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Many Fantastic Colors

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Main » 2011 » August » 27
Manuel Ricardes is a more or less unknown spanish street musicians, who´s a real fantastic guitar player.

He has a very special feeling for tango music and every night he sit in a corner of a street a play his fantastic music. I met him during my last vactions in Bilbao/Spain. 

I was very impressed by his way of playing the acoustic guitar.
His repertoire has many colors and it´s up to you to explore and enjoy these different styles of acoustic music.

He told me about the record that it was recorded in 2003 and this is his music he played on the streets of spanish cities.

Together with Beatriz Arbenoiz he although played in small music clubs all over Spain and try to keep the flame of tango music alive !

This entry is dedicated to the street musicians all over the world who gave us so much pleasure by their way to entertain us during our shopping tours through a city.

Manuel Ricardes (guitar)

01. Bourre (Bach) 2.40
02. Canzone d´amore (Liebermann) 2.07
03. El abejorro (Pujol) 1.57
04. El antigal (Toro/Diaz) 3.45
05. El Condor Pasa (Traditional) 4.52
06. Estudio de rovira (Traditional) 2.54
07. La candelaria (Falú) 3.24
08. Madreselvas (Amadoro/Canaro) 2.36
09. Natalie (Moustaki) 1.31
10. Nocturno (Soulés) 3.40
11. Romanza (Soulés) 4.30
12. Saltarello (Traditional) 1.01
13. Choro de texeira (Traditional) 2.12
14. Variaciones de milonga (Falú) 4.09

Views: 12155 | Added by: Riffmaster | Date: 2011-08-27 | Comments (0)

Gerald Jay Markoe studied classical music at both Juilliard (B.A.) and the Manhattan School of Music (M.A.). Since the early 1960s, Markoe has studied meditation and astrology, and he specialized in translating the positions of the planets into music, often recording custom tapes based on a person's astrological sign. His first public album in 1988 was Music from the Pleiades, inspired by the famous poster of the constellation. Markoe formed his own music company, AstroMusic, to distribute his album, and Music from the Pleiades quickly became a bestseller in the New Age market.

I've been on the quest for good sacred space/meditation music for quite some time. I took a risk since, I really couldn't tell by the sound bytes if I'd like it. I brought it home, lit some incense, candles and got comfortable whilst I pressed 'play'. For me, it was like magic. "At first, the metallic-stringed harp reminded me of Japanese music, but as the album moves along, there's something not quite Asian, African or Middle Eastern -- but definitely mystical. I would think Markoe tapped into the "Eternal Now" so aptly put on the first track of the CD. My small, cramped bedroom was turned into a temple and I, its priestess. Well done! The great thing is that each track can apply to a specific ritual or practice and their names reflect that. The first song, I used for meditation (simply programmed to repeat over and over). The next one is great for morning or "pre-dawn devotion" as described and so on. Quite versatile and yet it doesn't command one's attention, so you can easily meditate, sleep, do yoga or journal to it without being mesmerized by the melodies. (by N. Mentor)

Gerald Jay Markoe (all instruments)

1. Entering The Eternal Now (
Markoe) 7.14
2. Pre Dawn Meditation
(Markoe) 7.24
3. Sacred Ceremony
(Markoe) 4.57
4. Ancient Sunrise
(Markoe) 7.15
5. Egyptian Shaman
(Markoe) 7.46
6. Initiation
(Markoe) 7.04
7. Sacred Movements
(Markoe) 8.03
8. Egyptian Magic
(Markoe) 6.12
9. Immortality
(Markoe) 7.51

ARMU 0068
Views: 940 | Added by: Riffmaster | Date: 2011-08-27 | Comments (0)

This Peter Green-led edition of the Mac isn't just an important transition between their initial blues-based incarnation and the mega-pop band they became, it's also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of "Bare Trees" and "Kiln House" with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal "Oh Well," with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band's most enduring progressive composition. "Rattlesnake Shake" is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green's fiery improvisations power "Searching for Madge," perhaps Mac's most inspired work save "Green Manalishi," and leads into an unlikely symphonic interlude and the similar, lighter boogie "Fighting for Madge." A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on "Coming Your Way" not only defines the Mac's sound, but the rock aesthetic of the day. Of the songs with Kirwan's stamp on them, "Closing My Eyes" is a mysterious waltz love song; haunting guitars approach surf music on the instrumental "My Dream"; while "Although the Sun Is Shining" is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged "Underway," the folky blues tale of a lesbian affair on "Like Crying," and the final outcry of the ever-poignant "Show Biz Blues," with Green moaning "do you really give a damn for me?" Then Play On is a reminder of how pervasive and powerful Green's influence was on Mac's originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus.

Mick Fleetwood (drums)
Peter Green (guitar, vocals)

Danny Kirwan (guitar, vocals)
John McVie (bass)
Jeremy Spencer (guitar, vocals)
Big Walter Horton (harmonica)

01. Coming Your Way (Kirwan) 3.47
02. Closing My Eyes (Green) 4.50
03. Showbiz blues (Green) 3.50
04. My Dream (Kirwan) 3.30
05. Underway (Green) 2.51
06. Oh Well (Green) 8.56
07. Although The Sun Is Shining (Kirwan) 2.31
08. Rattlesnake Shake (Green) 3.32
09. Searching For Madge (McVie) 6.56
10. Fighting For Madge (Fleetwood) 2.45
11. When You Say (Kirwan) 4.22
12. Like Crying Like Dying (Kirwan) 2.21
13. Before The Beginning (Green) 3.28

ARMU 0067
Views: 1047 | Added by: Riffmaster | Date: 2011-08-27 | Comments (3)

When the first two "Interpretations" albums by the Stan Getz quintet proved so successful, the next step obviously was to follow the pattern and this — as you must have gathered by now — was indeed done. What gave the first two "Interpretations" their standout quality, most critics agreed, was the unity of the five musicians as well as the topflight musicianship of all concerned. There is especially solid rapporti between the two featured soloists —Stan Getz, tenor saxophone, and Bob Brookmeyer, trombone. and one of the reasons for this could be the year which Brookmeyer spent with the Getz unit in 1953. This was a highly profitable year for both in terms of musical growth. ("The only way you learn," Getz once said, "is by playing with the best — so that there's always two challenges; first, your own inner challenge and then the fecling of being spurred by men who swing in your own outfit.") Getz, of course, has long been regarded as one of the foremost tenor men in modero jazz, a suspicion which first took hold strongly when he (with Zoot Sims, Serge Chaloff and Herbie Steward) provlded Woody Herman with the "Four Brothers" round. It was Getz whose solo gave much meaning to Herman's recording of the Ralph Burns composition, "Early Autumn". Since then he has been occupied largely with leading his own group, in most cases a quintet.
Bob Brookmeyer, who incidentally studied piano at Kansas City Conservatory, is one of the few and also just about the finest valve trombonists around today. He has played with such groups as Gerry Mulligan's and Terry Gibbs' as well as tours (as a pianist) with Tex Beneke, Ray McKinley and Louis Prima. A man of extraordinarily wide range of expression, Brookmeyer has an equally good reputation as an arranger and composer. (One of Brookmeyer's selections, "Oh, Sane Snavely" is included in this album.) Pianist Johnny Williams, out of Windsor, Vt., has been a member of the Getz unit in addition to playing with Charlie Barnet's band. An Army Air Forces veteran of World War II, drummer Frank Isola has also played with the Mulligan and Getz groups in the past, while the quintets bassist, Teddy Kotick, has largely confined his work to the East, including appearances with the great alto sax artist, Charlie "Bird" Parker.
For no calculated reason, the selections on the A side are taken from three separate eran.— "The Varsity Drag", to begin with, is a tune associateti with the ebullient 1920s; Duke Ellington's "lt Don't Mean a Thing If It Ain't Got That Swing" is, of course, from the Swing Era—the 1930s. "Give Me the Simple Life" was popular in the mid-1940s, shortly alter the end of the war when the simple lite was every ex-GI's happy hope. The B side includes an evergreen standard, "I´ll Remember April" along with the aforementioned Brookmeyer original.

Los Angeles CA, July 30, 1953 and November 4, 1954

Stan Getz, tenor saxophone;
Bob Brookmeyer, valve trombone;
John Williams, piano;
Bill Anthony or Teddy Kotick, bass;
Frank Isola, drums

01. It Don´t Mean A Thing (If It Ain´t Got That Swing) (Ellington) 6.22
02. The Varsity Drag (Henderson) 7.01
03. Give Me The Simple Life (Ruby/Bloom) 5.59
04. I´ll Remember April (DePaul) 11.01
05. Oh, Shane Snavely (Brookmeyer) 6.16

ARMU 0066
Views: 785 | Added by: Riffmaster | Date: 2011-08-27 | Comments (0)

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