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.
Acoustic Sounds Series, remasterizare audiofilă
LP 180g, gatefold, Blue Note Tone Poet series
2LP 180g, remasterizat
LP 180g gatefold, ediție audiofilă Analogue Productions Acoustic Sounds series
LP 180g, ediție audiofilă Blue Note Tone Poet series
LP 180g gatefold, ediție audiofilă Blue Note Tone Poet series
LP 180g, gatefold, ediție audiofilă Blue Note Tone Poet series
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
Luminessence, ECM’s new audiophile vinyl-reissue - cut from the original analog master tapes
2017
John Abercrombie - chitara
Marc Copland - pian
Drew Gress - contrabas
Joey Baron - tobe
Guitarist John Abercrombie – who has recorded as a leader for ECM since 1974 – returns with a second album by his quartet featuring Marc Copland on piano, along with longtime rhythm partners Drew Gress and Joey Baron. Extolling 39 Steps, the group’s 2013 album, the Financial Times said: “The emphasis is on subtle intrigue, flowing lyricism and the interplay between the leader’s warm, cleanly articulated guitar and Copland’s piano… with bassist Gress and drummer Baron equally supple and sinewy companions.
1972
Chick Corea - pian
Anthony Braxton - instrumente de suflat cu ancie, percutie
Barry Altschul - percutie
David Holland - contrabas, violoncel
Supergrup Free-Jazz
Circle was a band on fire with creativity. Chick Corea and Dave Holland had just left Miles Davis’s band, keen to explore all parameters of new music in an improvised context. Anthony Braxton, equally inspired by Stockhausen and Coltrane, brought in new directions from the AACM. Barry Altschul’s resumé included extensive work with Paul Bley. Together they were, for a while, matchless. Corea called the Paris Concert (recorded 1971) the realization of a dream. Melody Maker: “Paris Concert is evidence that here was one of the most excitingly talented bands of recent years, for these 94 minutes of music simply burst with vigorous invention.”
1995
Lacquer Cut By – Bernard Grundman
Rolling Stone: "Like the Beasties, Beck is among the few white-boy hip-hop wanna-be’s with a clue. He truly understands the tenuous thread that connects funk to punk, hip-hop to art rock, and jazz to country blues, and is able to cram his encyclopedic knowledge of 20th-century musical styles into three- and four-minute nuggets of pure pop. But as “Loser” made clear, Beck’s avant-garde, mix-and-mingle approach is not just an intellectual exercise. When he chants, “I got two turntables and a microphone,” over a funky keyboard line and a midtempo drum track on Odelay’s “Where It’s At,” he does so with such giddy enthusiasm you can practically see him rifling through his electro-funk collection for the perfect Afrika Bambaataa groove. It’s nothing short of the sort of passionate fandom that emanates from Keith Richards’ country- and blues-inspired guitar licks on Exile on Main St. or from Bob Dylan’s Jack Kerouac-by-way-of-Woody Guthrie crooning on Highway 61 Revisited."
Intra in contul tau si ai acces la
