TheHeckler is a quartet influenced by contemporary urban jazz sounds found manly at the New York and Barcelonas underground. Present-day jazz in which youll hear music elements from pop-rock, new-bop and free jazz; elements always treated with the acoustic format, a way to guarantee a very jazzy sound.
Their first album, called Heckler City, its a compacted project. It was thought from its beginning to fit the bands formation and with clear references to the notion of city. It smells like city. It builds heavy atmospheres, maybe humid, a bit dark, autumn style. The album and the entire quartet project remind us of a capital city. Big cities with thousand of stories that, as flash of light, appear and disappear without leaving trace they are jus too many.
Years before J.S. Bach paved the way toward what is now largely considered the height of the German Baroque, Dietrich Buxtehude was hard at work in northern Germany on his own individual union of the Italian and French Baroque styles. His Op. 1 is a sumptuous, dynamic set of seven sonatas scored for violin, gamba, and continuo (played here by cello and harpsichord). Unlike composers both before and after him, Buxtehude was far from formulaic when it came to the organization of his sonatas, each one having its own unique combination and sequence of movements.
Excellent addition to any prog rock music collection
One of South America’s better groups, El Reloj had an all too brief recording 70’s career and just two albums, their debut being in a much harder rock vein in the Purple line. This one is much proggier and is in my top ten South American records. Just like its predecessor’s reissue, the album starts out with bonus tracks (which I always found rather unsettling and non-respectful of the album itself. Fortunately this occurrence is rare enough in prog (I can only think of Germany’s Parzival with an even stranger set up where bonus tracks bookend the album tracks.
Excellent addition to any Jazz-Fusion music collection
Lito VITALE, is an Argentine musician, composer and arranger.
By the eighties he started his solo career with “Sobre miedos, creencias y supersticiones”.
In 1980 Vivencia released a new conceptual work that included musicians such as Oscar Cardozo Ocampo, Machi Rufino and Diego Rapoport (Spinetta Jade), among others.
Juan Rodriguez known as Juan El Flaco is a flamenco guitarist born in 1973 in France (Lyon currently resides) to a Gypsy family (The Marians and Los Bolecos), originally from Almeria. Self-taught guitarist, he has performed with leading figures of modern flamenco and Potito, Guadiana, Enrique The Piculabe, David de Jacoba, Saul Quiroz, Rafiki Madrid, Miguel El Rubio, Pack, Piranha, Manolo Franco, Vicente Amigo, Esperanza Fernandez, Chicuelo Miguel Poveda, Paloma Fantova, Jose Maya, Belen Lopez, Karime Amaya, … and their performances have been featured on numerous European stages (Switzerland, Italy, Hungary, Germany, France, ….).
A clear improvement over the debut in all levels: songwriting, performance, lyrics, depth, emotion. The album is a bit more mature, though it doesn’t totally leave behind the cheery naive sound of the debut behind, as you can clearly hear on the catchy piano track “Bienvenidos al Tren”.
The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
“This album titled “4to LP” by León Gieco.
But, Who is this singer? First, is Argentine and his the country-rock style. Somewhere I read that is the “Bob Dylan of South America”. If I could make a comparison would be with Neil Young (Band’s instrumentation, guitar, harmonica, etc).
What I like about Gieco? His voice, completely outside to the model of most Argentine groups and soloists, as Luis A. Spinetta and Charly García, model to follow.
This LP, in my opinion, is the highlight of the Gieco’s discography. I bought it for the song “Solo le pido a Dios (I only ask to God)” and a part taken from a recital in which appears the beautiful ballad “Canción de amor para Francisca”.
“Dear fans and friends of LPs, now I beginning a series on the influential Argentine scene, in terms of rock music and its derivatives are concerned. This at the request of several followers-music lovers.