Jordi Savall (born 1941), one of the world's leading players of the viola da gamba, founded the ensemble Hespиrion XX in 1974. Savall's goal — and that of co-founders Montserrat Figueras, Hopkinson Smith, and Lorenzo Alpert — was to explore lesser-known repertories of the European Middle Ages, Renaissance, and Baroque periods; their special love has been early Spanish music. The group has toured over five continents and produced well over 50 recordings (many on the Astree Audivis label). The group's membership changes with the repertory of an individual recording or performance project, and with the particular orchestration envisioned by Savall.
Essential: a masterpiece of progressive rock music
Triana were at the forefront of the nascent Rock Andaluz of the mid-1970s with their particular blend of flamenco and progressive rock, characterised by multi-layered analogue keyboards, elaborate flamenco guitar and intense, at times tortured, vocals. Flamenco is of course a musical genus from Andalusia; the neighbourhood in Seville that gave this Spanish trio its name is generally considered to be the birthplace of flamenco. Triana, ‘the gitano barrio’, was home to a large population of Romani people who usually lived in communal homes, called corrales, which were organised around a patio. Many corrales have now disappeared due to housing pressure thus the patio is an important symbol of gitano culture and of the struggle between tradition and modernity. While Triana’s ‘El Patio’ has similar cultural significance it differs in that it features the harmonious synthesis of tradition and modernity, represented respectively by flamenco and progressive rock.
This superb disc of music by one of Spain's most talented early 16th century composers is exactly the sort of boost that the less well-known repertoire needs in its search for a place in today's CD collection. It is in every way a model of what a recording of Renaissance polyphony ought to be… The all male vocal ensemble sings with enormous conviction as well as firm control of rhythm and phrasing. Combining the voices with energetically played sackbuts produces a rich and dark-hued sound that feels authentically Spanish, and does full justice to this very fine music.
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.