Lightnin’ Hopkins ‎– Soul Blues [Full Album]

1991 – Lightnin’ Hopkins ‎– Soul Blues (Prestige Records)

01. 00:00 • I’m Going to Build Me a Heaven of My Own
02. 05:59 • My Babe
03. 09:22 • Too Many Drivers
04. 12:54 • I’m a Crawling Black Snake
05. 17:46 • Rocky Mountain Blues
06. 21:41 • I Mean Goodbye
07. 24:44 • The Howling Wolf
08. 28:39 • Black Ghost Blues
09. 32:12 • Darling, Do You Remember Me
10. 35:53 • Lonesome Graveyard


Thelonious Monk, Dizzy Gillespie – Giants Of Jazz

The Giants of Jazz is a live album of an English concert by Art Blakey, Dizzy Gillespie, Al McKibbon, Thelonious Monk, Sonny Stitt and Kai Winding, who were collectively billed as The Giants of Jazz, which was released on the Atlantic label.

Art Blakey – drums
Dizzy Gillespie – trumpet
Al McKibbon – double bass
Thelonious Monk – piano
Sonny Stitt – alto and tenor saxophone
Kai Winding – trombone

Samuli Kosminen, Kimmo Pohjonen & Kronos Quartet

UNIKO is the collaboration between the Kronos Quartet and Finnish duo, accordion adventurer Kimmo Pohjonen and sampling guru Samuli Kosminen. Commissioned by Kronos, UNIKO received its world premiere at the Helsinki Festival in 2004, with additional performances in Moscow, Molde (Norway) and in New York at the 2007 BAM NEXT WAVE Festival with three sold out performances. The album was recorded at Avatar Studios in NYC following the BAM concerts. Producer is Iceland’s Valgeir Sigurðsson, known for his work with Björk and other outstanding, adventurous artists.
UNIKO is highlighted by Pohjonen’s electrified and MIDI-fied accordion with Kosminen’s electronic percussion devices which reproduce his own accordion samples and his samples of Kronos’ instruments. These samples, together with live strings and electric accordion plus effects and manipulations create a new, multi-dimensional sound world.
“You know when you’re dreaming, and you’re unconscious, yet you know where you are” Kimmo tells me “and then you wake up but you’re still in your dream? Well this is Uniko”.
(Fiona Talkington – June 2013)

Dorothy Ashby – Hip Harp

Beautiful soul-jazz LP from 1958 with master harpist Dorothy Ashby in a quartet with flute, bass and drums. She’s maybe more famous for her psychedelic, break-laden “Afro Harping” and “Rubiyat…” LPs, but this album is from a more gentle, sentimental time and all the more heavyweight for it! If you’re a harp-lover, prepare to be knocked out by this magical record!

Dorothy Ashby – harp
Frank Wess – flute
Herman Wright – bass
Art Taylor – drums

Sarathy Korwar – Day To Day

The extraordinary debut album from percussionist, drummer and producer Sarathy Korwar – Day To Day – fuses traditional folk music of the Sidi community in India (combining East African, Sufi and Indian influences) with jazz and electronics. It’s a collaborative release by Ninja Tune with The Steve Reid Foundation – a charitable trust established by Brownswood / Gilles Peterson with the dual objective of helping musicians in crisis and also supporting emerging talent. Sarathy is an alumnus of the Foundation’s development program, mentored by Four Tet, Emanative, Floating Points, Koreless and Gilles Peterson – all trustees of the foundation.

“Sarathy instantly caught my attention when he said he wanted to make an album that embraced both Indian folk music and jazz – two worlds that have had a big influence on me. His album succeeds in bringing these things together in an elegant way, but it’s his own style and ideas that come through the most in the music. Refreshingly different, this is a deep and powerful listening experience.” Four Tet


Bryan Ferry – As Time Goes By

Bryan Ferry invests considerable time and energy in cover albums (he should, considering that they compose a good portion of his solo catalog), treating them with as much care as a record of original material. He’s always found ways to radically reinvent the songs he sings, so it’s easy to expect that his collection of pop standards, As Time Goes By, would re-imagine the familiar. Instead, As Time Goes By is his first classicist album, containing non-ironic, neo-traditionalist arrangements of songs associated with the ’30s. That doesn’t mean it’s a lavish affair, dripping with lush orchestras — it’s considerably more intimate than that. Even when strings surface, they’re understated, part of a small live combo that supports Ferry throughout the record.
He’s made the music as faithful to its era as possible, yet instead of rigidly replicating the sounds of the ’30s, he’s blended Billie Holiday, cabaret pop, and movie musicals into an evocative pastiche. Ferry is at his best when he’s exploring the possibilities within a specific theory or concept; with As Time Goes By, he eases into these standards and old-fashioned settings like an actor adopting a new persona. Since Ferry has always been a crooner, the transition is smooth and suave. He makes no attempt to alter his tremulous style, yet it rarely sounds incongruous — he may sound a little vampirish on “You Do Something to Me,” but that’s the rare case where he doesn’t seamlessly mesh with his romantic, sepia-toned surroundings. On the surface, it may seem like a departure for Ferry, but in the end, it’s entirely of a piece with his body of work. True, it may not be a major album in the scheme of things, but it’s easy to be seduced by its casual elegance.

Deaf Wish – Pain

Deaf Wish began in a soggy West Melbourne rehearsal room in May 2007, standing around screaming and bashing through songs with one solid philosophy: ‘go to feedback’ when things fall apart. After a handful of rehearsals, they recorded 10 songs and played 2 shows. Then guitar player Sarah Hardiman flew to the UK and never came back.
Deaf Wish stopped for a year whilst the album was passed around and grew a cult following stemming from punks and spreading around the pubs and yards of Melbourne. Deaf Wish reformed with a new member in June 2008, performing as a ramshackle unit of four suburban no-hopers, bleeding through feedback, noise and emotional abandon.
They were picked up by local label Stained Circles (Dirt Bombs, Jay Reatard, Clockcleaner, Stabs, Pink Reason, etc) and toured around Australia.
While they are often compared to US bands like the Wipers, Husker Du and Red Kross; Australian bands such as X and Venom P Stinger; it is an unarguably and distinctly Melbourne suburban sound that Deaf Wish have made their own.