"Re: RED" is a sequel to the "Re:" series released in 2012, which includes remixes and rare sound sources, and will allow KASHIWA Daisuke to fully enjoy the electronic, precision and arrangement aspects. World's end girlfriend remixes "Requiem", a masterpiece of KASHIWA Daisuke's own ferocious electronica truck. Includes valuable unpublished arrangement / remix songs such as HIROTO from A9 and matryoshka.

Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc.
He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits,
and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

Strut present the definitive official reissue of this landmark album in the field of African music originally released in 1972. Recorded in New York, Mulatu of Ethiopia arrived at a time when Astatke had begun to master the delicate fusion of styles needed to create Ethio jazz. The album represents the first fully formed document of his trademark sound. It features ‘Kulunmanqueleshi’, ‘Dewel’, and ‘Kasalefku-Hulu’, tracks that Mulatu would return to regularly on singles and in live shows, the Ethio-Latin workout ‘Chifara’ and the self-titled groover ‘Mulatu’: “I wanted to make a track for myself!”

Sur « Atea » l’accordéoniste Didier Ithursarry ouvre la porte de l’univers qu’il a créé avec Pierre Durand à la guitare et Joce Mienniel aux flûtes. Loin des formats habituels, le trio invite à pénétrer dans un espace vibrant qui puise son inspiration dans le monde, ses paysages et ses traditions musicales. Inspirés, les musiciens fondent un monde imaginaire qui transporte l’oreille dans des ailleurs dépaysants, vibrants et passionnants.

The origins of Agalloch date back to 1995 and the disintegration of the band Aeolachrymae. As that group died, three phoenixes emerged from the ashes, Sussurrus Inanis, Nothing, and Agalloch. Mixing black metal with atmospheric textures, gothic doom, and neo-folk and post-rock touches, the Portland, OR-based group quickly developed a rabid cult following.

Abdullah Ibrahim's spiritual and very melodic South African folk music is always worth hearing and his individuality remains quite impressive. This set, recorded live at the Montreux Jazz Festival, features the pianist (who also plays a bit of soprano and adds his emotional voice to the proceedings) with his longtime altoist Carlos Ward, bassist Essiet Okun Essiet, drummer Don Mumford and vocalist Johnny Classens. The music, dealing with themes related to South African life, is quite personal, unique and surprisingly accessible.

Hank Mobley - Third Season (1967) {Blue Note 97506, Connoisseur CD Series rel 1998}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 272 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 21 Mb | 5% repair rar
© 1967, 1998 Blue Note / Capitol | 7243 4 97506 2 3 | 20-bit SBM - Ron McMaster
Jazz / Hard Bop / Saxophone

Tenor saxophonist Hank Mobley recorded frequently for Blue Note in the 1960s (six albums from 1967-1970) and, although overshadowed by the flashier and more avant-garde players, Mobley's output was consistently rewarding. For this overlooked session, which was not issued until 1980 and then finally reissued on CD in 1988, a regular contingent of top Blue Note artists (Mobley, trumpeter Lee Morgan, altoist James Spaulding, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins) are joined by a wild card, guitarist Sonny Greenwich.

This album was written by Composer Joshua Cusack in late 2018 to celebrate his graduation from his undergraduate degree at the Western Australian Academy of Performing arts. The concept of the album was to write a modern jazz album for large ensemble heavily featuring free improvisation as well as electronics.
"The outcome was dark brooding and like no large ensemble jazz I have heard before." - Joshua Cusack, Composer arranger.
"His willingness to take risks, go for ideas, and break the rules which makes this project an ambitious and exciting first recording for someone who will no doubt go on to producing interesting and creative music in the future. Congratulations Josh and welcome to the large ensemble club, we've been expecting you." - Mace Francis

The guitar has played a major part in the evolution of Brazilian music, especially during the twentieth century. On this recording the charm, beauty and sensuality of Brazilian guitar music can be heard in pieces as diverse as Marco Pereira’s Pixaim, a fast rhythmic dance originating from North-East Brazil, João Pernambuco’s cheeky Blackbird, the classic song Girl from Ipanema by Antonio Carlos Jobim, a founder of the Bossa Nova movement and, from Brazil’s most famous composer, Heitor Villa-Lobos, the hauntingly lyrical Sentimental Melody, written for the film Green Mansions in 1957.

Salif Keita - Soro (1987) {Mango–Island Records IMCD 243 842775-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 241 Mb | MP3 @320 -> 92 Mb
Full Artwork @ 600 dpi (png) -> 34 Mb | 5% repair rar
© 1987 Mango Records / Island Records | IMCD 243 / 842775-2
Afro-Pop / World Funk / World Fusion / West African

Soro is the album that brought Salif Keita international stardom though he was already well-known in West Africa from his work with The Rail Band and Les Ambassadeurs. Keita's voice is in peak form, soaring and swooping with awe-inspiring power. For these sessions, Keita has gathered an all-star band that is innovative, solid, and turn-on-a-dime tight. The production, state of the art in 1987, sounds just as bright and fresh today. This CD draws its strength from the rich traditions of Malian culture, melded with cutting edge musical technology, and a global outlook. All of the tracks on Soro are crucial, though the bittersweet "Cono" and the intricate and epic title track "Soro" (Afrika) are standouts.