduces "Dancing Under the Meteorites" is a constant pulse that evolves into a tango vamp. Lechner and Bates play around it, touching on the style in their joint conversation until Brahem's contrapuntal solo cements the tune as gorgeous tango-jazz fusion. He offers another lengthy improvisation on the bittersweet, musically riveting "The Sweet Oranges Of Jaffa"; Lechner joins him and delivers her own. Her long experience of improvised music guides her interaction with Brahem and underscores the harmonic invention in her solo. It and the labyrinthine, poignant, inventive "Never Forget" are offered here as hymns of remembrance, adding depth and dimension. It's followed by the tender piano and cello duet "Edward Said's Reverie." The set closes with his beloved "Vague," marking the third time he's recorded it.

The release also includes a long liner essay (for ECM) by U.S. editor of The London Review of Books Adam Schatz, who is also a noted journalist and critic. He offers key reflections on Brahem's music, the Palestinians' fight to exist, and the culture around both. After the Last Sky is a reflective, yet powerfully emotional and virtuosic listening experience.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Remembering Hind 1:52
Composed By [Composition By] – Anouar Brahem
2. After The Last Sky 5:42
Composed By [Composition By] – Anouar Brahem
3. Endless Wandering 8:11
Composed By [Composition By] – Anouar Brahem
4. The Eternal Olive Tree 4:00
Composed By [Composition By] – Anouar Brahem, Dave Holland
5. Awake 8:49
Composed By [Composition By] – Anouar Brahem
6. In The Shades Of Your Eyes 4:27
Composed By [Composition By] – Anouar Brahem
7. Dancing Under The Meteorites 4:25
Composed By [Composition By] – Anouar Brahem
8. The Sweet Oranges Of Jaffa 7:13
Composed By [Composition By] – Anouar Brahem
9. Never Forget 7:49
Composed By [Composition By] – Anouar Brahem
10. Edward Said's Reverie 2:58
Composed By [Composition By] – Anouar Brahem
11. Vague 3:13
Composed By [Composition By] – Anouar Brahem
Credits :
Double Bass – Dave Holland
Oud – Anouar Brahem
Piano – Django Bates
Producer [Produced By] – Manfred Eicher
Violoncello – Anja Lechner

DOHNÁNYI : Piano Quintet Nº. 1 · Sextet (András Schiff · Takács Quartet) (1988) Two Version | FLAC (image+.tracks+.cue), lossless

Ernst von Dohnányi (1877-1960)
1-4. Piano Quintet In C Minor, Op. 1 (29:13)
5-8. Sextet In C Major, Op. 37 (29:45)
Credits :
Piano – András Schiff
Clarinet – Kálmán Berkes
Horn – Radovan Vlatković
Ensemble – Takács Quartet :
Cello – András Fejér
Viola – Gábor Ormai
Violin – Gábor Takács-Nagy, Károly Schranz

FREAKS = a.k.a. "Monstros" (1932) Dir. Tod Browning | VIDEO (ISO)

Synopsis :
In a circus of bizarre attractions, Cleopatra (Olga Baclanova) is a beautiful trapeze artist who is courted by a dwarf. She doesn't respond to his advances until she discovers that he is heir to a fortune. She then devises a plan with her lover Hercules (Henry Victor), to marry the dwarf and then despise and poison him. But on her wedding day, Cleopatra repudiates her future husband's circus friends, calling them disgusting and dirty. The freaks come together to take revenge on Cleopatra, transforming her into a person who is half woman, half chicken, without legs and almost blind.

A bela trapezista de um circo concorda em se casar com o líder dos artistas do show paralelo, mas seus amigos deformados descobrem que ela só se casará com ele por causa de sua herança.

Original title : Freaks (1932)
Directed : Tod Browning
Artists : Wallace Ford, Leila Hyams, Olga Baclanova
Legends : English, Spanish, Português
Duration : 1h 2min
Genre : Drama
Country : USA
Note : This video contains only a short intro due to YouTube's restriction on its content.

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