Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
2LP 180g
Box-set de lux format din 1LP, 1 CD audio, 1 DVD și 1 blu-ray; ed. limitată
Testeaza in showroom Cotroceni
1977
Terje Rypdal - electric guitar, keyboard, synthesizer
Palle Mikkelborg - trumpet, fluegelhorn, RMI, tac piano, ring modulator
Sveinung Hovensjo - basses
Jon Christensen - drums, percussion
Terje Rypdal’s Waves (recorded 1977) announced the beginning of the Norwegian guitarist’s association with Danish trumpeter Palle Mikkelborg, which continues to this day. The album also introduced one of Terje’s most enduringly popular pieces, “Per Ulv.” “Rypdal’s album is a series of sonic excursions ranging from the expressionist to the impressionist…” wrote Record World. “Rypdal’s guitar and Mikkelborg’s trumpet are well-matched, with Manfred Eicher’s typically superb production putting it all in focus.”
Initially published in January 1978, vinyl is reissued in October 2016 as audiophile pressing taken from the original analog tapes.
2016
Nik Bartsch - pian
Sha - bas clarinet, contrabas clarinet
Kaspar Rast - tobe, percutie
Nicolas Stocker - tobe, percutie
Etienne Abelin - vioara
Ola Sendecki - vioara
David Schnee - viola
Solme Hong - violoncel
Ambrosius Huber - violoncel
Few musicians have continued to hone a concept as singularly unique and instantly recognizable, irrespective of context, as that being explored by Swiss pianist Nik Bärtsch since he first formed Mobile with Don Li, Kaspar Rast and Mats Eser in 1997. First emerging on record in 2001 with Ritual Groove Music (Self-Released, reissued Ronin Rhythm, 2006), Bärtsch has evolved three very different contexts with which to explore the confluence of trance-inducing minimalist elements with rigorous, ritualistic compositional constructs, a deep interest in Japanese culture and other musical touchstones. While all three contexts—in addition to the all-acoustic Mobile, Bärtsch has performed and recorded as a solo pianist, as well as with the more elastic and jazz/funk-centric Ronin—share common DNA-level elements, each context is also different: refracting Bärtsch's underlying architectures through a series of disparate prisms.
1989
Shankar - vioara dubla
Zakir Hussain - tabla
Vikku Vinayakram - ghatam
Jon Christensen - tobe
Multi-instrumentalist L. Shankar’s fascinating evolution as a musician and composer took yet another intimate turn with M.R.C.S. Dedicated to Shankar’s father, V. Lakshminarayana, it also boasts master percussionists Zakir Hussain (tabla), Vikku Vinayakram (ghatam), and drummer Jon Christensen. The depths of the album’s experiences are forever aquatic, as in the opening “Adagio,” which floats Shankar’s double violin insights on a dark and winding current. Filmic and vivid, its gauche stretches a fine canvas for the pigments that follow.
“All I Care” marries the rhythmic edge of “March” (an interlude from Christensen) with Shankar’s cosmic pizzicato and gossamer comet trails, the latter reaching glorious improvisational heights that can only end in fadeout, lest their perpetuity be harmed. The music travels away from us, ever tuneful, into the tabla-infused “Reasons.” Here, Hussain trail-marks a scurrying snare, backing more winged artistry from the leader.
2016
Carla Bley - pian
Andy Sheppard - saxofoane
Steve Swallow - bas
Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines her originality and resourcefulness as a jazz composer. “Saints Alive!” sets up animated conversations between the participants with striking statements from Steve Swallow’s bass guitar and Andy Sheppard’s soprano sax.
2017
Avishai Cohen - trompeta
Yonathan Avishai - pian
Barak Mori - contrabas
Nasheet Waits - tobe
If trumpeter Avishai Cohen's ECM debut, Into The Silence was a work of deeply personal content, Cross My Palm With Silver plays out with the same emotional impact, but on a global stage. Cohen composed the five pieces on this album in his native Israel, while contemplating the impact of political division on the human psyche. His hope is that the music contributes to a healing process. [ AllAboutJazz ]
Good Girl Gone Bad is the third studio album by singer Rihanna. It was released on May 31, 2007, by Def Jam Recordings and SRP Records. Rihanna worked with various producers on the album, including Christopher "Tricky" Stewart, Terius "Dream" Nash, Neo da Matrix, Timbaland, Carl Sturken, Evan Rogers and StarGate.
My One and Only Thrill is the spellbinding follow up to Gardot's compelling debut, Worrisome Heart, and eloquently confirms her as a supreme songwriting talent possessed of a truly sublime voice. [...]
Gardot acquits herself with the unfettered precision and unobtrusive panache of a born lyricist, each of the 10 original songs here a masterclass in miniature. Deep Within The Corners of My Heart dances with all the knowing elegance of Bacharach & David; Baby I'm A Fool is Sinatra during his soulful, self-doubting Point of No Return/No One Cares period; Who Will Comfort Me offers a defiant take on Carmel’s Bad Day; Our Love Is Easy is the standout track on the album, an instant classic and a love song of timeless sophistication.
1984
A study in sampling and perhaps Jarre’s most experimental album to date, Zoolook was created in collaboration with musicians such as Laurie Anderson. Constructed from disparate sampled fragments of songs and speech in more than 30 different languages, Zoolook moves from avant-garde to electro and funk.
Cesária is a Cape Verdean morna and coladeira album by Cesária Évora. The album was released by Paris-based Lusafrica on 18 July 1995. The album was nominated for a Grammy Award in the World Music category in 1996.
Reissue, Remastered, 180 Gram
Mastered At Gateway Mastering
Lacquer Cut At Abbey Road Studios
Ultravox! is the eponymous debut studio album by British new wave band Ultravox!. It was recorded at Island Studios in Hammersmith, London in the autumn of 1976[1] and produced by Ultravox! and Steve Lillywhite with studio assistance from Brian Eno. It was released on 25 February 1977 by Island.
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