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.
2010
Mathias Eick - trompeta
Andreas Ulvo - pian
Audun Erlien - bas
Torstein Lofthus - tobe
Gard Nilssen - tobe
Morten Qvenild - claviaturi
Tore Brunborg - saxofon tenor
Sidsel Walstad - harpa
A larger lineup and more detailed arrangements while never losing the lyrical path of the soloist the work is consistently revolving around. Textured layers of lyrical inventiveness. Engaging. While the admitted influences of this release range from calssical to pop, it is the brilliant use of these “pop sensibilities” that make “Skala” a sonic delight. [ Brent Logan Black, Digital Jazz News ]
Youn Sun Nah - voce, kalimba
Jamie Saft - pian, claviaturi
Brad Jones - contrabas
Dan Rieser - tobe
Marc Ribot - chitara electrica si acustica
In “She Moves On” this chameleonic and delightful artist has reinvented herself once again.In South Korea Youn Sun Nah is a national celebrity. She first made her name in a musical, with a role in the Korean version of the successful German show “Line 1” – and that led to the blossoming of her solo career.
1979
Sam Rivers - saxofon tenor si sopran, flaut
George Lewis - trombon
Dave Holland - contrabas
Thurman Barker - tobe
AllMusic: "Tenor saxophonist Sam Rivers (also heard on soprano and flute) teams up in a quartet with trombonist George Lewis, bassist Dave Holland and drummer Thurman Barker (doubling on marimba) for a date that certainly defies the stereotype of a typical ECM session. The seven Rivers originals, although sometimes having colorful melodies, are quite complex. However, the intriguing and very alert interplay between the brilliant musicians makes the music seem fairly logical and worth exploring by adventurous listeners. "
1977
Keith Jarrett - pian, saxofon, percutie
Dewey Redman - saxofon tenor, percutie
Charlie Haden - contrabas
Paul Motian - tobe, percutie
The Survivors’ Suite, recorded in 1976, is the crowning achievement of Keith Jarrett’s “American Quartet” with Dewey Redman, Charlie Haden and Paul Motian, and one of the all-time enduring masterpieces in the ECM catalogue. Melody Maker: “The Survivors’ Suite is a brilliantly organized and full-blooded work which provides the perfect setting for all four talents.
Initially published in January 1977, vinyl is reissued in April 2017 as audiophile pressing taken from the original analog tapes.
1977
Dennis Russell Davies - pian
AllMusic: "Keith Jarrett does not actually play on this LP; rather, it is Dennis Russell Davies, a classical pianist and conductor with whom Jarrett collaborates frequently, who performs this 32-minute Jarrett composition on a grand piano.
2011
Pitchfork: The always-unpredictable singer-songwriter returns with a haunting and beautiful meditation on war that ranks with her finest records.
"The West's asleep," PJ Harvey declares on the first line of her new album, Let England Shake, before spending the next 40 minutes aiming to shame, frighten, and agitate it into action. When Polly Jean Harvey burst into the public consciousness in the early 90s, her gravelly voice, outsized personality, and often disturbing lyrics gave the alt-rock world a crucial shot of excitement. That early work is still among the most raw and real guitar music to emerge from the past few decades, so no surprise, it's a version of PJ Harvey a lot of people still miss. But if you've paid attention to her in the years since, the one thing you can expect is that she won't repeat herself.
Nashville Skyline is the ninth studio album by American singer-songwriter Bob Dylan, released on April 9, 1969, by Columbia Records.
Word of Mouth is the second album by Jaco Pastorius, released in 1981 while he was a member of Weather Report, and also the name of a big band that Pastorius assembled and with whom he toured from 1981 to 1983.
Rolling Stone : "Despite its occasional lapses. Peter Gabriel is a tremendous record. At the very least, Gabriel has discarded the florid hedging that’s dominated his work since Genesis. He’s not backing off from anything now, including his excesses. He flinches, it’s true, but he never yields. For once, you get an idea of where the artist stands and what he’s afraid of. In such songs as “Intruder” and “Games without Frontiers,” in which the booming, almost disco-style bass drum slows to an ebbing pulse while the guitars and synthesizers jangle like wracked nerves and the vocals crackle with detached doom, Gabriel’s music resembles his cover portrait: features in disintegration, slowly melting away, all distinctions disappearing and not a damn thing anyone can do about it. Peter Gabriel has seen a hellish future, and there’s no exit."
