 Artist: Dave Liebman: mp3 download Genre(s): Jazz Discography:  Homage to John Coltrane Year: 1987 Tracks: 10  Sweet Hands Year: 1975 Tracks: 7  Drum ode Year: 1974 Tracks: 7  Lookout Farm Year: 1973 Tracks: 3 ![Dave Liebman with Franco D'Andrea - 1990 - Nine Again [Red]](http://img.mp3fiesta.com/covers/30/30709/alb_126511_th.jpg) Dave Liebman with Franco D'Andrea - 1990 - Nine Again [Red] Year: Tracks: 1  A Chromatic approach to Jazz Harmony and Melody Year: Tracks: 57 Dave Liebman has developed through magazine to become i of the summit soprano saxophonists in jazz. A extremely single and explorative (still versatile) improviser wHO can elongate from bop to free, Liebman studied early on with Lennie Tristano and Charles Lloyd. He gained crucial receive playing with Ten Wheel Drive (1970), Elvin Jones (1971-1973), and Miles Davis' fusion mathematical radical (1973-1974). Liebman formed Lookout Farm in 1974, the commencement of several groups (including Quest in the 1980s) that teamed his reeds with piano player Richie Beirach. By the late '80s, he had largely dropped the tenor voice to boil down on treble and once in a while champagne flute, although he made a rare recording on tenor for Double-Time in 1995. Dave Liebman, wHO is very active in jazz education and has written several books, has recorded for a infinite issue of labels through the eld as a leader, including PM, ECM, Horizon, Timeless, Palo Alto, Impulse, Soul Note, Heads Up, Storyville, Owl, CMP, Red, and Candid. |
Wednesday, 10 September 2008
Download Dave Liebman mp3
Sunday, 31 August 2008
Taylor Swift's Got a Fan in Joe Jonas
Joe Jonas appears to be more than than simply friends with country singer Taylor Swift. At the very least, he's a devoted fan.
Joe, 19, accompanied Swift's concert at the Cruzan Amphitheatre in West Palm Beach, Fla., Sunday night, E! News has learned only. Swift, 18, was the opening act for Rascal Flatts.
"He arrived about five minutes before the show started and stood side by side to the soundboard," says Mishelle Rivera, assistant promotions director at Miami's Y100 radio station, who watched the concert just a few feet from the middle Jonas.
"He was wearying a Yankees baseball hat and nerve-wracking no to be noticed. He was really into the demonstrate. You could tell he was really focused on her."
Rivera says that Joe rarely took his eyes off Swift during the entire hourlong set and that he immediately went backstage to see Swift following the show.
Joe took time off from his busy touring schedule to make the show. He played a concert with his brothers in Holmdel, N.J., Saturday night and tonight will play at the Verizon Wireless Amphitheater in Virginia Beach, Va.
Swift, who before in the week shot scenes with the Jonas boys in NYC for their newfangled movie, mentioned Joe in her most recent blog: "I�ve had an awful week, I�ve been in NYC
Thursday, 21 August 2008
Download Lillith mp3
 Artist: Lillith: mp3 download Genre(s): Metal: Gothic Discography:  Survive the Cold Eternity Year: 2002 Tracks: 15 The combined efforts of producer Scott Gibbons and vocal subscriber Rachel Wilson, Lilith is an experimental electronic/dark ambient group with feet ingrained with equalize force in industrial and "power electronics." Unlike artists commonly associated with the latter iI genres, notwithstanding, Lilith's music is conceived from the standpoint of simpleness and resourcefulness, with Gibbons' artful approaching to the musical potentiality of terrene objects and exclusively identical minimum production slickness substituted for industrial/noise music's laconic, often messy cheek. A calibrate of the University of Chicago Master's programme in the Philosophy of Religion, Gibbons' undergrad and graduate careers were split betwixt books and unhindered improvisational outings, offset with the Chicago tout ensemble New Elementals, so solo as Nipple Runs and Laughingwind. The Elementals were as famed for their live performances (which often included expand costumes, dramatics, and pyrotechnics), and Gibbons has maintained his gustatory perception for last performance both as a solo artist and with Lilith. Gibbons released respective self-produced tapes -- both with the Elementals, as well as under his solo guises -- before forming Lilith in 1991 with vocalist Rachel Wilson, with whom he'd worked periodically in the past. Like earlier material, Gibbons' Lilith tapes were dominated by an unsettling mixture of sparse, treated instruments and percussion, just with increasing truck apt to a heavily conceptual approach to ground good and unremarkable objects (rocks on Rock, spokesperson and hint on Agelaius phoeniceus). Unlike many sound hackers, yet, Gibbons prefers real time manipulation, with single-track studio improvisations restricting generational levelheaded experiments to placement and piece of music (although he does enjoyment computers, mainly for material time processing). Gibbons' Lilith material at long last began finding a bigger audience in 1992, with his first official pour forth, Stone, issued by the Belgian experimental label Sub Rosa, and he's since been featured on compiling releases side by side with such artists as Locust and David Toop. Gibbons' ongoing involvement in the extremes of spirituality and sex likewise stay on to inform his music, with themes derivation from Theosophy, Crowleyan numerology, and sexual aberration cropping up both in song-titles and conceptual motifs. 1999's isolationist symphonic music orchestra Field Notes marked his number one mercantile establishment for World Domination, a teaming that would only furnish one record album under the Lilith nickname. After operative on several other projects, Gibbons off back to his pet design and released Imagined Compositions for Water on Les Disques Hushush. |
Monday, 11 August 2008
A. Kowalski and D. DeSantis and Di
Artist: A. Kowalski and D. DeSantis and Di
Genre(s):
Techno
Discography:
Reasons
Year: 2002
Tracks: 10
Wednesday, 6 August 2008
'Tell No One' a word-of-mouth hit
Music Box Films scores with sleeper indie
Its title notwithstanding, "Tell No One" is becoming the word of mouth hit of the summer.
With almost no advertising, Guillaume Canet's superimposed mystery around a doctor wrongly suspected of kill his wife has, in a month of very limited discharge, earned $1.7 zillion and has still so far to fully widen. The movie has increased its box-office, oftentimes by impressive double-digit percentages, every week of its platform rollout.
But even more than surprising than the box office of the two-hour French-language film with a generally unknown contrive is the story of the company behind its U.S. button, Music Box Films, a startup distributer that grew out of a Chicago arthouse dramaturgy only last year.
The label's founder, a lawyer and real estate entrepreneur named William Schopf, came to the moving-picture show business most by prospect. He number 1 only owned the bulding in which Chicago's Music Box arthouse theater was housed, then took it over when the tenant moved out.
Last year, Schopf decided to become a distributor -- in part, he says, because it felt like a smarter way to expand than opening more theaters, simply in portion because he wanted to do something for his employees. "It seemed wish it would give some of the people world Health Organization worked for us more than career options," he said. Schopf likewise hired Palm Pictures stager Ed Arentz, who nowadays works full-time from New York.
After deuce micro-releases, the company picked up "Tell No One." The flick had a level of intrigue because it was based on Harlan Coben's bestselling novel. But it was passed over by some of the speciality divisions -- Arentz wonders if the film's commercial success in France worked against it -- opening up the door for a startup like Music Box.
Still, it took more than sextuplet months from when the company first gear showed interest last summer to close a plow with gross revenue agent Europa Corp.
In some ways, the movie's success has even surprised its distributor. "We were a little taken aback by how well the plastic film opened," Arentz said.
So what's driving ticket office? Strong reviews from the New York Times, L.A. Times and New Yorker have for sure helped, in particular with the film's elder demo. And the cinema does take a intimate genre that a host of conspiracy-minded mysteries and movies like "The Fugitive" have long dwelled in. Press years for Canet -- unusual for a small foreign film -- in New York and L.A. get also fueled interest.
But Arentz notes that there's only so much that commode be accounted for. "I've love to be capable to take credit for it but I don't think we've innovated as well significantly," he said. "I think you might regular call it a well-chosen accident."
Observers besides say one can't rebate the burden of timing. With summer movies bigger and splashier than ever, and studio specialty divisions cutting their slates, it's easier for an indie to slip between the cracks.
"Tell No One" is enough of a wagon-lit hit that a number of studios have even asked to borrow a print, presumably for remake rights (a deal Europa Corp. is said to be interested in making). The success has besides caused some specialty execs to appear to it it as a heartening tale in difficult times --even if it also (mildly) stirs other juices.
"One's competitive spirit is somewhat piqued when someone else else does well with a moving-picture show and you think 'Why didn't we have that?'" aforementioned Miramax head Daniel Battsek. "However, when you stand back and look at it from a general point-of-view, "Tell No One" shows that this thought that masses have stopped going to a certain kind of movie is just non right."
Music Box wants to react cautiously to the "Tell No One" gaolbreak. In the fall it will release another French film, Emmanuel Mouret's amorous comedy "Shall We Kiss?" and plans to stick to its plan for 4-6 indie and alien movies per year. "We don't want to make an overhead situation where we on the spur of the moment have to release films," Arentz said, adding, I've been suggesting that it's possible "Tell No One" may be the biggest movie we ever experience. And I think we'd be o.K. with that."
More info
Its title notwithstanding, "Tell No One" is becoming the word of mouth hit of the summer.
With almost no advertising, Guillaume Canet's superimposed mystery around a doctor wrongly suspected of kill his wife has, in a month of very limited discharge, earned $1.7 zillion and has still so far to fully widen. The movie has increased its box-office, oftentimes by impressive double-digit percentages, every week of its platform rollout.
But even more than surprising than the box office of the two-hour French-language film with a generally unknown contrive is the story of the company behind its U.S. button, Music Box Films, a startup distributer that grew out of a Chicago arthouse dramaturgy only last year.
The label's founder, a lawyer and real estate entrepreneur named William Schopf, came to the moving-picture show business most by prospect. He number 1 only owned the bulding in which Chicago's Music Box arthouse theater was housed, then took it over when the tenant moved out.
Last year, Schopf decided to become a distributor -- in part, he says, because it felt like a smarter way to expand than opening more theaters, simply in portion because he wanted to do something for his employees. "It seemed wish it would give some of the people world Health Organization worked for us more than career options," he said. Schopf likewise hired Palm Pictures stager Ed Arentz, who nowadays works full-time from New York.
After deuce micro-releases, the company picked up "Tell No One." The flick had a level of intrigue because it was based on Harlan Coben's bestselling novel. But it was passed over by some of the speciality divisions -- Arentz wonders if the film's commercial success in France worked against it -- opening up the door for a startup like Music Box.
Still, it took more than sextuplet months from when the company first gear showed interest last summer to close a plow with gross revenue agent Europa Corp.
In some ways, the movie's success has even surprised its distributor. "We were a little taken aback by how well the plastic film opened," Arentz said.
So what's driving ticket office? Strong reviews from the New York Times, L.A. Times and New Yorker have for sure helped, in particular with the film's elder demo. And the cinema does take a intimate genre that a host of conspiracy-minded mysteries and movies like "The Fugitive" have long dwelled in. Press years for Canet -- unusual for a small foreign film -- in New York and L.A. get also fueled interest.
But Arentz notes that there's only so much that commode be accounted for. "I've love to be capable to take credit for it but I don't think we've innovated as well significantly," he said. "I think you might regular call it a well-chosen accident."
Observers besides say one can't rebate the burden of timing. With summer movies bigger and splashier than ever, and studio specialty divisions cutting their slates, it's easier for an indie to slip between the cracks.
"Tell No One" is enough of a wagon-lit hit that a number of studios have even asked to borrow a print, presumably for remake rights (a deal Europa Corp. is said to be interested in making). The success has besides caused some specialty execs to appear to it it as a heartening tale in difficult times --even if it also (mildly) stirs other juices.
"One's competitive spirit is somewhat piqued when someone else else does well with a moving-picture show and you think 'Why didn't we have that?'" aforementioned Miramax head Daniel Battsek. "However, when you stand back and look at it from a general point-of-view, "Tell No One" shows that this thought that masses have stopped going to a certain kind of movie is just non right."
Music Box wants to react cautiously to the "Tell No One" gaolbreak. In the fall it will release another French film, Emmanuel Mouret's amorous comedy "Shall We Kiss?" and plans to stick to its plan for 4-6 indie and alien movies per year. "We don't want to make an overhead situation where we on the spur of the moment have to release films," Arentz said, adding, I've been suggesting that it's possible "Tell No One" may be the biggest movie we ever experience. And I think we'd be o.K. with that."
More info
Thursday, 26 June 2008
Joe Ely
Artist: Joe Ely
Genre(s):
Other
Country
Rock
Discography:
Silver City
Year: 2007
Tracks: 10
Streets of Sin
Year: 2003
Tracks: 12
The Best of Joe Ely
Year: 2000
Tracks: 20
Letter to Laredo
Year: 1995
Tracks: 11
Musta Notta Gotta Lotta
Year: 1991
Tracks: 1
Live at Liberty Lunch
Year: 1990
Tracks: 13
In the '70s, country & western was full of artists referred to as outlaws, mavericks world Health Organization bucked the stodgy Nashville music establishment by piece of writing their have songs, recording with their road bands, and producing their have records. The genre produced a cut of acts of the Apostles, simply Amarillo, TX, native Joe Ely epitomized the form. Unlike most of that era's vainglorious name calling, Ely remained a viable creative person. He got his start back up in the early '70s, functional with Butch Hancock and Jimmie Dale Gilmore in a chemical group called the Flatlanders. Their only record album didn't go far, and the group skint up. (Rounder reissued the record album in 1990.) Around the mid-'70s, Ely formed an eclecticist group that was able to swing from Cajun and western to honkie tonk stomps and rockabilly; they were signed to MCA in 1977. Ely released an eponymic debut that class, victimisation songs written by ex-Flatlanders Gilmore and Butch Hancock and throwing in some of his possess road-worn, oddly poetic originals. The side by side yr brought Honkey Tonk Masquerade, the cornerstone of Ely's legacy and unitary of modernistic country's most ambitious albums. Further albums (especially Resilient Shots, recorded during his European turn with the Clash) brought Ely to the tending of stone fans and netted enraptured reviews in area and bulge magazines (simply, cryptically, produced no hits). MCA dropped Ely in 1983, and he woodshedded until 1987, when the sovereign Hightone label signed him and released Nobleman of the Highway. Another Hightone album followed before Ely (whose influence was existence matt-up by the new spawn of land neo-traditionalists) re-signed with MCA, releasing some other live set and Love & Danger. Twistin' in the Wind followed in 1998, and Live at Antone's arrived two years later along with MCA Nashville's Topper Of compendium. Ely remained an up-and-coming and passionate live performer and an on occasion inspired songster, releasing Streets of Sin in 2003 on Rounder Records and entry his possess mark, Rack'em Records, with 2007's Happy Songs from Rattlesnake Gulch.
Faye Wong - Wong Bachchan Named Asias Sexiest Vegetarians
Kruder and Dorfmeister
Artist: Kruder and Dorfmeister
Genre(s):
Electronic
Dance
Trip-Hop
Discography:
The K&D Sessions
Year: 1999
Tracks: 21
Count Basic Remixes
Year: 1999
Tracks: 13
G-Stoned
Year: 1996
Tracks: 4
Conversions: A K&D Selection
Year: 1996
Tracks: 10
A Journey Into Ambient Groove
Year:
Tracks: 1
The trip-hop production duad of Peter Kruder and Richard Dorfmeister has gained more than fame for its stellar remixes and DJ sets than as producers of its possess exercise. By engineering reworkings of tracks by a put of artists ranging from William Orbit and Bomb the Bass to Bone Thugs-N-Harmony and United Future Organization, the Austrian twosome became one and only of the nigh well-thought-of names in the dancefloor community.
Kruder & Dorfmeister's standing increased with the issue of two acclaimed 1996 DJ albums: Conversions for Spray/BMG and DJ Kicks for Belgium's Stud!o K7. After forming their possess G-Stone Records, the mate ground a distribution carry on with Quango and released the G-Stoned EP in mid-1996. Though they remained in use with remix exercise and DJ gigs during 1997, it wasn't until late 1998 that another release appeared, The Kruder & Dorfmeister Sessions. Dorfmeister as well appears in the side-project Tosca with Rupert Huber, spell Kruder released an album on G-Stoned in 1999 as Peace Orchestra. [Meet Also: Tosca, Peace Orchestra]
Counting Cards in Vegas
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