El tiempo va y viene constantemente en Monzón, la serie. El relato comienza con aquella fatídica madrugada del 14 de febrero de 1988, cuando muere Alicia Muñiz, pero la verdadera historia arranca mucho antes, en la década de 1950, en la juventud del personaje de Monzón.Ese constante movimiento temporal fluye en la conciencia del espectador gracias a un excelente trabajo narrativo en el que la música tiene una parte central. En palabras de Sergei Grosny, el cráneo detrás de esa obra musical, “acompañar el desdoblamiento temporal sin que quede un cocoliche, fue el mayor desafío”.

Between 1975 and 1983 Jordi Savall and the vocal and instrumental ensemble Hespèrion XX made a dozen recordings which remain indispensable to our knowledge of the richness and vitality of early Spanish music. They include performances not only of art music from the courts of Ferdinand and Isabella, and later Charles V and Philip II, but songs by women troubadours of the early 13th century, Sephardic romances and a justly famous recording of 14th-century pilgrim songs from the Llibre Vermell of Montserrat. Eight of these recordings were subsequently remastered for CD and are now brought together in this budget-priced Black Box.

Enjoy this Compilation with the most successful Jazz, Bossa Nova singers like Corcovado Frequency, Ghetto Blaster Ltd., Shirley Adamson, Ituana and many more!

NAPOLI – Metti tre amici di vecchia data, tre professionisti affermati, tre innamorati della propria arte, shakera il tutto ed ecco venir fuori le musiche di “5 e’ il numero perfetto”. Questa la formula, l’alchimia, alla base della colonna sonora del film tra quelli protagonisti delle ‘Giornate degli autori’ all’ultima mostra del Festival del Cinema di Venezia. Realizzate da D-Ross e Startuffo, le musiche che puntualizzano la spy e love story cinematografica nascono da una diretta richiesta di Igort, regista di “5 e’ il numero perfetto” e autore della graphic novel che ha ispirato il lungometraggio. Lui – spiega alla Dire Startuffo, al secolo Sarah Tartuffo – voleva omaggiare la tradizione delle grandi colonne sonore che hanno fatto la storia del cinema mondiale. Questa indicazione artistica e’ stata, sin dall’inizio molto chiara”.

A rendition of a tango operita, commissioned by the Argentinian Ministry of Culture (this rendition anyway), was revived by violinist Gidon Kremer, who had such a love for the original LPs from Piazzolla and Horacio Ferrer that he wanted to recreate the music. Ferrer was kept on as El Duende (the Goblin) – the role that he created when he wrote the libretto thirty years earlier. Regrettably, Piazzolla had passed on prior to the remake. Nonetheless, the arrangements and orchestrations are remarkable. The suffering and the passion of Maria (the main character in the show) are perfectly portrayed by the tango. The music changes forms as her character progresses, taking on traditional tangos, modern tangos, milongas, waltzes, and other styles to reflect changes in Maria. The music is always well-composed. This is an opera for the display of modern music, and the tango of Piazzolla is modern music at its finest.

Enjoy this Compilation with the most successful Jazz, Latin singers like Caramba! The Latin Classics Vol.1 Don Azpiazu Havana Casino Orchestra, Pupi Campo, Francisco Alves and many more!

The album contains 2 CDs with twenty-seven songs including the previously unreleased track "Quale senso abbiamo noi", produced by Don Was and Zucchero and registered in August 2012, in Havana, during the preparation of the album "La Sesion Cubana" great success this year and now multiplatinum disc. The DVD includes the full recording of the concert, an exclusive documentary and 2 new videos. From "Guantanamera" with his big hits, the show documents the great triumph of the music of Zucchero.

Christmastime in Vienna is a Christmas music collaboration between vocalists Placido Domingo, Patricia Kaas, and Alejandro Fernandez. The incredible amount of vocal talent found on the disc can be a bit overwhelming, especially on the numbers sung by opera star Domingo. But what results is a decent album of holiday songs given the royal treatment by the three singers. Especially impressive is Kaas, who stands out as the most charismatic vocalist of the trio.

Los Wembler's est le groupe légendaire de Iquitos, la Capitale de l'Amazonie au Pérou. Les cinq frères Sanchez qui composent le groupe sont des pionniers de la Cumbia amazonienne qui ont joué un rôle essentiel dans le mouvement Chicha des années 1970. Le groupe, qui a écrit et enregistré des grands classiques comme "Sonido Amazonico" et "La danza del Petrolero" n'ont vraiment jamais céssé de jouer au Pérou depuis toutes ces années mais c'est par l'initiative de quelques producteurs et par un mouvement Cumbia de plus en plus présent dans le monde que Los Wembler's attisent les plus curieux et franchit les frontières apres plus de 20 ans d'absence en decidant de revenir sur le devant de la scène.

A few years later of “Vamos A Comer” EP (2010 © Lovemonk) and the “Unexpected Tapas” (2011 © Lovemonk) album releases, the Basque-German DJ & music maker, Mikel Makala, and the producer and director of the Gasteiz Big Band, Jimmy Bidaurreta, join forces again to create a new album called “Descarga Libre” (2019 © Orrua Diskak). Now the Basque duo strikes with the same purpose to rescue those Latin, Jazz, Funk and Descarga to Nuyorican Salsa sounds of labels like Fania, in combination with club & dancefloor rhythms. In the beginning of 2019 they’re back with a new album containing 7 originals songs, giving continuity to that brilliant sound they have signed together & have already obtained remarkable admiration from some international reputed DJs, producers and radio hosts.

Alcantara is a testament to the beauty of simplicity. This CD holds deliciously exotic music spun from the lovely singing of Moroccan vocalist Amina Alaoui and light but expressive guitar and percussive accompaniment from Henri Agnel and Bijan Chemirani. Empty of any sublime pretensions or girlish Western tone, Alaoui sings simply and maturely–with the love for her Anadalusian heritage spilling naturally through. Her style reminds one of Cesaria Evora–not singing to impress but to preserve and celebrate her culture's music. Rooted in a Muslim dynasty of Spain that ruled from the 8th to the 15th century, Andalusian music has a distinctly ancient, Arabic feel that's not particularly melancholy, certainly not solemn–just lyrical and elegant. And Alaoui portrays these qualities with a rare grace and expertise. To mine for more gems of Amina Alaoui's talent, check out her first U.S. release, Gharnati: Arabo-Andalusian Music of Morocco.

Thievery Corporation's Eric Hilton and Rob Garza have always treated the line between acoustic and electronic music as a drunken sailor might, unpredictably falling on one side or the other with equal frequency. By this measure, The Richest Man in Babylon is their soberest effort to date, striding confidently into jazz, soul, world beat, and other styles with a direct, reverential approach. The band's last record, Sounds from the Verve Hi-Fi, featured a set of classic jazz tunes unadorned with remixes or reinterpretation. But the songs on Babylon are originals, incorporating not just jazz but Afro-beat, Brazilian dance, Persian and Indian music, reggae, and psychedelia, all while making expert use of new and old collaborators like Sleepy Wonder, Lou Lou, and Shinehead. Icelandic singer Emiliana Torrini makes an instant impression on the first track, "Heaven's Gonna Burn Your Eyes," her voice freeing the song's melody and structure with just a few hypnotic bars. It's hard to call this an electronic record at all; even their dub-influenced tracks miss a certain studio sheen, as if Hilton and Garza simply waded into a sweltering Jamaican beach party and hit record. But while it misses the ambient, ethereal edge that made The Mirror Conspiracy a downtempo classic, Babylon satisfies with organic energy and tasteful eclecticism.

A collection of Latin masterpieces using Mexican high-pitched guitars and Lekinto guitars.

Trois ans après « Na Estrada », le trio brésilo-breton nous emporte dans un nouveau voyage irrésistiblement dansant à travers les rythmes du Nordeste brésilien, à commencer par le forro, roi des bals populaires enfiévrés. Maria Caetano (chant), Marcelo Costa (percussions, chœurs) et Yann Le Corre (accordéon, chœurs) célèbrent les rythmes traditionnels sud-américains, sans se priver de les pimenter de leurs propres compos.

La présence espagnole en Amérique du Sud ne tarda guère à susciter un syncrétisme musical absolument fascinant, notamment à l'époque baroque, dont on a récemment redécouvert les prodigieuses richesses et qui influe directement sur les pratiques musicales actuelles. La Chimera se concentre pour ce programme sur une région emblématique de l'Amérique du Sud, composée originairement par des territoires Guaranis et Incas, plus tard dominée par les Jésuites, pour arriver à nos jours avec les noms de Paraguay, de Bolivie, de Pérou, de Chili et d’Argentine.