Antibalas Afrobeat Orchestra - Talkatif (2002)

1. Gabe's New Joint


2. Talkatif


3. Hypocrite


4. World Without Fear


5. War Is a Crime


6. Nyash


7. N.E.S.T.A. 75

Quality: 256 kbps cbr

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French Jazz Night - Live at Brucknerhaus Linz(2007)

French Jazz Night

On the 14th of February 2007 where playing 3 french bands a great concert at the "Brucknerhaus" in Linz.
Michel Portal played a duo with the bassist Francoise Moutin.
Louis Sclavis and his Band.
The Moutin Reunion Quartet

Tracklist:

1. Michel Portal & Francois Moutin Duo - Live im Linzer Brucknerhaus(2007) - 01. VOYAGE


2. Michel Portal & Francois Moutin Duo - Live im Linzer Brucknerhaus(2007) - 02. DOLCE


3. Michel Portal & Francois Moutin Duo - Live im Linzer Brucknerhaus(2007) - 03. MUTINERIE


4. Michel Portal & Francois Moutin Duo - Live im Linzer Brucknerhaus(2007) - 04. SOLITUDE


5. Louis Sclavis Quartet - Live im Linzer Brucknerhaus(2007) - 05. NAPOLI'S WALLS


6. Louis Sclavis Quartet - Live im Linzer Brucknerhaus(2007) - 06. KENNEDY IN NAPOLI


7. Louis Sclavis Quartet - Live im Linzer Brucknerhaus(2007) - 07. GUETTEUR D'INAPERCU


8. Louis Sclavis Quartet - Live im Linzer Brucknerhaus(2007) - 08. DIVINAZIONE MODERNA


9. Moutin Reunion Quartet - Live im Linzer Brucknerhaus(2007) - 09. TIME APART


10. Moutin Reunion Quartet - Live im Linzer Brucknerhaus(2007) - 10. SOMETHING LIKE NOW

Quali: 320 kBit/s
Source: Radiostation Ö1
Size: 194 MB

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http://rapidshare.com/files/199385912/FJNLABL.part2.rar

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Caribbean Jazz Project - Here And Now, Live In Concert(2005)

Dave Samuels (co)founded the Caribbean Jazz Project years ago and is the only one remaining at present.
After years of different lineups and various co-frontmen he finally found the (in my opinion) ideal
combination of instruments on their former release "Birds of a Feather", by choosing a trumpet player
next to his vibes/marimba. Following the magnificent "Birds of a Feather" is this wonderful 2 cd live
set, recorded over a series of three nights at the Manchester Crafts Guild in Pittsburg. The group this
time consists of: Diego Urcola - trumpet, Dario Eskenazi - piano, Oscar Stagnaro - bass,
Mark Walker - drums and Roberto Quintero - percussion. Diego Urcola does a good job in replacing
Ray Vega and Randy Brecker on the last album and Mark Walker is just one of the finest latin
jazz drummers around and shows here what an incredibly swinging force he is. There are many good things
to be said about this album. Whereas I found their studio albums sounding somewhat sterile, this live
set really smokes and gives a much more spontaneous feel. A good example is my favorite track of the
album, "One Step Ahëad", which makes for an enthralling 11 minutes listen and making this cd worth
buying on its own merit! But there is so much more to enjoy here: The choice of material is really
good (although I could have done without "On The Road"), with some standards done in mostly refreshing
ways along strong originals by mainly leader Dave Samuels. All in all, this disc comes highly
recommended for both first-time and long-time latin jazz listeners!

Dave Samuels - vibraphone, marimba
Mark Walker - drums
Diego Urcola - trumpet, flugelhorn
Oscar Stagnaro - bass instrument
Roberto Quintero - congas, percussion
Dario Eskenazi - piano

Tracklist:

CD1

1. 01 - Rendevous


2. 02 - Stolen Moments


3. 03 - Turnabout


4. 04 - Arthur's Dance


5. 05 - The Gathering


6. 06 - Picture Frame


7. 07 - Bemsha Swing

CD2

1. 01 - One Step Ahead


2. 02 - Mariella's Dream


3. 03 - On The Road


4. 04 - Five For Elvin


5. 05 - Naima


6. 06 - Night In Tunisia


7. 07 - Viva Cepeda

Quali: 256
Size: 115 + 120 MB
Source: CD

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http://rapidshare.com/files/190304468/CJPLIC1.part2.rar
http://rapidshare.com/files/190307578/CJPLIC2.part1.rar
http://rapidshare.com/files/190308384/CJPLIC2.part2.rar

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Karl Ratzer - Fingerprints(1979)

Jazz musician Karl Ratzer, a singer, composer, and guitarist, was born in Vienna, but he got his start
in the music world in the '60s with funk and rock bands in Austria. In 1972, he moved to the
United States and began working with a group best known as Rufus & Chaka Khan. In 1977, Ratzer
formed a band with Dan Wall, Jeremy Steig, Ray Mantilla, Eddie Gomez, and Joe Chambers. Over his
career, Ratzer has worked with a well-known mix of funk, pop, jazz, and blues artists such as Art
Farmer, Chet Baker, James Moody, Bob Berg, Steve Grossman, Eddie "lockjaw" Davis, and many others.
In 1978, Ratzer saw the release of his debut album, In Search Of The Ghost. The album received
fantastic reviews, as did his 1979 album, Street Talk. Both were recorded under the Vanguard label.
He has also recorded for the CMP, ENJA, and RST labels. Ratzer's 1997 debut album for the ENJA label,
Saturn Returning, which showcased tracks like "Silent Rain," "Just What You Need," and "Main Squeeze,"
won him an Austria's Best Jazz Artist of the Year award. He also recorded Moon Dancer for ENJA with
pianist Oliver Kent, drummer Lukas Knöfler, percussionist Ricardo Mateus, bassist Heinz Jäger, and
accordionist Karl Hodina.
~ Charlotte Dillon, All Music Guide

Lineup:
Karl Ratzer el-g,
Dan Wall org, p,
Neal Starkey b,
Al Nicholson d,
Ray Mantilla cga, perc,

Tracklist:

1. Karl Ratzer - Fingerprints - 1. New Walz


2. Karl Ratzer - Fingerprints - 2. Between The Lines


3. Karl Ratzer - Fingerprints - 3. Diane


4. Karl Ratzer - Fingerprints - 4. Nothern People


5. Karl Ratzer - Fingerprints - 5. Southern People


6. Karl Ratzer - Fingerprints - 6. Fingerprints


7. Karl Ratzer - Fingerprints - 7. Know It Already

Quali: 320
Size: 87 MB
Source: Vinyl

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Jamaaladeen Tacuma - Renaissance Man(1984)

Album Notes
Personnel:
Jamaaladeen Tacuma (electric bass, percussion, programming);
Howie Montaug (vocals);
Ornette Coleman, James R. Watkins (alto saxophone);
David Murray (tenor saxophone);
Olu Dara (cornet, African flute);
Vernon Reid, Rick Iannacone, Charles Ellerbe (guitar);
Cornell Rochester, Bill Bruford (drums);
Daryl Burgee (African gymbe drum);
Bob Zollman (tympani, percussion);
Daniel Ponce, Ron Howerton, Verna Gillis (percussion);
Greg Mann (programming).

The Ebony String Quartet: Kathleen Thomas, Cynthia Shoats (violin); Nina Wilkenson (viola); Aaron
Henderson (cello).

Engineers include: Greg Mann, Reinhard Zwierlein, Phil Nicollo.

Recorded at Studio 4, Philadelphia, Pennsylvania; Gramavision Recording Studio, Unique Recording,
New York, New York; Sinus Musik, Berlin, Germany.

Tracklist:

1. Jamaaladeen Tacuma - Renaissance Man - 1. Renaissance Man


2. Jamaaladeen Tacuma - Renaissance Man - 2. Flash Back


3. Jamaaladeen Tacuma - Renaissance Man - 3. Let's Have a Good Time


4. Jamaaladeen Tacuma - Renaissance Man - 4. Next Stop, The


5. Jamaaladeen Tacuma - Renaissance Man - 5. Dancing in Your Head - (with Ornette Coleman)


6. Jamaaladeen Tacuma - Renaissance Man - 6. There He Stood - (with Daniel Ponce)


7. Jamaaladeen Tacuma - Renaissance Man - 7. Battle of Images, The


8. Jamaaladeen Tacuma - Renaissance Man - 8. Sparkle - (David Murray and Vernon Reid, with Bill Bruford)

Quali: 320
Size: 107 MB
Source: Vinyl

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http://rapidshare.com/files/190370837/JTRM.part1.rar
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Barbara Thompson & Rod Argent - Ghosts(1982)

Barbara Thompson - Alto, Tenor + Baritone Saxes, Flute & Alto flute
Rod Argent - Vocals, Keyboards
John Mole - Bass
Jon Hiseman - Drums
Robin Jones - Perc
Keith Airey - Guitar

Tracklist:

1. Barbara Thompson & Rod Argent - Ghosts - 1. Poltergeist


2. Barbara Thompson & Rod Argent - Ghosts - 2. With You


3. Barbara Thompson & Rod Argent - Ghosts - 3. Secret Soul


4. Barbara Thompson & Rod Argent - Ghosts - 4. All Alone


5. Barbara Thompson & Rod Argent - Ghosts - 5. Ghosts


6. Barbara Thompson & Rod Argent - Ghosts - 6. Little Girl


7. Barbara Thompson & Rod Argent - Ghosts - 7. Falling Stars


8. Barbara Thompson & Rod Argent - Ghosts - 8. Moving On


9. Barbara Thompson & Rod Argent - Ghosts - 9. Sweet Spirit

Quali: 320
Size: 105 MB
Source: Vinyl

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http://rapidshare.com/files/190365673/BTRAG.part1.rar
http://rapidshare.com/files/190365967/BTRAG.part2.rar

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Shannon Jackson & Decoding Society - Street Priest(1981)

As with many of the latter artists, drummer Ronald Shannon Jackson's ascent to the critical recognition and mild popular success he enjoyed in the 1980s did not come early in life. In 1979, at the age of 39, Jackson formed The Decoding Society, a medium-sized ensemble that would become an ongoing vehicle to showcase his compositional/arranging talent and his uniquely propulsive drumming style. Sadly, by the mid–1990s, Jackson had lapsed into relative obscurity alongside many of his colleagues.
In his home town of Fort Worth, Texas, Ronald Shannon Jackson's exposure to a healthy variety of vernacular musics—country, gospel, jazz, blues, and soul—and his subsequent, early performance career, were key ingredients in his artistic trajectory, culminating in the exuberant compositions and sounds of The Decoding Society. After beginning his performing career in Texas, Jackson left the southwest for New York City in 1966 and quickly found work with Betty Carter, Charles Mingus, and numerous other prominent jazz artists. His most notable affiliation during this period was with seminal free jazz figure Albert Ayler. Soon thereafter he became relatively inactive on the scene for several years.
In 1974 Jackson met Ornette Coleman, began "lessons" with Coleman on his "harmolodic" theory, and recorded and performed with the original incarnation of Coleman's Prime Time Ensemble. Jackson's career accelerated in the late Seventies as he made formidable contributions to one of Cecil Taylor's many working ensembles, and participated in the landmark James Blood Ulmer recording, Are You Glad to Be in America? Certainly, by these late Seventies recordings, Jackson’s drumming was already indicative of what would become his signature style: an energetic pushing of the pulse, a loose and swinging feel, a focus on tom-tom and snare work, and the usage of parade rhythms (i.e. patterns involving repetitions of two sixteenth-notes followed by one or two eighth-notes).
Jackson gathered a combination of seasoned loft players and young, talented newcomers in 1979 as the first edition of The Decoding Society. Over the next decade, the group performed extensively and released about one recording per year. Personnel changes occurred over the years, but during the course of the Eighties and into the early Nineties there was a handful of core units anchored by some relatively long-term, primary performers. Unfortunately, Jackson's first six studio albums are out of print, despite most having seen at least a brief appearance on CD format. Jackson left New York City in the early Nineties and returned to Texas where he currently resides. Three studio Decoding Society recordings, his latest from the Nineties, document a period of seemingly sporadic activity.
Fortunately for those of us who bemoaned an almost complete disappearance of commercially available Ronald Shannon Jackson recordings, and for those who may have missed the opportunity the first time around, the Knitting Factory's KnitClassics label (a division of the jazz/pop club's Knitting Factory Records) has released nine "reissue" recordings by Jackson over the course of the year 2000, eight of which involve some version of The Decoding Society. Four out of these nine recordings were actually previously unreleased. Eight were recorded, either in the studio or live in performance during a span between 1983 and 1988, while one dates from a 1994 concert. The KnitClassics recordings provide broad coverage of Jackson and The Decoding Society's work through various editions of the band and their concomitant compositional and stylistic progression.
In response to his formulation of and early work with the Decoding Society, Jackson was critiqued as a primary participant in the so-called "new fusion" movement of the early Eighties. This movement was ostensibly derived from Coleman's then recent foray into electric music, forming a parallel to the way in which Seventies fusion emerged from the electric music of Miles Davis. Indeed, Jackson's first recording under his own name, The Decoding Society's Eye on You (About Time Records, 1980), exhibited more overt influence from Coleman than any subsequent work. Yet Eye on You was not merely an homage to Coleman, but in fact documented a new artistic voice.
For the first version of The Decoding Society, as well as most later versions, Jackson selected instrumentation with doublings similar to Coleman's Prime Time (and Free Jazz) ensemble: two or three saxophonists who each played multiple horns (or one sax and one trumpet), and initially two guitars and one bass, which quickly reversed to become one guitar (a teenage Vernon Reid who later formed Living Colour) and two basses (often in fretted/unfretted combination). Violin, vibes, and trombone made sporadic appearances and later on, lineups focusing on a core of multiple guitarists would return.
On Eye on You and subsequent early Decoding Society recordings, the ensemble's polyphonic texture was clearly rooted in Coleman's elusive "harmolodic system" which professes an equal role for harmony, movement (i.e. rhythm), and melody, and dispenses with traditional notions of key and pitch. Each instrument, in theory, would be capable of playing a rhythmic role, a harmonic role, a melodic role, or some combination thereof; a similar blurring applied to lead/soloing and accompanying roles. Moreover, Jackson's compositions did not typically focus on any one key. The combination of sharply contrasting, implied tonal centers, the predominance of polyphony over harmony, and an often heterophonic relationship (due to looseness in both rhythm and pitch) between ostensibly unison-based parts, all contributed to the prevailing tonal ambiguity.
Jackson's compositions for Eye on You were frequently built out of busy and even frenetic webs of multiple
melodies and ostinato figures; the resultant energy was a reminder of Jackson's affiliation with Cecil Taylor.
Multiple themes, usually carried by the horns and sometimes the guitar, were presented both as "head" melodies
(at the beginning of the composition) and as material underneath one or more soloists. Melody instruments typically
played either in unison or fourths. Melodic material often recalled Coleman in its simple motives and lazy, floating
lyricism; at times Ayler in its urgent diatonicism; and at other times Mingus in its bluesy, spy-theme quality. Augmented
seconds occasionally peppered the sound with an “eastern” sensibility. Melodies sometimes floated freely in their relationship
to the pulse; sometimes they swung playfully and festively; and sometimes they serenely presented one of Jackson's gorgeous—yet
still tonally ambiguous—ballads. Moreover, Jackson demonstrated an ability to develop long, snaking, sequencing melodies,
something he no doubt brought with him from his experience with Coleman. Melodic development and structure formed the basis
of Jackson's compositions, but free-blowing, both in solo and group configurations, abounded as well.
The Decoding Society sound was alternately (or simultaneously) hot and cool, savage and gentle, danceable and contemplative. It was a brew of African, “eastern,” and American sounds. Tempo, meter, feel, and stylistic references varied across different compositions and within single compositions as well. Jackson combined his parade rhythms with soulful tenor saxophone lines, the bluesy chatter of electric guitars, and the high-pitched exoticism of soprano saxophones (and high trumpet parts). Like many of the jazz giants before him, he showed a knack for creating a big sound out of a relatively small band.
In 1981, The Decoding Society recorded and released two albums for the German Moers label. Three more releases for Island (or Antilles/Island) Records followed in 1982, 1983, and 1985 respectively. All five of the latter recordings involved a fairly stable unit whose core consisted of Jackson, Vernon Reid (now the sole guitarist and a dominant voice in the ensemble), two bassists, and two to three horns (limited to saxophones on the Moers releases and expanded to include trumpet or trombone on the Island releases).
The Moers dates (which resulted in Nasty and Street Priest) were well recorded, effectively highlighting the busy, melodic interplay of the two bassists who served less in the traditional/functional bass roles and more in melodic roles that were on par with the horns and guitar. The feel was overall more funky and the melodies more catchy than on Eye on You. Reid was given more room to stretch out, while the saxophones continued to explore the high register, and Jackson continued to embed rhythms and melodies within a polyphonic texture that exhibited Coleman's influence. Nevertheless, this music had rapidly and unquestionably become Jackson's own and the Moers recordings exhibit some of his finest work.
The Island period (starting with Man Dance and Barbecue Dog) represented the height of the group's visibility and popularity. Funk and blues gestures had become more overt than ever, contributing to a pastiche not found in the earlier work. Tempo and feel shifted rapidly from section to section. Hints of tonality, often in funk-based solo sections, could now be heard in contrast to polytonal and atonal sections. Unison sections at very fast tempos and Reid's fiery guitar work both exhibited the flashiness reminiscent of Seventies fusion, yet the signature rhythms, quirky melodies, and arranging/orchestration style assured the listener that this sound was still unmistakably Jackson's. Despite the return of the violin, the addition of the trombone, some interesting stylistic forays into country, bebop, and space funk, and the promise of a Bill Laswell production, the third Island release, Decode Yourself, is marred by a thin sound, gimmicky electronic drum and synthesizer timbres, and (surprisingly) a plodding, four-square rhythmic monotony.

Tracklist:

1. Shannon Jackson & Decoding Society - Street Priest - 1. Street Priest (6:17)


2. Shannon Jackson & Decoding Society - Street Priest - 2. Sperm Walk (8:07)


3. Shannon Jackson & Decoding Society - Street Priest - 3. City Witch (5:51)


4. Shannon Jackson & Decoding Society - Street Priest - 4. Sandflower (4:21)


5. Shannon Jackson & Decoding Society - Street Priest - 5. Hemlock For Cordials (7:05)


6. Shannon Jackson & Decoding Society - Street Priest - 6. Chudo Be (8:06)

Quali: 320
Size: 96 MB
Source: Vinyl

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Chick Corea - Three Quartets(1981)

]Between the tides of Return To Forever and The Elektric Band, Chick Corea's recording projects focused
on more intimate acoustic ensembles. Of these, the superb THREE QUARTETS is the best of the bunch.
Recorded in 1981 at Corea's own Mad Hatter studio, it features the pianist at his creative best as
well as his favorite partners Michael Brecker, Eddie Gomez and the inimitable Steve Gadd. Few other
records of this period contain the powerful musical energy that was created when these four virtuosos
came together. The performances captured on this album are stunning. The complex "Quartet No. 1" offers
a punchy melody that explodes into a furious solo by Brecker. The softer "Quartet No. 3" follows with
dramatic chordal work by Corea and expressive solos by Brecker and Gomez. The epic "Quartet No. 2" is
one of Corea's most dynamic works. The first section, a swinging ballad, is dedicated to the great
Duke Ellington. The second, which features a mesmerizing solo by Gadd, is a hard swinger for John Coltrane.
Bonus tracks include Corea's unforgettable "Hairy Canary" and an amazing Gadd/Brecker duet on
Charlie Parker's "Confirmation."


Personnel:
Chick Corea (piano);
Michael Brecker (tenor saxophone);
Eddie Gomez (bass);
Steve Gadd (drums).

Tracklist:

1. Chick Corea - Three Quartets(1981) - 1. Quartet #1


2. Chick Corea - Three Quartets(1981) - 2. Quartet #3


3. Chick Corea - Three Quartets(1981) - 3. Quartet #2

Quali: 320
Size: 89 MB
Source: Vinyl

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Pharoah Sanders - Rejoice(1981)

This was the first Pharoah Sanders album I bought way back in 1982 and I guess the rest is history.
I snapped up most of his catalogue over the years (posting many of the harder to find Impule lps here)
and have seen him play live on numerous occassions.I still rate this double vinyl set as much now as
I did then so here it is ripped from the original Theresa vinyl @320.I can't find it posted anywhere
else in Blogland which is surprising so another first at Orgy In Rhythm.
Very Highly Recommended.

Personnel: Pharoah Sanders (tenor saxophone, vocals, bells), B. Kazuko Ishida, George V. Johnson (vocals),
Danny Moore (trumpet), Steve Turre (trombone), Lois Colin (harp), Bobby Hutcherson (vibraphone),
Joe Bonner (piano, background vocals), John Hicks (piano), Peter Fujii (guitar, background vocals),
Jorge Pomar (bass, background vocals), Art Davis (bass), Babatunde (drums, percussion, background vocals),
Elvin Jones, Billy Higgins (drums), Big Black (percussion, background vocals).

A two-LP set on Theresa this features Pharoah Sanders in excellent form in 1981. Sanders sounds much
more mellow than he had a decade earlier, often improvising in a style similar to late-'50s John Coltrane,
particularly on "When Lights Are Low," "Moments Notice" and "Central Park West." The personnel changes
on many of the selections and includes such top players as pianists Joe Bonner and John Hicks, bassist
Art Davis, drummers Elvin Jones and Billy Higgins, vibraphonist Bobby Hutcherson, trombonist Steve Turre,
trumpeter Danny Moore, a harpist and (on "Origin" and "Central Park West") five vocalists.
The music always holds on to one's interest, making this one of Sanders's better later recordings.
~ Scott Yanow, All Music Guide

Tracklist:

1. 1. Rejoice - Pharoah Sanders, Sanders, Pharoah


2. 2. High Life - Pharoah Sanders, Sanders, Pharoah


3. 3. Nigerian Juju Hilife - Pharoah Sanders,


4. 4. Origin - Pharoah Sanders, Sanders, Pharoah


5. 5. When Lights Are Low - Pharoah Sanders, Carter, Benny [1]


6. 6. Moment's Notice - Pharoah Sanders, Coltrane, John


7. 7. Central Park West - Pharoah Sanders, Coltrane, John


8. 8. Ntjilo Ntjilo/Bird Song - Pharoah Sanders,


9. 9. Farah - Pharoah Sanders,

Quali: 320 kBit/s
Size: 105 MB
Source: Vinyl

Download:
http://rapidshare.com/files/189349034/PSR.part1.rar
http://rapidshare.com/files/189350553/PSR.part2.rar

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CODONA III(1982)

Biography
CODONA is a fusion jazz trio born during the late 70’s.
CODONA’s name is derived from the leading letters of the first names of its three members.
It has an Indian feel due to the presence of sitar/tabla player Collin Walcott (“co”).
He is accompanied by the trumpeter Don Cherry (“do”) who is a founder of free jazz,
(notably worked with the Indian jazz fusion artist L. Shankar),
the adventurous Brazilian percussionist Nana Vasconcelos (“na”),
also known for his work with the Pat Metheny Group. N...CODONA is a fusion jazz trio
born during the late 70’s.

Next to Walcott personal “eastern” touch, this project is also a great fusion between
several “world” influences, from Africa, to Japan. Three “eclectic”, “ethereal” albums have
been released for ECM.
They are all essential for fans of "world" fusion jazz music.

Tracklist:

1. CODONA - III - 1. Goshakabuchi


2. CODONA - III - 2. He Da Ba Doom


3. CODONA - III - 3. Travel By Night


4. CODONA - III - 4. Lullaby


5. CODONA - III - 5. Trayra Boia


6. CODONA - III - 6. Clicky Clacky


7. CODONA - III - 7. Inner Organs

Quali: 320 kBit/s
Size: 105 MB
Source: Vinyl

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http://rapidshare.com/files/185620428/C3.part2.rar

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Rip Rig & Panic - I Am Cold(1982)

Biography by John Dougan
Named after a terrific '60s jazz album by Rahsaan Roland Kirk, Rip, Rig & Panic answered the question:
What happens when avant-garde post-punks collide headlong with a pop/soul singer and play a mutated form of jazz?
A loosely knit collection of ex-Pop Group members (Gareth Sanger and Bruce Smith) and young stars-to-be (Neneh Cherry),  Rip, Rig & Panic formed in 1980 as quintessential avant-garde bohemians. They eschewed pop for a more primal, percussive foundation (slightly reggae, slightly Afro-pop), upon which was layered free jazz blowing and honking, soulful singing, and Cecil Taylor-inspired piano mania. But, as intense as this music was, it wasn't done with a dry academic seriousness; quite the contrary,  Rip, Rig & Panic were all about fun and playfulness. Even the song titles ("Constant Drudgery Is Harmful to Soul, Spirit & Health"  and "Those Eskimo Women Speak Frankly") sounded more like surreal announcements than they did traditional, catchy song titles. Arguably the most likable bunch of avant-garde types ever to record music, Rip, Rig & Panic called it a day after three mostly wonderful, if somewhat inconsistent records. If your taste in music, even fringe music, is such that a strong melodic focus is necessary, than perhaps this won't be your cup of tea. However, if you don't mind a little chaos with your funk, then give this heady mix a chance; it will work its way into your heart, head, and feet. As for the members, Bruce Smith joined Public Image Ltd. for a spell, and Neneh Cherry became a huge pop star (deservedly so) with her first solo record.

Personnel:

Gareth Sager, Sean Oliver, Mark Springer, Bruce Smith
with:
Don Cherry (Trumpet)
Neneh Cherry (Vocals)
Jez Parfitt (Baritone Saxophone)
Flash (Saxophone)
David De Fries (Trumpet)
Andrea Oliver (Vocals)
Giles Leaman (Percussion)
Steve Noble (Drums)
Sarah Sarahandi (Viola)
Debbie (Cello)
Alph Wait (Trombone)

Tracklist:

1. 01. Rip Rig & Panic - Storm the Reality Asylum               3:47


2. 02. Rip Rig + Panic - Warm to the if in Life           4:46


3. 03. Rip Rig & Panic - LIARS Shape Up or Ship Out          2:03


4. 04. Rip Rig & Panic - Epi Epi Arp WOOSH!            4:34


5. 05. Rip Rig & Panic - Nurse Increase The Sedatives          4:28


6. 06. Rip Rig & Panic - TAKE A DON KEY to MYSTERY          3:21


7. 07. Rip Rig & Panic - TAX SEX              5:48


8. 08. Rip Rig & Panic - Hunger (The Ocean Roars It Bites)  3:44


9. 09. Rip Rig & Panic - You're My Kind Of Climate            2:48


10. 10. Rip Rig & Panic - HERE GATHERS NAMELESS ENERGY  4:18


11. 11. Rip Rig & Panic - MISA LUBA Lone Wolf    5:40

Quali: 320
Size: 107 MB
Source: Vinyl

Dowmload:

Mp3:

http://rapidshare.com/files/185536132/RRAPIAC_320.part1.rar
http://rapidshare.com/files/185536565/RRAPIAC_320.part2.rar

Lossless(Flac):
http://rapidshare.com/files/185541004/RRAP_AC_F.part1.rar
http://rapidshare.com/files/185545522/RRAP_AC_F.part2.rar
http://rapidshare.com/files/185548427/RRAP_AC_F.part3.rar

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Al Di Meola - Consequence of Chaos(2006)

Personal:

1. Al DiMeola - guitar


2. Gumbi Ortiz - percussion


3. Ernie Adams - drums, percussion


4. Mario Parmisano - keyboards


5. Kornel Horvath - udo drum, shaker


6. Victor Miranda - bass guitar

Also:

1. Steve Gadd - drums


2. Chick Corea - acc. piano


3. John Patitucci - el. acc. bass


4. Barry Miles - piano, keyb., marimba

Tracklist:

1. San Marco (Moderna)


2. Turquoise


3. Odyssey


4. Tao


5. Azucar


6. Sanctuary


7. Hypnose


8. Red Moon


9. Cry For You


10. Just Three Words


11. Tempest


12. Storm Off-Shore


13. Black Pearls


14. Africana Suite1


15. San Marco (Vecchio1)

Quality: 320 kbps cbr
Size: 152 mb

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http://rapidshare.com/files/179850623/ADMCOC320.part1.rar
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