Julia Holter has scored the movie Never Rarely Sometimes Always, as Film Music Reporter notes. The film, directed and written by Eliza Hittman, premieres at Sundance on January 24, followed by a wide release on March 13 (via Focus Features). According to Sundance’s synopsis, Never Rarely Sometimes Always follows a teenager named Autumn who heads to New York following an unintended pregnancy. Julia Holter released her latest record, Aviary, in 2018. She has previously scored the British TV series Pure and the 2016 boxing movie Bleed for This.

‘Moving Music: Sounds from the Rocking Chair’ is a curious collection of lower case drones, minimalism and microtonal music assembled by Moving Furniture Records.

Pianista y compositor, nacido en Buenos Aires, Argentina, en el año de 1986. Realizó una formación clásica en el Conservatorio Superior de Música Astor Piazzola, posteriormente se formo en la carrera de Jazz del conservatorio Manuel de Falla. En 2016 lanzo su primer material discográfico "Fricción y Ficción" con obras de su autora con el trio que tiene conformado desde 2014, Diana Arias en contrabajo y Federico Isasti en batería. El trio ha participado del Festival de Jazz de Villa Ramallo (edición 2016) y en el 2017 es elegido para participar del Festival de Jazz de Buenos Aires como una de las nuevas propuestas musicales de la escena actual. Ademas el grupo mantiene una actividad constante en club de jazz, bares, teatros y centros culturales.

Only some twenty works out of what was originally a far greater number of secular cantatas have survived in performable condition. They nevertheless offer a welcome complement to our image of Bach the church musician, and reveal a composer who approached secular music with the same artistic integrity and demand for quality that we find in his sacred music.

After a series of performances at the Théâtre de la Monnaie in Brussels in 1892, Jérusalem does not appear to have been shown for another 70 years on any other stage. It was not until 1963 that the conductor Gianandrea Gavazzeni committed himself to rediscovering the opera and produced it in Italian at the Teatro La Fenice in Venice. In 1975 the RAI Turin presented the still rarely performed work in concert-form with a distinguished cast (Katia Ricciarelli and José Carreras) – this time in its original French. All later theatre and record productions are based on the material used for the RAI performance, although this in no way combined the Paris Escudier score score-critically with the Italian arrangements.

Weather Report's ever-changing lineup shifts again, with the somewhat heavier funk-oriented Leon "Ndugu" Chancler dropping into the drummer's chair and Alyrio Lima taking over the percussion table. As a result, Tale Spinnin' has a weightier feel than Mysterious Traveller, while continuing the latter's explorations in Latin-spiced electric jazz/funk. Zawinul's pioneering interest in what we now call world music is more in evidence with the African percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on the previous two albums and Alphonso Johnson puts his melodic bass more to the fore. While not quite as inventive as its two predecessors, this remains an absorbing extension of WR's mid-'70s direction.

All things being relative, this is Weather Report's straightahead album, where the elaborate production layers of the late-'70s gave way to sparer textures and more unadorned solo improvisation in the jazz tradition, electric instruments and all. The flaw of this album is the shortage of really memorable compositions; it is more of a vehicle for the virtuosic feats of what is considered by some to be the classic WR lineup – Joe Zawinul, Wayne Shorter, Jaco Pastorius, Robert Thomas, Jr. and Peter Erskine. For Erskine, this is is first full studio album and he amply demonstrates his terrific sense of forward drive unique among the other superb drummers in WR annals.

Franco Cerri - Franco Cerri and His European Jazz Stars (1959) {Japan Mini LP DIW-3018 rel 2009}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 110 Mb | MP3 @320 -> 74 Mb
Full Artwork @ 600 dpi (jpg) -> 96 Mb | 5% repair rar
© 1959, 2009 Columbia Records Italy / DIW Records | DIW-3018
Jazz / Cool / Bop / Guitar / Saxophone

A gem of a session from Italian guitarist Franco Cerri — recording here at the end of the 50s with a well-titled batch of European jazz stars ! The groups shift slightly throughout the set, and players include Lars Gullin on baritone sax, Flavio Ambrosetti on alto, George Gruntz on piano, and Pierre Favre on drums ! The album features one trio track, three quartet numbers, three quintet tunes, and one sextet cut — all of them with Cerri's illuminating single-line work on guitar — sounding especially nice next to the horns. Ambrosetti is a real treat here — a sharp-edged player we'd never heard before, working with a strong undercurrent of soul that we really appreciate.

Perhaps the only subject more interesting than headlining act making major waves while on tour is the history of the venues where this occurs, and few places inspire such inquiries to the same degree as London’s The Roundhouse. Originally constructed in 1846 as a turntable engine shed for the London and Birmingham Railway, by the mid-20th century it had become an important performing arts and concert hall that would be a favorite venue for such iconic bands and artists as Pink Floyd, Jimi Hendrix, Jeff Beck, Led Zeppelin, The Ramones and Motörhead. Suffice it to say, such a location is a prime outlet for one of Germany’s most ferocious purveyors of thrash metal to record their first live album following 2017’s “Live Antichrist” release. Relative to said release, Kreator’s latest foray into neck-ruining mayhem outside of the recording studio dubbed “London Apocalypticon – Live At The Roundhouse” ups the epic factor something fierce while sparing no expense in the aggression department…