| Su | Mo | Tu | We | Th | Fr | Sa |
|---|---|---|---|---|---|---|
| 27 | 28 | 29 | 30 | 31 | 1 | 2 |
| 3 | 4 | 5 | 6 | 7 | 8 | 9 |
| 10 | 11 | 12 | 13 | 14 | 15 | 16 |
| 17 | 18 | 19 | 20 | 21 | 22 | 23 |
| 24 | 25 | 26 | 27 | 28 | 29 | 30 |
Have you ever wondered what your name says about you? At KoalaNames.com, we’ve decoded over 17,000 names to uncover the cosmic and numerical energies woven into every letter.
Our unique blend of astrology and numerology delivers:
If there's such a thing as post-modernist Jazz-Funk, it surely sounds like this.
![Fruupp - Seven Secrets (1974) [Wasabi Records Japan, WSBAC-0021]](https://pixhost.icu/avaxhome/6a/17/003d176a_medium.jpg)
Seven Secrets is a pensive follow-up that shows the band stretching out into lengthy and varied suites like "Garden Lady." The album's dynamics can be a bit irritating at times – the production too often toys with very soft passages that may cut it in the symphony hall, but get tiresome anywhere else…
![The Meters - A Message From The Meters: The Complete Josie, Reprise & Warner Bros. Singles 1968-1977 [2CD] (2016)](https://pixhost.icu/avaxhome/f7/cd/006fcdf7_medium.jpg)
Accetto Miracoli is one of the most anticipated albums of this Christmas: an amazing album by Tiziano Ferro. Produced by Timbaland and anticipated by two singles, Buona (Cattiva) Sorte and Accetto Miracoli both at the top of the digital and airplay charts, is an album that Tiziano immediately defined as "fresh, honest, energetic, born of the need to deliver me to new experiences ". I accept Miracoli is a renaissance album and certainly working with Timbaland has meant that Tiziano's great writing talent has been able to compare with musical reality, and the result is surprising. The album contains 12 songs that move easily within broad genres and sounds but which, at the base, maintain the integrity and solidity of the TZN signature. There are the ballads "alla Tiziano Ferro", the ones he knows how to write; there are mid-tempo songs that are so popular on the radio; there are the up-tempo songs, the ones that when you do them live, pull the stadiums down. Collaboration in the Italian album, announced via social media, is the duet with Jovanotti in Balla Per Me, the "Hit Killer" of this record.
Headed by Snarky Puppy’s multi-Grammy–winning percussion duo of Robert “Sput” Searight and Nate Werth, Ghost-Note is an explosion of sound. With an expansive roster of next-level musicians—representing members of Prince, Snoop Dogg, Erykah Badu, Herbie Hancock, Kendrick Lamar, Marcus Miller, Toto, Justin Timberlake, and more—the band is pushing funk music into the future, building on the uplifting, pioneering foundations laid out by the likes of James Brown and Sly & The Family Stone and infusing their fresh take with tastes of afrobeat, hip-hop, psychedelia, world folklore, and more.
Omni's 2012 Bobby Bare two-fer pairs the 1975 LP Hard Time Hungrys and the 1976 set The Winner and Other Losers, the latter of which has never seen CD release prior to this. Hard Time Hungrys is one of Bare's key '70s albums: an ambitious set of songs written by Shel Silverstein, all concerning the plight of the working class. An admirable record somewhat undone by the interspersing of spoken word interviews between songs, the record picks up the thread from 1973's Lullabys, Legends and Lies – also written by Silverstein – and starts to ratchet up the country influence, feeling a little bit leaner and harder, which is appropriate for the album's subjects.
Oh Land is the stage name of Danish singer and artist Nanna Øland Fabricius. "Family Tree", Oh Land's first album in 5 years, is a deeply personal reflection on family, loss and love, and is a much more intimate album than anything she's released before. It was produced by Thomas Bartlett, known for his work with Sufjan Stevens, The National, St. Vincent, Florence & the Machine and many others. "Since the release of my last album, Earth Sick (2014), I've experienced the biggest ups and downs of my private life," explains Oh Land. "Through it all, music has been the friend who always listens and never judges. In melody and music I've found some healing and the songs that have come out of it are deeply personal."
John Patitucci amply demonstrates that there's more to him than just great bass chops, but that there's a serious composer/arranger at work as well, one who's not afraid to experiment and try new things that will challenge himself and his listeners.
Recorded live at Umbria Jazz late last year, with no preceding rehearsals, this is a mostly fabulous two-pianos set by superstar Corea, who was 70 in June, and the 38-year old Bollani.The performances are playful and intensely melodic, with only the opening improvisation sounding a little forced.
This venture into Scottish early music is a first for Temple Records - the label known mainly for its emphasis on traditional Scottish music. It is also the recording debut for The Rowallan Consort. Formed in 1994 by Robert Phillips and William Taylor, they uniquely combine the sound of the lute and the wire-strung harp (clarsach) to beautiful effect. With guest singers Mhairi Lawson and Paul Rendall, they have researched and perform songs and music dating from 1400-1700.
Guitarist John Cephas and harmonica man Phil Wiggins, both natives of Washington DC, first joined forces in 1977, and for nearly 30 years now they've been turning out modern, shined-up interpretations of traditional rural blues, with Cephas increasingly adding his own songs to the mix. To their credit, the duo doesn't really try to replicate the traditional material they tackle, but rather they interpret it within their own framework, which means a lot of the rough edges are knocked off, an approach that is either a good thing or a bad thing, depending on where one stands on the issue of performance purity in the blues…
As with Ornette Coleman, the late Paul Termos had a biting, mournful, and searing voice on alto sax that was capable of speaking volumes with a single phrase. This first Paul Termos Sessions volume finds the saxophonist in a duo with the eccentric pianist Misha Mengelberg, who is as good a partner as can be imagined. When Termos erupts with clipped clusters, as he sometimes does, Mengelberg encourages him by lying low, but the pianist also fills spaces dramatically when the occasion demands it, and Mengelberg's own low-tech solos are almost always worth hearing.
![Atomic Rooster - Atomic Rooster (1970) [2016, Belle Antique BELLE-162588, Japan]](https://pixhost.icu/avaxhome/b3/01/003f01b3_medium.jpg)
The incipient incarnation of Atomic Rooster – with Vincent Crane (organ/vocals), Nick Graham (vocals/bass), and Carl Palmer (drums) – was together just long enough to document its debut, Atomic Roooster (1970) – (note: the extra O is intentional). Prior to the last-minute addition of Graham – the only bassist Atomic Rooster ever had – the band emerged from the remnants of the then recently defunct Crazy World of Arthur Brown…
Little is known of Francesco Spinacino and Joan Ambrosio Dalza, the authors of Ottaviano Petrucci’s tablatures which appeared in 1507 and 1508 in Venice. From an instrumental point of view, Petrucci’s collections demonstrate complete mastery of the technical resources of the lute, presenting many virtuoso pieces. They each contain musical material that is different in concept and compositional style. Spinacino favours the vocal production of the Franco-flemish School: Josquin, Brumel, Ockeghem, Ghiselin…transcribing for lute both chansons and sacred motets.