Gismonti has been amazingly prolific in making many great albums from early 70's up to mid 90's. Typically, his music is somewhat "rough" but very powerfull, emotive, rich, risky and bold during all the 70's. It is mostly acoustic work with many Gismonti's vocals too. It is a little difficult to access because of the complexity; but once you are in, it will stay with you forever. Most of this earlier work is under EMI or lately reissued under Gimsonti's CARMO labels.

John Zorn & Masada - Gimel (1994) {DIW Records Japan DIW-890} (Volume 3of10)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 314 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1994 DIW Records Japan | DIW-890
Jazz / Avant-Garde Jazz / Klezmer / Post Bop / World Fusion / Ethnic Jazz

The unique and fresh voice of John Zorn's Masada reigns triumphant once again on this third installment, Gimel. Zorn has challenged and reinvented the face of modern jazz with this quartet. Expanding on traditional Jewish music of various types and adapting it to a jazz environment seems a daunting task, but one that Zorn and company (Joey Baron, Greg Cohen and Dave Douglas) have done well. Zorn's choice of personnel is impeccable, and this is evidenced by the intricate yet powerful sound.

Chico Buarque's fifth album for Philips is a classic, where nearly all the songs became hits. Buarque was featured in an acoustic setting, almost completely aloof from the tropicália movement (the courageous orchestration of Construção is very reminiscent of the influential work by Rogério Duprat). He delved into the Brazilian tradition of sambas and romantic or doleful songs, coming up with "Deus Lhe Pague" and "Construção," both having strong lyrics subliminally criticizing the military dictatorship; "Cotidiano," existentially thematic, revolving around the man-woman relationship routine; "Olha Maria" (written with Tom Jobim and Vinícius de Moraes), a sad separation farewell; "Samba de Orly," a reference to the French airport and city that became paradigms of the exiled Brazilians; "Valsinha," a beautiful love story; and other immortal songs in which the genius of the composer meets sensitively and reverently the heart of the Brazilian feel.

Traditional Hawaiian slack key guitar from Molokai where James Keli'ipio Kahea Mawae was born and raised. Keli'i learned slack key guitar from his tutu (grandmother) Lucy Kapika Mahina Panaewa on the homestead. His Aloha shines forth through the music.

The international release The Paul Simon Anthology was a two-CD abridged version of the three-CD box set Paul Simon 1964-1993. For this version, the first two discs of the box set were condensed into a single CD, while the third disc, left untouched, was now the second disc. This accentuated one of the weaknesses of the box set, weighting the selections even more heavily toward Simon's later work. Here, his recordings originally released between 1965 and 1983 (including six Simon and Garfunkel tracks) made up the first disc, and the second disc covered only the period 1986-1993, and really 1986-90, since the only recordings released after 1990 were "Thelma," an outtake from the 1990 album The Rhythm of the Saints and three performances from the 1991 live album Paul Simon's Concert in the Park. While the abridgment seemed to have been made with an eye on the British charts, for the most part eliminating only songs that had not been hits in the U.K. (the exceptions being "America" and "Take Me to the Mardi Gras"), the album still didn't function as a full-fledged greatest hits album, lacking such British chart singles as "Homeward Bound" and "I Am a Rock" (neither of which were on Paul Simon 1964-1993, either).

Breaking Silence finds Ian ditching her past waifishness for a confident, mature, contemporary acoustic approach relying mostly on spare guitar and piano textures. Opening with "All Roads to the River" (also recorded by John Mellencamp), Breaking Silence includes among its highlights the Holocaust-survivor tale "Tattoo" and the dramatic half-a cappella, half-syncopated-rocker title track.

This album comprised the first full-length work by Johnny Cash and Waylon Jennings as a duo, though they had previously worked together as part of the Highwaymen, the existence of whose three LPs may account for the relative neglect that Heroes has received. And it is one of the most obscure records in either artist's output, a fact that's astonishing, given the quality of the music, the singing, and the overall production. Co-produced by Chips Moman, and with Cash and Jennings at the top of their game (and so good at what they do that they make it sound easy), there's not a weak point anywhere here. There's almost no original material on this album, which doesn't make it any less personal than something that Cash or Jennings might have composed themselves: they throw themselves into the music and make it their own, with Moman and the other players smoothing out the whole creation.

John Zorn & Masada - Beit (1994) {DIW Records Japan DIW-889} (Volume 2of10)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 341 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 300 dpi (jpg) -> 6 Mb | 5% repair rar
© 1994 DIW Records Japan | DIW-889
Jazz / Avant-Garde Jazz / Klezmer / Post Bop / World Fusion / Ethnic Jazz

John Zorn's absorption of klezmer motifs into avant-garde jazz is remarkable in itself, but even more extraordinary is Masada's utter command of the two genres' fiercely visceral energies. Fueled by Joey Baron's ferocious drumming and Zorn's savage, apocalyptic squeal, Beit is an archetype of focused intensity. (Anyone dying for truth in jazz needs only to hear "Peliyot" to be instantly transfixed and astounded.) Baron and Greg Cohen are among the most powerful and perceptive rhythm sections in any genre, and Dave Douglas, one of the most brilliant trumpeters of his generation, continues to lend immaculate support. Simply stated, this is one of jazz's greatest groups.

This two-CD sampler is most highly recommended for listeners not familiar with Stan Getz's recordings of the 1950s and '60s. Starting with a version of "Stella by Starlight" that co-stars guitarist Jimmy Raney, this set matches Getz's cool tenor with such artists as trumpeters Dizzy Gillespie and Conte Candoli, trombonist J.J. Johnson, baritonist Gerry Mulligan, pianists Oscar Peterson, Bill Evans and Chick Corea, valve trombonist Bob Brookmeyer and vibraphonist Gary Burton. Also included are his two main bossa nova hits "Desafinado" and "The Girl from Ipanema" along with a couple of tracks from Getz's highly-rated Focus album. It's a fine overview of the great tenor's middle years.

The third Garcia/Grisman album, this one concentrating on the traditional 'folk' song aspect of their repertoire.

Released in 2015, Grapefruit’s 3-CD multi-artist British underground folk compilation Dust On The Nettles was widely praised, with a five-star review in The Times hailing it as “a delight from beginning to end”. A long-overdue follow up to that set, Sumer Is Icumen In tightens the mesh by focusing on the point when traditional folksong and the burgeoning late Sixties counterculture collided, largely courtesy of seminal acts like the Incredible String Band, Fairport Convention and Pentangle.

On the first album they’ve released together since they were partners in The Jayhawks in 1995, singer/songwriters Mark Olson and Gary Louris reconvene for a recording that's unlikely to disappoint fans of their old band. But while they mine a thoughtful country-folk vein that’s not far removed from Jayhawks territory, Olson and Louris take a somewhat softer, more acoustic-based, balladic approach here than they did in the Jayhawks days, lending Ready for the Flood a warm, honeyed glow.

Van Morrison never stopped recording during the 1990s, but for a little while it seemed as if he was disconnected from his muse. It wasn't so much his series of jazz cover albums – he'd return to this vein often in subsequent decades – but his songwriting that showed signs bitterness, particularly on 1995's Days Like This, where he seemed dismissive of the very notion of being a songwriter. In that light, it's hard not to see 1997's The Healing Game as a rejuvenation. Indeed, the album's very title suggests that Morrison is in the process of mending fences and reconnecting with a sense of joy, a process that began during his deep dive into Mose Allison and other bluesy jazz artists in the mid-'90s. Morrison retains that sense of swing on The Healing Game – he also retains keyboardist Georgie Fame, who would become a fixture on Morrison's albums over the next two decades – and it invigorates a set of songs that aren't necessarily all that different from what he's been writing as of late; he's still specializing in ballads, blues, and folk-rock colored by R&B.

Himekami (姫神) is a Japanese musical group. The name is derived from Mount Himekami in Morioka, Iwate Prefecture. The group was founded in 1980 by composer Yoshiaki Hoshi as Himekami Sensation (姫神せんせいしょん Himekami Senseishon), and includes synthesizer player Yoshiki Hoshi (星吉紀) and vocalists Wakako Nakajima, Tomoko Fujii, Junko Shiwa, and Yoriko Sano. The group changed its name to Himekami in 1984.