David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (1972)

Tracklist:

1. "Five Years" – 4:43
2. "Soul Love" – 3:33
3. "Moonage Daydream" – 4:35
4. "Starman" – 4:16
5. "It Ain't Easy" (Ron Davies) – 2:56
6. "Lady Stardust" – 3:20
7. "Star" – 2:47
8. "Hang on to Yourself" – 2:37
9. "Ziggy Stardust" – 3:13
10. "Suffragette City" – 3:19
11. "Rock 'n' Roll Suicide" – 2:57

After flirting with heavy guitar rock ("The Man Who Sold the World") and lighter pop ("Hunky Dory"), Bowie found middle ground on Ziggy Stardust. The creation of the Ziggy Stardust persona would live on well after Bowie shed the alien skin, marking the first rock concept album by a sexually ambiguous, artistically bent musician who confounded critics at every turn. A blend of dramatic strings, swaggering saxophones, jagged guitars, and theatrical arrangements, the album's darker rock numbers like "It Ain't Easy," "Moonage Daydream," "Ziggy Stardust," and the irresistible "Suffragette City," still serve as solid excursions into the future (then and now) of rock. The buoyant "Hang on to Yourself" and the dreamy "Star" offer hints of optimism in Ziggy's bleak world. The dramatic "Rock 'n' Roll Suicide" and the image-heavy "Star Man" ("he'd like to come and meet us but thinks he'd blow our minds!") no doubt provided plenty of stage-worthy moments when Ziggy toured in the '70s, but years later they still thrill. Bowie blew our minds! --Lorry Fleming

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Outkast - The Love Below (2003)

Tracklist:

1. "The Love Below (Intro)" – 1:27
2. "Love Hater" – 2:49
3. "God (Interlude)" – 2:20
4. "Happy Valentine's Day" – 5:23
5. "Spread" – 3:51
6. "Where Are My Panties?" – 1:54
7. "Prototype" - 5:26
8. "She Lives in My Lap" (featuring Rosario Dawson) – 4:27
9. "Hey Ya!" – 3:55
10. "Roses" – 6:09
11. "Good Day, Good Sir" – 1:24
12. "Behold a Lady" – 4:37
13. "Pink & Blue" – 5:04
14. "Love in War" – 3:25
15. "She's Alive" – 4:06
16. "Dracula's Wedding" (featuring Kelis) – 2:32
17. "The Letter (Interlude)" - 0:20
18. "My Favorite Things" – 5:14
    
19. "Take Off Your Cool" (featuring Norah Jones) – 2:38
20. "Vibrate" – 6:33
    
21. "A Life in the Day of Benjamin André (Incomplete)" 4:50
    

Speakerboxxx/The Love Below is the fifth studio album by American hip hop duo OutKast, released September 23, 2003 on LaFace Records in the United States. Issued as a double album, it clocks at over two and-a-half hours and consists of a solo album from both of the group's members. Speakerboxxx has Big Boi performing tracks that are rooted in basic hip hop, while The Love Below, the solo project of André 3000, covers musical styles such as soul, pop, funk, and jazz.

Most critics were also particularly more interesed in André's half of the album than on Big Boi's solo venture, due to the experimentation with several music genres on The Love Below. The intro of the album was already a trip on classical music, "Love Hater" has purely jazz influences (apart from a cover of "My Favorite Things", a Richard Rodgers/Oscar Hammerstein tune), and the rest was a combination of soul, funk, R&B, and hip-hop. Will Hermes from Entertainment Weekly pointed that André's album "is as strange and rich a trip as pop offers nowadays, a song cycle about love's battle against fear and (self-) deception that's frequently profound, hilarious, and very, very sexy."

Wikipedia

Sólo The Love Below de Andre 3000 (Speakerboxxx no).


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Kings Of Leon - Only By The Night (2008)

Tracklist:

1. Closer
2. Crawl
3. Sex On Fire
4. Use Somebody
5. Manhattan
6. Revelry
7. Seventeen
8. Notion
9. I Want You
10. Be Somebody
11. Cold Desert

Despite a wave of criticism asserting that Kings of Leon's fourth full-length is "too commercial," Only by the Night may be the closest thing to a pitch-perfect album to drop in 2008. Granted, Tennessee's band of brothers (and one first cousin) takes a turn for the heavily polished here, but what the album lacks in rough-edged raunch, it more than makes up for in earnestness and--yes--stunning beauty. From the opening notes of "Closer" to the listing balladry of "Cold Desert," Only by the Night hardly misses a beat. Highlights abound, particularly in the trading off of melodic lines between instruments, and in this regard, bassist Jared Followill is the album's quiet MVP. Above these gorgeous instrumentals, singer Caleb emotes with a dramatic grit that never loses its command. A model of melodic rock composition, arranged and produced with a warm, inviting veneer, and performed with aching sincerity, these 11 tracks coalesce into a sanguine whole that eclipses the band's much-discussed rock posturing and yields more with every play. A good band's great album, Only by the Night (finally) establishes Kings of Leon as a rock act that's worthy of seriously sustained attention.

Jason Kirk

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Tom Waits - Closing Time (1973)

Tracklist

1. "Ol' '55" – 3:58
2. "I Hope That I Don't Fall in Love With You" – 3:54
3. "Virginia Avenue" – 3:10
4. "Old Shoes (& Picture Postcards)" – 3:40
5. "Midnight Lullaby" – 3:26
6. "Martha" – 4:30
7. "Rosie" – 4:03
8. "Lonely" – 3:12
9. "Ice Cream Man" – 3:05
10. "Little Trip to Heaven (On the Wings of Your Love)" – 3:38
11. "Grapefruit Moon" – 4:50
12. "Closing Time" – 4:20

When I listen to Closing Time, I visualise a rundown, unkept bar in an unnamed U.S. city. I see a foggy, smoky atmosphere. I see a handful of patrons alone in their own individual spaces. I see a pool table gathering dust, with no cues and no balls to play with. I see a piano hidden away in a deserted corner. I see a young jazzman, late twenties perhaps, in front of it. Nobody cares that he's been playing all night, and he doesn't care that they're not listening. A few people take a casual interest upon entrance, but soon return to their own problems. With an oft-refilled glass of scoth and a well-used ashtray atop the piano and a cigarette lit in his mouth, the musician plays the opening chords of Ole 55. He's content to be his own audience. He doesn't play for anybody else. In fact, he prefers that nobody take too close an interest in his music. If they look too closely, they'll make him uncomfortable. They'll criticize his words and his music. He doesn't want that.

Dave De Sylvia

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Bat For Lashes - Two Suns (2009)

Tracklist:

1. Glass 4:32
2. Sleep Alone 4:02
3. Moon And Moon 3:08
4. Daniel 4:11
5. Peace Of Mind 3:28
6. Siren Song 4:58
7. Pearl's Dream 4:45
8. Good Love 4:29
9. Two Planets 4:47
10. Travelling Woman 3:46
11. The Big Sleep 2:55

Khan's real breakthrough might simply be her willingness to wear her influences more brazenly. One needn't have any more than a basic working knowledge of female innovators from the past few decades to be able to spot the ghosts lurking around this stage. The strident piano chords and lone snare of "Traveling Woman" echoes PJ Harvey's desolate roadsongs, while "Moon and Moon"'s delicate piano playing and cabinet-reverbed backing vocals evoke early Tori Amos. Elsewhere, with its pummeling rhythms, double-timed handclaps, glass harmonica trills and vocal histrionics, the moonstruck rave-up "Two Planets" owes its entire existence to Björk. But even in the moments where those influences risk running on the wrong side of overt, they never feel stolen or unearned. Just as Khan seems most comfortable when she's adorned in a patchwork of styles, eras, and ideologies, this record feels more satisfying and fully formed for its overt cutting and pasting of those different sensibilities.

What's more heartening, though, is that during Two Suns' highlights, Khan has few peers. I could probably fill this entire space just writing about "Glass", the album's aggressively propulsive opener, and about how its strange mix of elements (chamber pop, prog metal, new age-- what?) magically coalesced into some entirely new genre that I wish existed and yet still can't quite wrap my brain around. Then there's the booming "Sleep Alone", which, with its rusty guitar licks, Knife-inspired synths, buzzing basslines and floorboard percussions, feels kind of like a sea shanty circa 2074.

Mark Pytlik

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Tori Amos - Under The Pink (1994)

Tracklist:

All songs written by Amos.

1. "Pretty Good Year" – 3:25
2. "God" – 3:58
3. "Bells For Her" – 5:20
4. "Past the Mission" (feat. Trent Reznor) – 4:05
5. "Baker Baker" – 3:20
6. "The Wrong Band" – 3:03
7. "The Waitress" – 3:09
8. "Cornflake Girl" – 5:06
9. "Icicle" – 5:47
10. "Cloud on My Tongue" – 4:44
11. "Space Dog" – 5:10
12. "Yes, Anastasia" – 9:33

Under the Pink," Tori Amos' second solo album, continues the singer/songwriter's exploration of her life's journey from the confines of a strict religious upbringing to personal and artistic freedom. She is armed with an attention-grabbing mezzo-soprano and lyrics that can kill with a turn of phrase. And Amos is still unsatisfied. God, parents, boyfriends, girlfriends, herself: No one escapes judgment.

Once again, Amos accompanies herself on piano, with drums, bass and guitar assisting; the occasional string arrangement or synth is added for not-so-subtle effect.

Her acoustic bent is well served on the album: The piano is not hidden beneath grandiose group arrangements as it was on her previous outing Little Earthquakes (1992), and her quirky hesitations and sudden shrieks are more in tune with the emotional states of her characters. Under the Pink still doesn't match Amos' riveting, piano-only live performances, but it sure comes close.

Under the Pink is Amos' honest reporting of a life fraught with turmoil and disappointment. Can it take her beyond her devoted cult to greater popularity? Possibly. The album is focused, the lyrics quirky and personable, the melodies eccentric enough to entice and simple enough to be catchy. Those qualities – and her emotional fearlessness – make Tori Amos a musical find to treasure.

Marie Elsie St. Leger

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Herbie Hancock - River: the Joni Letters (2007)

Tracklist:

All songs were written by Joni Mitchell, except where noted.

1. "Court and Spark" feat. Norah Jones
2. "Edith and the Kingpin" feat. Tina Turner
3. "Both Sides Now"
4. "River" feat. Corinne Bailey Rae
5. "Sweet Bird"
6. "The Tea Leaf Prophecy (Lay Down Your Arms)" feat. Joni Mitchell
7. "Solitude" (Eddie DeLange, Duke Ellington, Irving Mills)
8. "Amelia" feat. Luciana Souza
9. "Nefertiti" (Wayne Shorter)
10. "The Jungle Line" feat. Leonard Cohen

Hancock and his fine band -- Lionel Loueke (guitar), Wayne Shorter (soprano and tenor saxophones), Dave Holland (bass), Vinnie Colaiuta (drums) -- prepare a series of instrumentals and vocal interpretations of the songs of Joni Mitchell. The vocalists here include those who were inspired by Mitchell, namely Norah Jones, Corinne Bailey Rae, and Mitchell herself on one number, and some of her peers in the pop world, including Tina Turner and Leonard Cohen.

But Hancock understands something implicit about Mitchell: she was never -- ever -- a folksinger. Her compositions have always walked wildly adventurous rhythmic and harmonic terrain. Indeed, she has played with jazz musicians solidly since the 1970s, beginning with the L.A. record, The Hissing of Summer Lawns, and toured with jazz groups, including the all-star band assembled for Shadows and Light that included Pat Metheny, Jaco Pastorius, Lyle Mays, Don Alias, and Michael Brecker (Shorter played on a number of those dates as well).

The material here doesn't walk the line between pop and jazz -- something Hancock is very comfortable doing. This is a jazz record with vocals. The album's ten tracks are, for the most part, programmed for a vocal tune, followed by an instrumental.

River approaches brilliance; it's another accomplishment in a career full of them for Hancock. The album doesn't simply recontextualize Mitchell. Any fan of hers has known that she never comfortably fit the whole singer/songwriter thing anyway. It actually does that more for jazz and pop. He takes a sound that has been floating around since Jones issued her debut album, and roots it deeply in the jazz camp without giving up the immediacy of sophisticated adult pop -- which is, in a way, an element of the tradition of jazz itself. For jazz fans, this is a wonderful new chapter, a new way to hear him (and Shorter). For pop and Mitchell fans, this is a way to step quietly into another world and experience wonders.

by Thom Jurek

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Dave Matthews Band - Before These Crowded Streets (1998)

Tracklist:

1. Pantala Naga Pampa
2. Rapunzel
3. The Last Stop
4. Don't Drink The Water
5. Stay (Wasting Time)
6. Halloween
7. The Stone
8. Crush
9. The Dreaming Tree
10. Pig
11. Spoon

With the notable exception of its 1994 breakout single, "What Would You Say," Dave Matthews Band has always been more about sound than songs. This continues to be true on the group's propulsive new album, Before These Crowded Streets. Teaming up again with producer Steve Lillywhite, DMB is more successful on this outing than ever before in translating the roiling energy of its stage show to the studio. The band also pushes in adventurous new directions, incorporating bright new hues into its highly distinctive, instantly recognizable sonic palette.

DMB's lethal secret weapon has always been its extraordinary – and criminally underpraised – rhythm section. If you want to organize a band with a front line of violin, saxophone, and acoustic and electric guitars, and your music relies on tricky time signatures, complex arrangements and fevered ensemble playing that bolts into reckless improvisational flights, your drummer and bass player better swing like Joe DiMaggio. Stefan Lessard and Carter Beauford more than fill the bill – they anchor this unwieldy outfit without ever weighing it down. And when it's time to fly, they give the band wings.

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Igor Stravinsky - L' Oiseau de Feu (Firebird Suite) (1910)

Tracklist:

14. Introduction - The Princesses' Game With Apples Of Gold (2:32)
15. Kastchei's Enchanted Garden (1:46)
16. The Firebird Appears, Pursued By Ivan (2:26)
17. Dance Of The Firebird (1:21)
18. Ivan Tsarevitch Captures The Firebird (0:53)
19. The Firebird's Entreaty (8:13)
20. The Princesses' Game With Apples Of Gold (2:24)
21. The Sudden Appearance Of Ivan Tsarévitch (1:37)
22. The Princesses' Round (3:43)
23. Dawn - Ivan Enters Kastchei's Palace (1:31)
24. The Capture Of Ivan - Arrival Of Kastchei The Immortal (5:41)
25. Dance Of Kastchei's Retinue, Under The Firebird's Spell (0:44)
26. Infernal Dance Of Kastchei's Subjects (4:42)
27. Kastchei Awakes - Death Of Kaschei - Profound Darkness (5:16)
28. Kastchei's Spells Are Broken (3:13)

Orquesta sinfónica de Chicago, dirección por Pierre Boulez. Un "clásico" moderno.

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The Cure - Bloodflowers (2000)

Tracklist:

1. "Out of This World" – 6:44
2. "Watching Me Fall" – 11:13
3. "Where the Birds Always Sing" – 5:44
4. "Maybe Someday" – 5:04
5. "The Last Day of Summer" – 5:36
6. "There Is No If..." – 3:44
7. "The Loudest Sound" – 5:09
8. "39" – 7:20
9. "Bloodflowers" – 7:31

No one revels in the sumptuous pleasures of melancholy like Robert Smith, the Cure's leading mopemeister. In Smith's world, it is always raining, comfort and happiness are fleeting, love is epic and torturous. On Bloodflowers, the band's 11th studio album, his lyrical prowess continues to astound. Considering the subject matter, Smith's always managed to steer clear of the clichéd, bad-high-school-poetry trap, and on Bloodflowers, the imagery is some of his most vivid and stabbing. On "The Loudest Sound," a story about a couple who are, of course, growing apart, he sings of their tension: "She dreams him as a boy / And he loves her as a girl / And side by side in the silence without a single word / It's the loudest sound I ever heard." The music grows out of the same dichromatic marriage of love's eternal hope and heartbreak's inevitable bleakness. Layers of the Cure's signature ethereal, buoyant guitar licks are paced at the momentum of a lava lamp, while melodies lurk only in an understated synth or distorted guitar. None of the songs scream "radio hit" like Wish's "Friday I'm in Love" anomaly; and although Bloodflowers is less abstract, comparisons to Disintegration are easily drawn. If this really threatens to be the last Cure album--no, really, the real end--it's a vision of loneliness and loveliness, a low note rarely surpassed in beauty and breadth.

Beth Massa

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Pat Metheny - Day Trip (2008)

Tracklist:

1. Son Of Thirteen
2. At Last You're Here
3. Let's Move
4. Snova
5. Calvin's Keys
6. Is This America?
7. When We Were Free
8. Dreaming Trees
9. The Red One
10. Day Trip
    

Our job is to be deeply in the moment, says Pat Metheny. Day Trip, the first release from Metheny's current trio lineup, featuring bassist Christian McBride and drummer Antonio Sanchez, vividly depicts the group at one particularly inspired moment. As Metheny explains, We did it the old-school way. We'd been touring for about four or five years at different times and then went in and recorded, rather than making a record and touring behind it. We worked like gangbusters and finished in a day, so the title Day Trip fit. Besides, this is kind of a trip band; they take you on a journey. The Day Trip sessions were recorded at Manhattan’s Right Track studio in late October 2005 and sequenced into a ten-song set earlier this year.

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Tom Waits - The Heart of Saturday Night (1974)

Tracklist:

1. New Coat of Paint
2. San Diego Serenade
3. Semi Suite
4. Shiver Me Timbers
5. Diamonds on My Windshield
6. The Heart of Saturday Night
7. Fumblin' With the Blues
8. Please Call Me, Baby
9. Depot, Depot
10. Drunk on the Moon
11. The Ghosts of Saturday Night


Escuchando The Heart of Saturday Night uno prácticamente se puede imaginar el bar casi vacio, mal iluminado, de ambiente viciado a cigarrillo; y en un rincón, el californiano de la voz rasposa cantando sus canciones (monólogos?) con tintes de folk, jazz y blues; con su infaltable whisky y puchos arriba del piano. Este es el disco definitivo del sábado bajonero.


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Joni Mitchell - Blue (1971)

Tracklist:

1. "All I Want" – 3:32
2. "My Old Man" – 3:33
3. "Little Green" – 3:25
4. "Carey" – 3:00
5. "Blue" – 3:00
6. "California" – 3:48
7. "This Flight Tonight" – 2:50
8. "River" – 4:00
9. "A Case of You" – 4:20
10. "The Last Time I Saw Richard" – 4:13

Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.

by Jason Ankeny

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Björk - Homogenic (1997)

Tracklist:

1. Hunter
2. Joga
3. Unravel
4. Bachelorette
5. All Neon Like
6. 5 Years
7. Immature
8. Alarm Call
9. Pluto
10. All Is Full Of Love

I wanted to make it an honest record. Me, here, myself, at home. I asked myself if there is such a thing as Icelandic techno, and how it could sound. Well, in Iceland, everything revolves around nature, 24 hours a day. Earthquakes, snowstorms, rain, ice, volcanic eruptions, geysers... Very elementary and uncontrolable. But at the other hand, Iceland is incredibly modern; everything is hi-tech. The number of people owning a computer is as high as nowhere else in the world. That contradiction is also on Homogenic. The electronic beats are the rhythm, the heartbeat. The violins create the old-fashioned atmosphere, the colouring. Homogenic is Iceland, my native country, my home.

Björk

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Keith Jarret - Köln Concert (1975)

Tracklist:

1. "Part I" – 26:15
2. "Part II a" – 15:00
3. "Part II b" – 19:19
4. "Part II c" – 6:59

A musical chameleon, pianist Keith Jarrett was at his finest when he recorded these sustained solo improvisations in a German concert hall in 1975, the first lasting 26 minutes, the second 40. Melodies and rhythmic figures arise fluidly from his fingers as he moves from one idea to another, while his strong left hand is often used for repeated motifs that generate a rolling hypnotic power. This couples with strongly consonant harmonies to impart the flavor of gospel music at times, dance musics and Debussy at others. Above all, it's Jarrett's ability to knit all of his moods and wanderings into an almost seamless tapestry of warm and tuneful ideas that gives this music its enduring appeal.

Stuart Broomer

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Peter Gabriel - III (Melt) (1980)

Tracklist:

1. "Intruder" – 4:54
2. "No Self Control" – 3:55
3. "Start" – 1:21
4. "I Don't Remember" – 4:41
5. "Family Snapshot" – 4:28
6. "And Through the Wire" – 5:00
7. "Games Without Frontiers" – 4:06
8. "Not One of Us" – 5:22
9. "Lead a Normal Life" – 4:14
10. "Biko" – 7:32

Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him coming into his own, crafting an album that's artier, stronger, more song-oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark — even radio favorites like "I Don't Remember" and "Games Without Frontiers" are hardly cheerful, spiked with paranoia and suspicion, insulated in introspection. For the first time, Gabriel has found the sound to match his themes, plus the songs to articulate his themes. Each aspect of the album works, feeding off each other, creating a romantically gloomy, appealingly arty masterpiece. It's the kind of record where you remember the details in the production as much as the hooks or the songs, which isn't to say that it's all surface — it's just that the surface means as much as the songs, since it articulates the emotions as well as Gabriel's cubist lyrics and impassioned voice. He wound up having albums that sold more, or generated bigger hits, but this third Peter Gabriel album remains his masterpiece.

by Stephen Thomas Erlewine

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David Bowie - Low (1977)

Tracklist:

Side A

1. "Speed of Life" – 2:46
2. "Breaking Glass" (Bowie, Dennis Davis, George Murray) – 1:52
3. "What in the World" – 2:23
4. "Sound and Vision" – 3:05
5. "Always Crashing in the Same Car" – 3:33
6. "Be My Wife" – 2:58
7. "A New Career in a New Town" – 2:53

Side B

1. "Warszawa" (Bowie, Brian Eno) – 6:23
2. "Art Decade" – 3:46
3. "Weeping Wall" – 3:28
4. "Subterraneans" – 5:39

"I blew my nose one day and half my brains came out." With these gentle words, David Bowie said farewell to L.A., where he'd spent much of the mid-Seventies buried up to his clavicle in white powder, and fled back to Europe for some personal detox - not to mention some of the most amazing music of his amazing career. Low, released in January 1977, was a new beginning for Bowie, kicking off what is forever revered as his "Berlin trilogy," despite the fact that Low was mostly recorded just outside Paris. Side One consists of seven fragments, some of them manic synth-pop songs, some just chilly atmospherics. Side Two consists of four brooding electronic instrumentals. Both sides glisten with ideas: Listening to Low, you hear Kraftwerk and Neu!, maybe some Ramones, loads of Abba and disco. But Low flows together into a lyrical, hallucinatory, miraculously beautiful whole, the music of an overstimulated mind in an exhausted body, as rock's prettiest sex vampire sashays through some serious emotional wreckage.

Brian Eno gets much of the credit for Low - not only did he play keyboards on six of the eleven tracks and co-write "Warszawa," but you can hear the heavy influence of his own solo records, especially Another Green World. Still, Eno only dreamed about making noise like this, mainly because he never assembled a band anywhere near this great: A big hand, please, for the fuzzed-out guitars of Ricky Gardiner and Carlos Alomar, and the fantastic production of Tony Visconti, who distorted Dennis Davis' snare to create one of rock's all-time most imitated drum sounds. Bowie sings haikulike lyrics about emotional death and rebirth, sometimes hilarious ("Breaking Glass"), sometimes brutally honest, as in the electric-blue loneliness of "Sound and Vision" and "Be My Wife" or the doomed erotic obsession of "Always Crashing in the Same Car."

The record company begged Bowie not to release Low, but it became a surprise hit and holds up today as one of his most intense and influential albums, inspiring two excellent Berlin trilogy sequels, Heroes (1977) and the insanely underrated Lodger (1979). It makes sense that Bowie released Low the week after he turned thirty, for the same reasons it sounds so timely today: Low is the sound of the slinky vagabond falling to earth, trying to catch up with the speed of life - and maybe even find some kind of home there.

by Rob Sheffield

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Kazuhito Yamashita - Wind Color Vector (Takashi Yoshimatsu) (1991)

Tracklist:

1. Guitar Sonata 'Sky color Tensor' Op.52 - Noon
2. Guitar Sonata 'Sky color Tensor' Op.52 - Twilight
3. Guitar Sonata 'Sky color Tensor' Op.52 - Night
4. Guitar Sonata 'Sky color Tensor' Op.52 - Midnight
5. Guitar Sonata 'Sky color Tensor' Op.52 - Dawn
6. Wind color Vector Op.48 - Leeward
7. Wind color Vector Op.48 - Calm
8. Wind color Vector Op.48 - Windward
9. Water color Scalar Op.57 - Prelude
10. Water color Scalar Op.57 - Intermezzo-A
11. Water color Scalar Op.57 - Dance
12. Water color Scalar Op.57 - Intermezzo-B
13. Water color Scalar Op.57 - Rondo
14. 2 Little Pieces - Canticle
15. 2 Little Pieces - Noel
16. Litmus Distance Op.10 - Bedouin in Acid
17. Litmus Distance Op.10 - Bedouin in Alkali

"Wind color Vector", "Water color Scalor", "Sky color Tensor" were composed for Kazuhito Yamashita by Takashi Yoshimatsu as a Trilogy for guitar. These 3 works combine with to make up the overall character of Wind, Sky, Water, in the context of the 5 elements of the universe in Japan, Ground-Water-Fire-Wind-Sky.

Música simplemente hermosa. Evidentemente no todos los asiáticos son pechofríos...


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Now playing: Yamashita - Twilight

Bat For Lashes - Fur And Gold (2006)

Tracklist:

1. Horse And I
2. Trophy
3. Tahiti
4. What's a Girl To Do?
5. Sad Eyes
6. The Wizard
7. Prescilla
8. Bat's Mouth
9. Seal Jubilee
10. Sarah
11. I Saw A Light

With Fur & Gold, Bat for Lashes -- aka Natasha Khan -- brings a fairytale quality and air of mystery to her music, performing a delicate balancing act between everyday emotions and the power of fantasy. As the title suggests, there's something gorgeous but raw about her songs, which fly from spare British chamber folk to shades of lavish rock, pop, and dance as she throws herself into stories that update the traditions of other iconic female artists. She's a warrior princess of the moors with only her steed to keep her company on "Horse and I," a song whose dramatic sweep would do Kate Bush proud; on the fable-like sensual duet "Trophy," Khan sings "creatures of mercy/shoot them down and set me free" with Björk-like urgency. Despite Fur & Gold's unabashedly mystical vibe, Khan emphasizes the reality in her magical reality, whether she makes it sound like it's perfectly natural to sing "drink his blood and he's our leader" on "The Wizard," or crafts strong heroines on songs such as "Prescilla"'s urban folk or "Sarah"'s surprising rock. The most remarkable thing -- out of a lot of remarkable things -- about Fur & Gold is the emotional power of Khan's songs. "What's a Girl to Do?" might be decorated with beautifully ghostly girl group beats and harmonies, but the pain of falling out of love is palpable. Best of all is "Sad Eyes," a love song so warm and fragile that the way it cuts to the quick when Khan sings "trying to keep it together/keep my love as light as a feather" is breathtaking. As far flung as these songs can be, they never sound scattered, and only rarely overdone: the thunderstorm-laden ballad "I Saw a Light" is the only moment that feels close to over the top. This is a vivid, accomplished, transporting debut.

by Heather Phares

Una cruza entre PJ Harvey y Björk. Excelente disco.


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Now playing: Bat For Lashes - The Wizard

Regina Spektor - 11:11 (2001)

Track listing

1. "Love Affair" – 2:22
2. "Rejazz" – 3:37
3. "Back of a Truck" – 5:52
4. "Buildings" – 4:43
5. "Mary Ann" – 2:56
6. "Flyin" – 1:59
7. "Wasteside" – 2:22
8. "Pavlov's Daughter" – 7:43
9. "2.99 Cent Blues" – 3:33
10. "Braille" – 4:55
11. "I Want to Sing" – 3:56
12. "Sunshine" – 2:23

Su primer disco, probablemente el más crudo de todos. La mayoría de los temas son sólo voz y piano, en algunos se suma un contrabajo, y otros son sólo voz y contrabajo o directamente a cappella.

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Now playing: Regina Spektor - Just Like The Movies

King Crimson - The Power To Believe (2003)

Track listing

1. "The Power to Believe (Part I: A Capella)" – 0:44
2. "Level Five" – 7:17
3. "Eyes Wide Open" – 4:08
4. "EleKtriK" – 7:59
5. "Facts of Life (Intro)" – 1:38
6. "Facts of Life" – 5:05
7. "The Power to Believe (Part II: Power Circle)" – 7:43
8. "Dangerous Curves" – 6:42
9. "Happy with What You Have to Be Happy With" – 3:17
10. "The Power to Believe (Part III)" – 4:09
11. "The Power to Believe (Part IV: Coda)" – 2:29

Si bien no es radicalmente distinto al clásico "sonido Krimson", se podría decir que es una de las pocas bandas "progresivas" que supo mantenerse vigente y no en un frasco de formol setentoso o venderse totalmente al pop comercial (Phil Collins te estoy apuntando a vos).


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Now playing: King Crimson - Happy With What You Have To Be Happy With

Tori Amos - Little Earthquakes (1992)

Track List

1. Crucify
2. Girl
3. Sillent All These Years
4. Precious Things
5. Winter
6. Happy Phantom
7. China
8. Leather
9. Mother
10. Tear In Your Hand
11. Me And A Gun
12. Little Earthquakes
    

With her haunting solo debut Little Earthquakes, Tori Amos carved the template for the female singer/songwriter movement of the '90s. Amos' delicate, prog rock piano work and confessional, poetically quirky lyrics invited close emotional connection, giving her a fanatical cult following and setting the stage for the Lilith Fair legions. But Little Earthquakes is no mere style-setter or feminine stereotype — its intimacy is uncompromising, intense, and often far from comforting. Amos' musings on major personal issues — religion, relationships, gender, childhood — were just as likely to encompass rage, sarcasm, and defiant independence as pain or tenderness; sometimes, it all happened in the same song. The apex of that intimacy is the harrowing "Me and a Gun," where Amos strips away all the music, save for her own voice, and confronts the listener with the story of her own real-life rape; the free-associative lyrics come off as a heart-wrenching attempt to block out the ordeal. Little Earthquakes isn't always so stomach-churning, but it never seems less than deeply cathartic; it's the sound of a young woman (like the protagonist of "Silent All These Years") finally learning to use her own voice — sort of the musical equivalent of Mary Pipher's Reviving Ophelia. That's why Amos draws strength from her relentless vulnerability, and that's why the constantly shifting emotions of the material never seem illogical — Amos simply delights in the frankness of her own responses, whatever they might be. Though her subsequent albums were often very strong, Amos would never bare her soul quite so directly (or comprehensibly) as she did here, nor with such consistently focused results. Little Earthquakes is the most accessible work in Amos' catalog, and it's also the most influential and rewarding.

by Steve Huey

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Now playing: Tori Amos - Crucify

John Coltrane - Giant Steps (1959)

Tracklist:

1. "Giant Steps" – 4:43
2. "Cousin Mary" – 5:45
3. "Countdown" – 2:21
4. "Spiral" – 5:56
5. "Syeeda's Song Flute" – 7:00
6. "Naima" – 4:21
7. "Mr. P.C." (Mr. Paul Chambers) – 6:57

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers -- who was the only band member other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos. All seven pieces issued on the original Giant StepsIra Gitler accurately dubbed "sheets of sound." Coltrane's polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.
are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist

by Lindsay Planer

Otro clásico infaltable del jazz, no necesita introducción.

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Now playing: Ella Fitzgerald - I Ain't Got Nothin' But the Blues

Jeff Beck - Blow by Blow (1975)

Tracklist:

1. "You Know What I Mean" (Jeff Beck, Max Middleton) – 4:05
2. "She's a Woman" (John Lennon, Paul McCartney) – 4:31
3. "Constipated Duck" (Beck) – 2:48
4. "Air Blower" (Beck, Phil Chen, Middleton, Richard Bailey) – 5:09
5. "Scatterbrain" (Beck, Middleton) – 5:39
6. "Cause We've Ended as Lovers" (Stevie Wonder) – 5:52
7. "Thelonius" (Stevie Wonder) – 3:16
8. "Freeway Jam" (Middleton) – 4:58
9. "Diamond Dust" (Brian Holland) – 8:26
   

Músicos:

• Jeff Beck - guitarra
• Max Middleton - teclados
  
• Phil Chenn - bajo
  
• Richard Bailey - batería, percusión
  
• George Martin - producción
  

Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast. Middleton's tasteful use of the Fender Rhodes, clavinet, and analog synthesizers leaves a soulful imprint. Drummer Richard Bailey is in equal measure supportive and propulsive as he deftly combines elements of jazz and funk with contemporary mixed meters. Much of the album's success is also attributable to the excellent material, which includes Middleton's two originals and two collaborations with Beck, a clever arrangement of Lennon and McCartney's "She's a Woman," and two originals by Stevie Wonder. George Martin's ingenious production and string arrangements rival his greatest work. Beck's versatile soloing and diverse tones are clearly the album's focus, and he proves to be an adept rhythm player. Blow by Blow is balanced by open-ended jamming and crisp ensemble interaction as it sidesteps the bombast that sank much of the jazz-rock fusion of the period. One of the album's unique qualities is the sense of fun that permeates the performances. On the opening "You Know What I Mean," Beck's stinging, blues-based soloing is full of imaginative shapes and daring leaps. On "Air Blower," elaborate layers of rhythm, duel lead, and solo guitars find their place in the mix. Propelled by the galvanic rhythm section, Beck slashes his way into "Scatterbrain," where a dizzying keyboard and guitar line leads to more energetic soloing from Beck and Middleton. In Stevie Wonder's ballad "Cause We've Ended as Lovers," Beck variously coaxes and unleashes sighs and screams from his guitar in an aching dedication to Roy Buchanan. Middleton's aptly titled "Freeway Jam" best exemplifies the album's loose and fun-loving qualities, with Beck again riding high atop the rhythm section's wave. As with "Scatterbrain," Martin's impeccable string arrangements enhance the subtle harmonic shades of the closing "Diamond Dust." Blow by Blow signaled a new creative peak for Beck, and it proved to be a difficult act to follow. It is a testament to the power of effective collaboration and, given the circumstances, Beck clearly rose to the occasion. In addition to being a personal milestone, Blow by Blow ranks as one of the premiere recordings in the canon of instrumental rock music.

by Mark Kirschenmann

Un clásico esencial para todos los amantes del jazz rock setentoso y el rock instrumental.


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Now playing: Jeff Beck - Scatterbrain

Dave Matthews Band - Crash (1996)

Tracklist:

1. "So Much to Say" – 4:06
2. "Two Step" – 6:27
3. "Crash Into Me" – 5:16
4. "Too Much" – 4:22
5. "#41" – 6:39
6. "Say Goodbye" – 6:12
7. "Drive In, Drive Out" – 5:55
8. "Let You Down" – 4:07
9. "Lie in Our Graves" – 5:42
10. "Cry Freedom" – 5:54
11. "Tripping Billies" – 5:00
12. "Proudest Monkey" – 9:11

It's tempting to label the Dave Matthews Band as torchbearers of the Grateful Dead's moderate rock fusion and send them off on the next summer tour featuring either Blues Traveler or the Spin Doctors. But there is more at work here, particularly on the band's second major-label release. Crash pairs soothing sounds (flute, acoustic guitar, six-string bass) with a dark emotional undercurrent. The South African (by way of Virginia) frontman reveals a rare intensity on the title track and the free-form "41," while the group shows that it's not afraid to let loose on songs such as the stirring "Too Much." Producer Steve Lillywhite adds an impressive sheen to the recordings. --Aidin Vaziri

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Now playing: David Bowie - Warszawa

The Mars Volta - De-Loused in the Comatorium (2003)

Tracklist:

1. "Son et Lumière" – 1:35
2. "Inertiatic ESP" – 4:24
3. "Roulette Dares (The Haunt of)" – 7:31
4. "Tira Me a las Arañas" – 1:28
5. "Drunkship of Lanterns" – 7:06
6. "Eriatarka" – 6:20
7. "Cicatriz ESP" – 12:29
8. "This Apparatus Must Be Unearthed" – 4:58
9. "Televators" – 6:19
10. "Take the Veil Cerpin Taxt" – 8:42

La forma más simple que se me ocurre para describir la música que como una suerte de mezcla entre King Crimson mezclado con ritmos latinos y punk/hardcore. Es un disco bastante oscuro (lo cual es entendible conociendo la historia que relatan las letras), original y experimental.


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Now playing: The Mars Volta - Cicatriz Esp

Prokofiev - Conciertos para piano Nº 1 y 3, por Marta Argerich (1912-1921)

Concerto Nº1 (1912):

1. Allegro brioso (6:57)
2. Andante assai (4:34)
3. Allegro scherzando (4:31)

Concerto Nº3 (1921):

1. Andante - Allegro (9:43)
   
2. Tema con variazioni (9:39)
   
3. Allegro, ma non troppo (9:48)

Solista: Marta Argerich
Director: Charles Dutoit
Orquesta: Sinfónica de Montreal
Año de grabación: 1998


La escuela de Vienna todo lo que quieran....pero para mí los capos de verdad siempre fueron los rusos. For mother Russia!


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Now playing: Prokofiev: Piano Concerto #1 In D Flat, Op. 10 - 2. Andante Assai

Frou Frou - Details (2002)

Tracklist:

1. Let Go
2. Breathe In
3. It's Good to Be in Love
4. Must Be Dreaming
5. Psychobabble
6. Only Got One
7. Shh
8. Hear Me Out
9. Maddening Shroud
10. Flicks
11. The Dumbing Down of Love

Review (allmusic.com):

Critics of electronica often complain that much of it has a cold, impersonal quality -- that warmth and humanity are missing from what can be a very producer-driven medium. But there is no law stating that electronica has to be cold; it all comes down to how the participants decide to use technology. And technology is used in a very human way on Details, a collaboration between producer Guy Sigsworth and singer/songwriter Imogen Heap. Together, Sigsworth and Heap comprise the British duo Frou Frou, which has the sort of name that listeners might expect from one of Europop's more bubblegum acts. Hearing the name Frou Frou, one might expect something along the lines of ABBA, Fun Fun, Jemma & Elise, Bananarama, or Aqua. But there is nothing bubblegum about Details -- quite the contrary. Tracks like "The Dumbing Down of Love" and the single "Breathe In" have an atmospheric, dreamy, ethereal outlook. Björk (who Sigsworth has worked with extensively) is a strong influence, and other valid comparisons range from Kate Bush to Dido. Although Sigsworth's high-tech production is attractive, this 2002 release isn't about production gloss for the sake of production gloss -- it's also about solid songwriting and expressive vocals. Had Sigsworth and Heap been forced to record an acoustic project, Details still would have had a lot going for it. Sigsworth uses technology to his creative advantage, but he doesn't hide behind it -- for Frou Frou, technology is not an attempt to compensate for weak singing or weak material. Ultimately, quality singing and composing are the things that make Details a cut above much of the electronic Europop that came out in 2002.

Electropop de calidad.


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Now playing: Frou Frou - Breathe In

Astor Piazzolla - Libertango (1974)

Tracklist:

1. Libertango (2:45)
2. Meditango (5:36)
3. Undertango (4:07)
4. Adiós Nonino (5:35)
5. Violentango (3:31)
6. Novitango (3:31)
7. Amelitango (4:00)
8. Tristango (6:58)

A comienzos de 1974, Astor y Amelita (Baltar, su pareja) se instalan en Roma, en un departamento cercano a Piazza Navona, y Astor se entrega de lleno a la composición. El resultado es una serie de piezas instrumentales breves (el tema de la duración fue una sugerencia de Pagani, para que pudiera ser difundido por la radio), emparentadas por sus títulos.

Al poco tiempo de establecerse en Italia -continúa Daniel-, papá nos manda a los fanáticos de él -incluyéndome, por supuesto- un cassette con una grabación medio trucha de Libertango y otros temas de esta nueva serie que había compuesto. Cuando escuchamos eso nos quisimos matar, porque era espectacular. Aparte, era un Piazzolla totalmente distinto al del noneto y del quinteto, que eran los grupos inmediatamente anteriores a este disco.

Ahí arrancó todo. El tema "Libertango" pasó a ser número 1 en todas las jukeboxes de Italia, con lo cual, gracias a las ventas y la popularidad que había alcanzado, al poco tiempo le entregan el premio Sagitario de Oro.

La formación que grabó Libertango se parece bastante a las ensoñaciones de Piazzolla cuando escuchaba a su admirado Quincy Jones: entre los excelentes músicos italianos reclutados para el disco se incluye la instrumentación de órgano Hammond, marimba, flauta grave en do, bajo eléctrico, batería, guitarra eléctrica, percusión y efectos, además de cuerdas.

Liber Tango. Tango libre. Libre de las limitaciones autoimpuestas por los tangueros argentinos, que en ese entonces lo defenestraban a Piazzolla por su nuevo estilo de tango; lo que lo llevaría al exilio en donde conseguiría fama y reconocimiento internacional para más tarde convertirse en héroe nacional de la música.


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Now playing: Astor Piazzolla - Tristango

Al Di Meola - Flesh On Flesh (2002)

Tracklist:

1. "Zona Desperata" – 9:23
2. "Innamorata" – 8:38
3. "Meninas" (Egberto Gismonti) – 5:41
4. "Flesh on Flesh" – 5:57
5. "Fugata" (Ástor Piazzolla) – 5:46
6. "Deep and Madly" – 1:45
7. "Saffire Soleil" – 4:11
8. "Senor Mouse" (Chick Corea) – 9:24

Fusión con mucha influencia latina, excelentes músicos (entre ellos Anthony Jackson y Gonzalo Rubacalba), arreglos y producción de primera. De lo mejorcito del género en mi opinión, y definitivamente de lo mejorcito del guitarrista.

A pesar de la aparente complejidad de esta música, gracias a sus exquisitas melodías y arreglos se mantiene música bastante accesible para cualquiera, sea habitué del fusión o no.


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Now playing: Al Di Meola - 04 Flesh On Flesh

David Bowie - Hunky Dory (1971)

Track listing

All songs written by David Bowie, except where noted.

1. "Changes" – 3:37
2. "Oh! You Pretty Things" – 3:12
3. "Eight Line Poem" – 2:55
4. "Life on Mars?" – 3:53
5. "Kooks" – 2:53
6. "Quicksand" – 5:08
7. "Fill Your Heart" (Biff Rose, Paul Williams) – 3:07
8. "Andy Warhol" – 3:56
9. "Song for Bob Dylan" – 4:12
10. "Queen Bitch" – 3:18
11. "The Bewlay Brothers" – 5:22
12. "Bombers" - 2:41

Justo antes de la creación del disco y alter-ego Ziggy Stardust (que lo convertiría en un hito del rock), Bowie saca este ecléctico disco plagado de increíbles canciones en distintos estilos pero casi siempre manteniendo un espíritu pop. Con sólo escuchar Life on Mars? ya deberían estar convencidos de bajar el disco.


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Now playing: David Bowie - Life On Mars?

Porcupine Tree - In Absentia (2002)

Tracklist:

1. "Blackest Eyes" – 4:23
2. "Trains" – 5:56
3. "Lips of Ashes" – 4:39
4. "The Sound of Muzak" – 4:59
5. "Gravity Eyelids" – 7:56
6. "Wedding Nails" - 6:33
7. "Prodigal" – 5:35
8. ".3" – 5:25
9. "The Creator Has a Mastertape" – 5:21
10. "Heartattack in a Layby" – 4:15
11. "Strip the Soul" – 7:21
12. "Collapse the Light into Earth" – 5:54

by Bradley Torreano

Continuing in the growing commercial vein of their previous releases, Porcupine Tree's In Absentia may be the most accessible release to ever spew forth from the group. Rolling electronic percussion blends with simple and solid live drumming to provide an understated backbeat as perennial Tree leader Steven Wilson pastes his complicated pop over the proceedings. Wilson's ability to bury his layered vocals in mountains of spacy electric guitar without drowning out his fragile lyrics is still a valued feature of the music, and the rare moments of clarity that his vocals display are breathtaking in their power. A reliance on a somewhat gothic heavy metal sound makes for some bizarre moments, especially when held up against his gentler material. The best example of this is the chugging "Wedding Nails," which recalls Dream Theater in its grandiose scope without utilizing the same sort of technical wizardry. But Wilson manages to bridge the gap between the various genres he utilizes, creating an environment where his haunting melodies could take a drastic turn at any minute. Porcupine Tree also continue their Radiohead fascination, although the influence is much less direct than on their last few efforts. Instead, it comes through at odd intervals, like the moments of sparse instrumentation on the otherwise lush "Heartattack in a Lay By." Sonically gorgeous and deceivingly complex, In Absentia has the most immediate appeal of anything Wilson has released under this moniker up to this point. By keeping the songs at manageable lengths and avoiding the avant-garde electronica flourishes of the band's early days, Porcupine Tree has grown into a fully realized pop group without cutting any of the elements that also make them an important force in the neo-prog movement.

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Now playing: Porcupine Tree - .3

Miles Davis - Kind of Blue (1959)

Tracklist:

1. "So What" – 9:25
2. "Freddie Freeloader" – 9:49
3. "Blue in Green" – 5:37
4. "All Blues" – 11:35
5. "Flamenco Sketches" – 9:26

Músicos:

• Miles Davis – trumpet, leader
• Julian "Cannonball" Adderley – alto saxophone, except on "Blue in Green"
• John Coltrane – tenor saxophone
• Wynton Kelly – piano, only on "Freddie Freeloader"
• Bill Evans – piano on all, except "Freddie Freeloader"
• Paul Chambers – bass
• Jimmy Cobb – drums

by Stephen Thomas Erlewine

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.

Uno de los discos más influyentes de la historia y que marcó un antes y un después en el jazz. No puede faltar en la colección de ningún fanático de la música.



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Now playing: Miles Davis - So What