Tracklista:1. The Devil's Debt2. Goodbye Phoebus3. This Is the Last Time4. I Never Touched Her5. Piglet6. Sin of Pity7. Modigliani Baby8. I'm Just Too Good for You9. The Desired10. Amaranth
Szwajcarski Gotthard, którego los straszliwie doświadczył w 2010 roku zabierając przedwcześnie charyzmatycznego wokalistę Steve'a Lee, powraca odrodzony i w stylu, który z pewnością nie rozczaruje wiernych fanów kwintetu z Lugano! Steve'a Lee zastąpił Nic Maeder, wybrany po blisko rocznych poszukiwaniach. Już z nim nagrano piosenki na 10. studyjny krążek. Pierwszą zapowiedzią albumu była piosenka "Starlight", która ukazała się na singlu w dwóch wersjach, akustycznej i rockowej. To także jeden z pierwszych numerów, jakie Gotthard napisał z Niciem. "Od razu wszystko między nami zażarło" - wspomina gitarzysta Leo Leoni. "To niezwykłe, że po prostu siadasz z kimś do pisania i od razu powstaje piosenka, która później staje się singlem. Prace odbyły się w należącym do Gotthard Yellow House Studios w Lugano, a za konsoletą rządzili Leo Leoni oraz renomowany producent Paul Lani (m.in. Megadeth, Rod Stewart). Zespół przygotowuje się teraz do dużej trasy koncertowej po krajach europejskich, a także Ameryki Południowej. Fani Gotthard nie będą zawiedzeni. Szwajcarska grupa to wciąż wspaniałe riffy, chwytliwe melodie, pasja tworzenia i znakomity - choć inny od Steve'a Lee - wokal. Singel i album to część jubileuszu 20-lecia istnienia Gotthard. Szkoda, że Steve go nie doczekał. Jego pamięci poświęcona jest piosenka z "Firebirth" o wymownym tytule "Where Are You?". Limitowany digipack z utworem bonusowym: Starlight (Acoustic Version).
W listopadzie 2007 r. Ken Vandermark miał okazję zrealizować w Polsce niezwykły autorski projekt artystyczny – "Resonance". Zaprosił do niego 9 muzyków z USA, Szwecji, Ukrainy i Polski. Przez 5 dni próbowali w różnych konfiguracjach, dając wieczorne koncerty w krakowskiej "Alchemii". Warsztaty zakończyły się dwoma koncertami finałowymi 17 listopada w Teatrze im. Marii Zankowieckiej we Lwowie oraz 18 listopada w Centrum Sztuki i Techniki Japońskiej "Manggha" w Krakowie. Lwowski koncert ukazał się na płycie analogowej w 2008 r. Teraz mamy premierę 10-płytowego boksu CD wydanego przez Not Two przedstawiającego całość projektu."... To był pierwszy, i jak do tej pory jedyny raz, miałem pełne 7 dni by komponować i aranżować kompozycje dla zespołu, które miały wypełnić dwa sety koncertu. Nie miałem żadnych innych obowiązków - koncertów, prób, spotkań, wyjazdów, poza zwykłą cholerną korespondencją mailową. Każdego ranka piłem kawę i jadłem małe śniadanie w klubie Alchemia, wracałem do mieszkania by pisać, robić szkice, opracowywać pomysły, szedłem na lunch gdzieś w sąsiedztwie i wracałem by dalej opracowywać materiał dla 4 instrumentów stroikowych, 3 blaszanych, dwóch perkusistów i kontrabasu, co miało się złożyć na Resonance... " - Ken Vandermark,Tracklista:CD 1Day One, Set 1 1. [06:57]2. [15:54]3. [09:00]Day One, Set 2 4. [01:44]5. [07:17]6. [07:57]7. [04:56]CD 2Day One, Set 3 1. [09:49]2. [09:45]3. [07:42]Day Two, Set 14. [15:00]5. [05:58]CD 3Day Two, Set 2 1. [13:21]2. [24:55]Day Two, Set 3 3. [16:20]4. [06:14]5. [05:20]6. [10:11]CD 4Day Three, Set 1 1. [13:17]2. [12:54]3. [05:34]Day Three, Set 2 4. [06:06]5. [11:50]6. [04:25]CD 5Day Three, Set 3 1. [17:58]2. [13:22]3. [06:24]Day Four, Set 1 4. [23:42]5. [05:54]CD 6Day Four, Set 2 1. [21:25]2. [10:28]Day Four, Set 3 3. [13:37]4. [11:29]5. [04:07]CD 7Day Five, Set 1 1. [14:36]2. [17:29]Day Five, Set 2 3. [14:23]4. [06:51]5. [03:21]CD 8Day Five, Set 3 1. [20:27]2. [16:03]3. [06:21]CD 9Final One 1. Landshaft (for Marek Winiarski) [21:05]2. Counterprint (for Wawrzyniec 'Laurence' Mąkinia) [24:02]CD 10Final Two 1. Off/Set (for Olek Wityński & Jacek Żakowski) [16:24]2. The Number 44 (for Ania 'Czarna' Adamska) [21:32]Muzycy:Tim Daisy - drums (CD 1 - 1-3), (CD 3 - 3-6), (CD 4 - 1-3), (CD 5 - 4-5), (CD 6 - 3-5), (CD 7 - 1-2), (CD 8)Dave Rempis - alto sax (CD 1 - 1-3), tenor sax (CD - 4-7), tenor & alto saxes (CD 3 - 3-6), (CD 5 - 1-3), (CD 6 - 1-2), (CD 7 - 1-2), (CD 8)Mark Tokar - bass (CD 1 - 1-3), (CD 2 - 4-5), (CD 3 - 1-2), (CD 4 - 1-3), (CD 5), (CD 7 - 1-2), (CD 8)Yuriy Yaremchuk - soprano sax (CD 1), tenor sax, clarinet (CD 1 - 4-7), tenor & soprano saxes, clarinet (CD 3 - 1-2), soprano sax, clarinet & bass clarinet (CD 4 - 4-6), soprano sax, bass clarinet (CD 5 - 4-5), soprano sax (CD 7 - 3-5), (CD 8)Ken Vandermark - baritone sax, clarinet (CD 1 - 4-7), tenor sax, clarinet (CD 2 - 4-5), (CD 5 - 1-3), baritone sax, clarinet (CD 6 - 1-2), (CD 7 - 3-5), (CD 8)Mikołaj Trzaska - alto sax (CD 1 - 4-7), alto sax, bass clarinet (CD 3 - 1-2), (CD 4 - 1-3), (CD 6 - 1-2), (CD 7), (CD 8)Michael Zerang - drums (CD 2 - 1-3), (CD 3), (CD 5 - 1-3), (CD 6)Magnus Broo - trumpet (CD 2 - 1-3), (CD 3 - 3-6), (CD 4 - 4-6), (CD 6 - 1-2), (CD 7 - 1-2), (CD 8)Per-Ake Holmlander - tuba (CD 2), (CD 4 - 4-6), (CD 6 - 1-2), (CD 7 - 3-5), (CD 8)Steve Swell - trombone (CD 2), (CD 1-3), (CD 5), (CD 7 - 3-5), (CD 8)
Gitarowe spotkanie na szczycie.
Tracklista: 1. Good Time2. Small Town Southern Man3. I Wish I Could Back Up4. Country Boy5. Right Where I Want You6. 19767. When The Love Factor's High8. Long Long Way9. Sissy's Song10. I Still Like Bologna11. Never Loved Before12. Nothing Left To Do13. Listen To Your Senses14. This Time15. Laid Back 'N' Low Key (Cay)16. If You Want To Make Me Happy17. If Jesus Walked The World Today
This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.
FROM SMITHSONIAN//38 TR/32 PGS BOOKLET. SOUTHERN APPALA
Kompilacja „Love Rocks!” na której znalazły się rockowe hity w wykonaniu miedzy innymi: Patti Smith, Toto, Mr. Mister, Sweet czy Cheap Trick.
Highlights of Leicester City's incredible 2015/2016 season featuring every goal from every match. Having narrowly avoided relegation in the previous campaign, Leicester began the season as 5,000-1 outsiders to win the Premier League Crown but would go on to defy the odds, win the title and qualify for the Champions League for the first time in the club's history with their new manager Claudio Ranieri at the helm.
Tracklista:1. Grease2. Foxtown