The Best in Asian jazz,fusion,
Smooth jazz, Blues, and other genres.All forms of fusion,
Comments,requests, and contributions[of music] are welcome.Lossless and Lossy posts..
Here's a classic, great stuff enjoy..
Long awaited hard-to-get CD "Jun Fukamachi & The New York All Stars Live"has been reissued at last. It was live recorded in Tokyo Japan in September of 1978 with all star dream band from New York City. The sound of the band is similar to Arista Allstars who recorded "Blue Monreux", but the quality of the performance is much better in this Japanese live album.
1. Rocks
2. Sara Smile
3. Virginia Sunday
4. Inside Out
5. I'm Sorry
6. Dance of Paranoia Op.2
7. Gypsy Jello
8. Jack Knife
9. Love Play
Related Artists:::
Jun Fukamachi
Randy Brecker
Michael Brecker
David Sanborn
Mike Mainieri
Richard Tee
Steve Khan
Anthony Jackson
Steve Gadd
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Link in comments:::thanks again to "smooth" for original files.....A MUST HAVE FOR FANS [HTF]
Due to the reported story of them returning,I'll continue to post LL versions of their releases.
Casiopea Live is the third live album by Casiopea, released in 1985. This is also Casiopea's 14th album overall.
Recorded Ryōgoku Kokugikan, Tokyo at April 27, 1985, Released December21,1985
1. Down Upbeat --5'38" [from Down Upbeat]
2. Continental Way --5'55" [(from Down Upbeat]
3. Fabby Dabby ---4'07" [(from Jive Jive]
4. Twilight Solitude --5'19" [from Down Upbeat]
5. Marine Blue --4'15" [from Halle]
6. Looking Up --8'25" [from Photographs]
7. Eyes Of The Mind --[from Makeup City]
8. Asayake--5'31" [from Super Flight]
9. Galactic Funk --7'01"[from Cross Point]
Related Artists:::
Issei Noro - Electric guitar Minoru Mukaiya - Keyboards Tetsuo Sakurai - Electric Bass Akira Jimbo - Drums
flac only
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Link in comments:::thx to 'another' for original files.
This is the 1st from them ,there is a 2nd [ANOTHER SIDE, IF ANYONE HAS IT].LIMITED TIME..
EAST WIND POT is a new pot in the kitchen of Japan's Progressive, though the band's founder keyboardist Yuko Tsuchiya (ex-Theta) isn't a novice on the scene.
Analysis. It sometimes happens that the content of the so-called supporting material enclosed with a CD strongly conflict with the actual state of affairs. Here is just such a case. In the press kit, the music of East Wind Pot is described as something between pure jazz and jazz-fusion with some hints of Prog in the style of Weather Report, Brand X and Chick Corea. With no fear of being upbraided for being too self-confident:-), I assert that this statement is quite groundless. No pure jazz here. The points of comparisons are altogether useless. Well, the distinct originality of the music in conjunction with its pronounced progressiveness, raised to the power of the musicians' competence in composition coupled with their mastery in the performance department, is the only virtue of East Wind Pot's eponymous debut album. But who would dispute this virtue's all-embracing nature? Even that little cluster of the Prog audience who mistakenly consider Jazz-Fusion to be a non-progressive genre might feel comfortable listening to this recording, at least for the most part. I will explain. I think only Blue Monday (which is the shortest track here) may evoke non-recognition in some Prog Rock lovers, due to its closeness to orthodox Jazz Rock, whose typical features, such as syncopated movements with unison solos and some sketchiness in theme-formation, evince themselves quite often here. The relatively long drum solo on April Dancer makes even me somewhat nervous, though just because it divides this fully coherent and logically evolving composition - elegantly sliding right between Art-Rock and Jazz-Fusion - into two parts instead of concluding it, for instance. That said, precisely half of the compositions here are as if expressly (why not just so, on the other hand?) designed to eliminate the distinction between a symphonic and improvisational harmony, most if not all of the soloing parts being composed. The other two pieces placed in the service of this kind deed are Dr. Bloodmoney and L'Aiquile Creuce, although these bring a distinct chamber sense in addition, as they're abundant in acoustic textures, which are woven by the piano, saxophone, clarinet, oboe and some other woodwinds. Organ and bass are the only electric instruments involved here, while drums and percussion are also acoustic, as well as everywhere else on the album. The 12-minute Whom I Loved in My Childhood starts off with the long Classical-like prelude, reveals elements of Classical music in future too, and is the richest in symphonic colors in general. It's full of genuine melodic beauty, though to my personal taste, the events develop somewhat smoother than was necessary. My favorite composition, Minotaurus, is the least melodic, plus it's not devoid of some essential asymmetric constructions. The music is in a state of constant evolution and is often harsh and angry, perfectly fitting the piece's title. When playing organ, Tsuchiya actively presses down on the Distortion pedal, eliciting sounds resembling meaty guitar riffs, though the composition is too manifold to describe it in its entirety. I'll better content myself with the notion that it's just brilliant, to my understanding. [from progressor]
1. Dr. Bloodmoney 7:00
2. Whom I Loved in My Childhood 12:06
3. Minotaurus 6:48
4. Blue Monday 5:05
5. L'Aiquile Creuce 9:09
6. April Dancer 8:34
Thanks to 'another' for the original files.
Nice integration of some acoustic sounds into a synthetic fabric. Very rich sounds, the middle ground of Jazz, Pop, New Age and Soundtrack instrumentals. Out of print and rare.
TS: Shigiragi Rock situates the central of Sri Lanka and is the ruin with height of 159 meters and used to be a mecca of the Buddhist.
Mystery of Life
Direction
Tomi-to-Eiga [Weath and Prosperity]
Shigiragi Rock
Kure Nai-no-Umi [Sea in Crimson]
Elephant Parade
Southern Island
Lines on the Snow
Kanashimi-no-Trap [Trap of Sorrow]
Mother Nature
Diamond Dust
kyo-Kkou (the Aurora) [The polar light]
Could you please remove the links on your page http://ibis56.blogspot.jp/2011/02/bottom-rhythm-jam-st.html ?
Also please delete the file available at http://sharebee.com/8786faec .
Bottom Rhythm Jam got some attention on aurgasm.us and the same week sold less than ten albums just after that
on iTunes. Your file on sharebee.com had had been accessed 1,163 times as of today.
Could you please tell me what to say to Koske, Shimi, Ghandi and Tarue when they ask why we can't record more
with them because there's no money to pay the studio?
With this email, I'd like to politely ask you to from now on never post any material that we, Basis Records, own the
exclusive rights to.
Best regards,
Mikael Makino
mikael@basisrecords.com
01. Smoky
02. Crisis
03. Step
04. Encounter
05. CoreG
06. Shoulder
07. Miscount
08. DizzyDance
Link in comments:::Thanks to 'blak' for the link..
They will be reuniting and playing later this year, though not the same group entirely..CASIOPEA 3RD..
Their first performance as CASIOPEA 3RD will be held at "TOKYO JAZZ 2012", in the beginning of September, at Tokyo International Forum.
There's a picture of members on the top page of Official HP.
> http://www.casiopea.co.jp
Both of the releases that were posted , [ha dead links anyway] but were removed after Terrain asked that they be deleted.. They will not be reloaded...JJ
Been looking for his stuff for awhile, thanks to 'xyzz' & roio' for these.If you like YMO, you'll love these.1st release.. Hideki Matsutake (born August 12, 1951 in Yokohama, Kanagawa Prefecture, Japan) is a Japanese composer, arranger, and computer programmer. He is known for his pioneering work in electronic music and particularly music programming, as the assistant of Isao Tomita during the early 1970s and as the "fourth member" of the band Yellow Magic Orchestra during the late 1970s to early 1980s.[1]
Through his participation in the session recording of Ryuichi Sakamoto's 1978 album Thousand Knives, he joined the recordings of Yellow Magic Orchestra during 1978-1982 as their sound programmer, to become known as "the fourth member" of the group. In 1981, he formed a unit of his own under the name Logic System, which released its latest album in 2008. He also continued to take part in solo activities by YMO members such as Haruomi Hosono and Yukihiro Takahashi beyond the group's breakup in 1983. He was also a member of the video game music group Akihabara Electric Circus in 1988[2] and composed music for the 1996 video game Guardian Heroes.[3] Today, Matsutake is also Chairman of Japan Synthesizer Programmers Association (JSPA).
It was in 1970 when Hideki Matsutake was grabbed by the playback of Walter Carlos's Switched-On Bach using a synthesizer and a computer at the American Pavilion of Expo '70 in Osaka. In June the following year at his age of 19, he makes his first step into professional music as an apprentice to Isao Tomita, providing him the chance of operating one of the few Moog III-P sythesizer units existing in Japan.
Establishing a company of his own named Musical Advertising Corporation (MAC) in 1974, his involvements with new music artists such as Yoshitaka Minami and Akiko Yano started. In 1978 he participated in the production of Ryuichi Sakamoto's first album, Thousand Knives. In the following years between 1978 to 1982, Matsutake served Yellow Magic Orchestra as its sound programmer, eventually to become known as "the fourth member" of the band. He also led sequencing work for numerous Technopop albums by other artists, especially at the beginning of the 80s.
In 1981, Matsutake formed "Logic System" with Makoto Irie, with whom he toured to perform in other Asian countries several times. The unit has released 10 albums to date, 2 out of them released in 8 countries. Its latest album is Tansu Matrix, released in 2008. He was also a member of Akihabara Electric Circus, which released the chiptune album Super Mario Bros. 3: Akihabara Electric Circus in 1988.[2] He also composed the video game music for Treasure's Guardian Heroes in 1996, alongside Nazo Suzuki.[3] Matsutake is currently Chairman of Japan Synthesizer Programmers Association (JSPA).
1. Intro 0:41 2. Unit 4:50 3. Domino Dance 4:15 4. 天変地異(Convulsion of nature) 3:01 5. XY? 4:16 6. Talk Back 4:13 7. Clash(Chinjyu of Sun) 4:15 8. Person to Person 4:17 9. Logic 4:15 [トータルタイム 34:29]
From Japan, an already consecrated prog state of art, comes - close in modern, alternative and resonating times - the band NAIKAKU (full name is Naikaku-No-Wa, with the meaning of Internal Nuclear Tide). At first Satoshi Kobayashi (bass) and Kazumi Suzuki (flute) formed the band, in mid-1998, and initiated their music, but eventually the lineup grew towards an eclectic sextet, drummer Norimitsu Endo, guitarist and trumpeter Mitsuo Muraoka, flutist Naoko Higashi and guitarist Kei Fushimi joining. They played, before the debut and the mature emphasis, in clubs such as Yokohama Club 24, plus they managed frequently into the "Instrumental Festival" (or "Instrumental Freak"), by 1-3 gigs, held per month, which promoted them inside the community and outside the rough language. A contest of "All Japan Indies" earned them, in 2000, a third prize. Their first album, "Wheel Of Fortune", caught an unexpected appreciation around many zones, and the tag of "progressive modern rock" immediately followed. NAIKAKU started playing on full shows, for their album release, or played along bands like MANDOG or POCHAKAITE MALKO in 2004 and 2005. In 2006, with Noako leaving the band, and, to some surprise, with Kei Fushimi being left off the major lineup, plus with keyboardist guest Daishi Takagi, NAIKAKU released a second album, "Shell", which is considered a very evolved new music, with much art and intense progressiveness.
NAIKAKU comes very skilled into a various music earthshake. Many reflections state a heavy modern Jazz-Fusion, with complementary Hard to Eclectic Rock, plus various moments of subtle metal gearing, indie ragging, alternative play, post-tempo, avant-garde hollow shots and vivid associations of the progressive instrumental latency. Furthermore, NAIKAKU seems to please a usual creation, a hectic instrumental twist, several intense, complex and intriguing concerns, plus a mainstream point of pleasure, and a heavy impede. Experimentation is at sight, by leveled-up art-work. Nu-metal and punk rock don't seem that much excluded, but obviously the evolution towards eclecticism makes the two albums have a strong lust, equally for the shockwave plodding and for the interchange complexity. Or even for a moderate 70s feel, given the sound, the melody, the harmony and the essential flavor between the much expanded dimensions and tones. Eastern motives don't miss out much, in several places. Sometimes their furiousness makes a more opaque sense into the dynamic and very much alive talent semblance, still the band is eagerly planning a breakdown of instrumental power and a light entertainment of miscellaneous composition. Uncomplicatedly picked (and picketed) from heavy and dissonant, from spacey to "exhausting", NAIKAKU easily wins an appreciation inside its most achieved music-memory and style-assiduousness.
The notes on influences, adapted influences or relative band/music correlations can be, itself, an impressive paragraph towards what NAIKAKU has oriented, or, rather, towards what critics and listeners have come to appreciate (or to allude, even slightest) in them. I'm mainly quoting the large ideas that are present and circle around NAIKAKU's "behavior". The hard rock can't associate better than KING CRIMSON, going somehow on the classic examples, when perhaps their 90s dark-garde is undeniably closer to veracity. ANEKDOTEN isn't far itself, being however the possible source and anthrax only of some pieces and impressions. DREAM THEATER (or at least the guitar strike, marking Petrucci's bonhomie) is the more unadventurous sign that some of the best dredges in this music correlates with a metal impulse and with a heavy doze of loop clutter. Flutist Kazumi Suzuki, highly talented, helps to such extent the art aroma of the music, as she comes leveled to jazz nuances of MAHAVISHNU or (who else) the tenacious Ian ANDERSON. Since they covered the "Hocus Pocus" jovial improvisation, by FOCUS, it's easy to think a lot towards that prog cornerstone (either, again, by the flute works, or by something else...). In other measures, since the band somehow gets classified around "having an Italian string", LA ZONA comes in mind. AFTER CRYING, by the same likeliness. If ever a psychedelia in them, OZRIC TENTACLES are a prime ideal. The fusion finally bares the lost of all resemblances, but OSANNA was mentioned properly. Essential remains, to all this (both comprised and dispersed, sufficiently adapted and sporadically mentioned) articulacy, to tell that NAIKAKU surely provokes a broadwith of multiple arts and multiple music styles, "trivializing" on a jazzy modern hard rock fusion ornament.
So with two releases already to their credit, NAIKAKU strive to evolve their music into something new by adding artistic visual images to the sounds of progressive rock. This changes the experience dramatically and unrestrictedly, where lyrical "stillness" and technical "movement" are well harmonized. "Shell", of 2006, is specifically considered a masterpiece and an evolved definition for the group and their living animation, going from the "happy" quality of progressive and craft to more different and surprised moments of personal music calamities and closed multi-motioned compositions. Being almost a concept of intricate, powerful, plus busy and loud distorted adventure. Or "a manic that won't depress", as I've read.
For the modern breath take of several nuances, NAIKAKU are only illusory heavily and alternatively simple-headed, but are instead able to fully convince of an experiment within many nuances of prog and a fashionable treat of (style) fusion inside a heavy, heart cord, commencing fast-forward eccentricity. Combining the wild jam nature with more darkened technical stubbornness, or the intelligent melody innovation with the captivating music sojourn. In all means, an impressive flavor for recent prog, a massive heading towards the referential.
(some parts of the bio are taken from several sources and reviews)
1. Revolution 2. Please! 3. Shell 4. In Short, You've Just Changed "Point Of View", Don't You? It's Only A Superficial Part, Right? Modern? Or Post-Modern? We Don't Care. Go Home! Go Back To That Sea! 5. Lethe 6. CRISIS 051209 1 Exit 2 Crisis 3 Exit 4 Crisis 5 Exit
Thanks to my friend 'fen' for the re upload, as always appreciated.. 1. CRUISING 2. SLEEP WITH ME TONIGHT 3. HOT BREATH 4. LET ME GROOVE YOU 5. ST.VALENTINE'S NIGHT 6. JOY TOY 7. STILL 8. MELTING MOOD 9. BAILANDO 10. LOVE IS A SMILE~dedicated to Mr and Mrs Lakey~
Related Artists::: by song
CRUISING
MUSICIANS MUSIC : HIDEFUMI TOKI LYLICS : WORNELL JONES, MAXAYNE LEWIS ALTO & SOPRANO SAX : HIDEFUMI TOKI KEYBOARDS : MINORU MUKAIYA GUITAR : AKIRA WADA BASS : BOBBY WATSON DRUMS : TONY ST. JAMES CHORUS : WORNELL JONES MAXAYNE LEWIS JOY TOY JAMM
SLEEP WITH ME TONIGHT
MUSICIANS MUSIC : BURT BACHRACH, CALORE BAYER SAGER, NEIL DIAMOND ALTO SAX : HIDEFUMI TOKI KEYBOARDS : MINORU MUKAIYA GUITAR : TSUNEHIDE MATSUKI BASS : BOBBY WATSON DRUMS : TONY ST. JAMES
MUSICIANS MUSIC : HIDEFUMI TOKI LYLICS : WORNELL JONES, MAXAYNE LEWIS SOPRANO SAX : HIDEFUMI TOKI KEYBOARDS : MINORU MUKAIYA GUITAR : AKIRA WADA BASS : BOBBY WATSON DRUMS : TONY ST. JAMES CHORUS : WORNELL JONES MAXAYNE LEWIS JOY TOY JAMM
ST. VALENTINE'S NIGHT
MUSICIANS MUSIC : MINORU MUKAIYA ALTO SAX : HIDEFUMI TOKI KEYBOARDS : MINORU MUKAIYA
JOY TOY
MUSICIANS MUSIC : HIDEFUMI TOKI LYLICS : WORNELL JONES, MAXAYNE LEWIS ALTO SAX : HIDEFUMI TOKI KEYBOARDS & DRUMS, BASS PROGRAMMING : MINORU MUKAIYA LEAD VOCAL : MAXAYNE LEWIS CHORUS : WORNELL JONES MAXAYNE LEWIS JOY TOY JAMM
STILL
MUSICIANS MUSIC : HIDEFUMI TOKI ALTO SAX : HIDEFUMI TOKI KEYBOARDS : MINORU MUKAIYA GUITAR & VOCAL SCAT : ISSEI NORO BASS : BOBBY WATSON DRUMS : MARTY BRACEY
MELTING MOOD
MUSICIANS MUSIC : MINORU MUKAIYA SOPRANO SAX : HIDEFUMI TOKI KEYBOARDS & PERCUSSION PROGRAMMING : MINORU MUKAIYA
BAILANDO MUSIC : MINORU MUKAIYA SOPRANO SAX : HIDEFUMI TOKI KEYBOARDS & DRUMS, BASS, PERCUSSION PROGRAMMING : MINORU MUKAIYA BASS : BOBBY WATSON DRUMS : MARTY BRACEY
LOVE IS A SMILE
MUSICIANS MUSIC : HIDEFUMI TOKI ARRANGE : TOKI CLUB SOPRANO SAX : HIDEFUMI TOKI KEYBOARDS : MINORU MUKAIYA GUITAR : TSUNEHIDE MATSUKI BASS : BOBBY WATSON DRUMS : TONY ST. JAMES
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Link in comments:::ORIGINALLY POSTED FEB.17,2010 & May31,2010
1st Thanks to 'K' for this awaited release, apprecited
Born in Tokyo, Kawano began to play the piano when he was six years old. Kawano was introduced to Mitsuru Sutoh, a former member of T-Square, after a show. In 2002, he met T-Square pianist and keyboardist Hirotaka Izumi, and become a support member of the band from the 2003 album Spirits. He composed several songs for that album and foir the 2004 album Groove Globe. He appeared on T-Square's live performance with Casiopea in 2004 and on the Groove Globe Tour.
Now a full-time member, Kawano has composed several more songs for T-Square albums, such as Passion Flower (2005), Blood Music (2006), 33 (2007), Wonderful Days (2008), Discoveries (2009) and "Jikan Ryoko/Time Travel" (2010).
Kawano has participated as a keyboardist for several musicians including T-Square leader Masahiro Andoh for his solo career.For more info:::http://en.wikipedia.org/wiki/Keizoh_Kawano
1. ファースト・インプレッション FIRST IMPRESSION 2. アクロス・フロム・ザ・スカイ ACROSS FROM THE SKY 3. さんばばん! SAMBABAN! 4. サークル・オブ・ドリームス CIRCLE OF DREAMS 5. 衣川館(ころもがわのたち) KOROMOGAWA NO TACHI 6. イーヴン・ナウ EVEN NOW... 7. トラップ・オブ・ザ・ヴェンジェンス TRAP OF THE VENGEANCE 8. ミスター・ナチュラル MR.NATURAL 9. オブ・ラ・ディ、オブ・ラ・ダ OB-LA-DI.OB-LA-DA 10. 赤い鳥 feat.Asami Izawa AKAI TORI FEAT.ASAMI IZAWA
A big thank you to'K' for this awaited release, appreciated as always.[some thank yous would be nice]
1. Whisper Not ／ Benny Golson ／ 5：01 2. Jazz Crimes ／ Joshua Redman ／ 6：10 3. So What ／ Miles Davis ／ 4：26 4. Fall ／ Wayne Shorter ／ 5：29 5. Pinocchio ／ Wayne Shorter ／ 5：03 6. Moanin’ ／ Bobby Timmons ／ 5：07 7. Teen Town ／ Jaco Pastorius ／ 4：58 8. Yes or No ／ Wayne Shorter ／ 7：12 9. I Mean You ／ Thelonious Monk ／ 4：43 10. Tell Me a Bedtime Story ／ Herbie Hancock ／ 6：14
The last international band to lay claim to the mantle of such illustrious '70s improvisationers as HATFIELD AND THE NORTH, NATIONAL HEALTH and the original GONG, GONGZILLA is a muscular quartet that traffics in the kind of music once mislabeled as fusion. Sure to surprise twentysomethings who think jam bands invented adventurous instrumental passages, odd meters and searing melodies, GONGZILLA's latest album East Village Sessions does more with vibraphone, bass, drums and guitar than an entire Vans Warped Tour of pierced-nosed freeloaders could imagine. Not simply an excuse to blow notes, GONGZILLA also delivers subtlety and sophistication. With Benoît Moerlen framing the songs with lush vibraphone chords and sometime-guitarist David Fiuczynski scalding the senses, GONGZILLA creates an atmospheric ride that even when speeding at 200 bpm delivers a litheness that's pratically feline.
- (Ken Micallef) Aug2. Studio Album, released in 1996
Songs / Tracks Listing 1. Suffer (8:31)--------in player 2. Say It Loud (4:44) 3. Island (8:14) 4. Image (7:59) 5. Shaman (6:47) 6. Les Vosges (5:01) 7. Listen to the Wind (6:58) 8. Image Reprise (3:04) 9. Console Warmer (2:25)
Norio Maeda on keyboards Shungo Swada on guitar Yasuo Arakawa on bass Donald Bailey and Takeshi Inomata on drums Kounosuke Saijyo and Jiro Inagaki on tenor sax Tadayuki Harada on baritone sax Tetsuo Fushimi and Shin Kazuhara on trumpet Yasushi Harada on trombone
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links in comments:::because I like it..[original post 2010]
Next Order is a Japanese band formed in 2002. Heavy touring in Japan has cemented their rep as a wild yet disciplined mix of instrumental rock, jazz and free improvisation. Guitarist Yuji Muto is a graduate of the GIT Musicians Institute. The band has played live in Japan with Gongzilla, Tribal Tech and African Express Trio. Live-Intensified is a 2CD (disc 2 being a bonus disc for the initial pressing) totally live recording but no bootleg. The four piece band features two guitarists (Muto and Takumi Seino), one clean and one dirty, in constant communication. Their influences are Fusion, Thrash/Death Metal, and artists such as Allan Holdsworth, Gongzilla, King Crimson, Mike Stern, John Zorn, Napalm Death and Metallica. Instrumental Guitar (Electric (Heavy)/Fusion), total running time, 87:20 Live-Intensified/NEXT ORDER (Order Tone Music) (Bomba) -. Released 2011 Yuji Muto (G), Takumi Seino (G), Atsutomo Ishigaki (B), Hiroshi "Gori" Matsuda (Ds) - [Disc 1] 1 . Nde? 2. Bearclaw 3. LCM 4. Unibirthday Gift 5. Shimauma 6. Brother Heat 7. Overdriven 8. Old Red Chair On The Porch*** [Disc 2] 1. No Hesitation 2010 2. Simply Red 2010 3. Death Mental 2010 ...
DISC 1::: 1. NDE? 2. BEARCLAW 3. L.C.M. 4. UMBIRTHDAY GIFT 5. SHIMAUMA 6. BROTHER HEAT 7. OVERDRIVEN 8. OLD RED CHAIR ON THE PORCH
DISC 2::: 1.NO HESITATION 2.SIMPLY RED 3.DEATH MENTAL
Not my rip or link, but one of my favorite progressive rock bands ... Have posted some on the other site, and will reload them due to being down. Thanks to JF for this post and link. When I recieve mine, I'll post it in lossless..
1. Big Scary Monster (5:14) 2. Latitude (5:20) 3. Hairless Ape (3:08) 4. Shadows Of Doubt (4:02) 5. Half Night (5:52) 6. The Wastelands Express (3:21) 7. Crescent Moon (4:01) 8. Many Places In A Rush (5:05) 9. Barrow St. (3:31) 10. Runaway Train (Pt. II Of Tunnel Vision) (7:26)
Musicians: Zak Rizvi / guitars, keyboards Joe Bergamini / drums Frank LaPlaca / bass Guests::: David Rosenthal / keyboards Carmine Giglio / keyboards David Richards / sax
What I in general like about Poseidon release is that they manage to give a take on jazzy music -in the broadest sense of the term- that is just slightly different, new, tantalizing. This helps in being fresh and keeping the attention for a full album, instead a losing it along the way. This Roundhouse album, however, is comprised of jazzrocky tunes, freaky more often than not of a kind that has been used over and over in the seventies and eighties. There is a lot of the American clan back then (most clearly audible are Santana semblances, from the period he wasn't that good), but also some minor hints of the more jazzy oriented Italian progressive from the seventies and one KItaro key swoop in The Sea Wind." Roberto Lambooy " Very limited edition, self released CDR reissue of the 2nd album, recorded in 1978 and 1979 by one of the best West Japanese progressive rock bands. This has a more prog/fusion sound than their first. "The structure of the music, dramatic and tight in the vein of of Return to Forever, topped with wailing guitar, perfectly hits the weakspot of many prog fans." 1) A Red Rose And Whisper Of A Devil 4.22 2) Endless Leep 2.38 --------------in player 3) A Splendid Dangerous Person 6.18 4) Wings To Rest 8.37 5) A City After The Rain 5.18 6) Softy Mist 1.27 7) A Tear Of Sphinx 6.08 8) The Sea Wind 5.19 9) Sweet Love (band Version) 5.06
Next Order is a Japanese band formed in 2002. Heavy touring in Japan has cemented their rep as a wild yet disciplined mix of instrumental rock, jazz and free improvisation. Guitarist Yuji Muto is a graduate of the GIT Musicians Institute. The band has played live in Japan with Gongzilla, Tribal Tech and African Express Trio. Live-Refined is a totally live recording but no bootleg. The four piece band features two guitarists (Muto and Takumi Seino), one clean and one dirty, in constant communication. Their influences are Fusion, Thrash/Death Metal, and artists such as Allan Holdsworth, Gongzilla, King Crimson, Mike Stern, John Zorn, Napalm Death and Metallica. Instrumental Guitar (Electric (Heavy)/Fusion),
01. Death MeNtal 02. The Carrot & The Stick 03. The Carrot & The Stick 04. Oro Campo 05. No Hegitation 06. Fable 07. Simm 55 08. Locus 09. Angry Stone Related Artists:::
Round House's sole album was compiled from two different 1978 sessions (studio and live). The album was later reissued in 2003 by Poseidon. Very limited edition, self released CDR reissue of the first album from 1978 by one of the best West Japanese progressive rock bands. This is a symphonic rock album with jazzy influences combine with a melodic feel that might be a bit comparable to a jazzy Camel. "The structure of the music, dramatic and tight in the vein of of Return to Forever, topped with wailing guitar, perfectly hits the weakspot of many prog fans." This reissue includes a bonus track.
Here's the 1st ,thanks to 'a friend of the site,cb] for this and others from them to come,, appreciated.
Jin.zo-ni.n.gen (3.48) Tour Of The Deep Ocean (15.37) A Last Judgement (3.40) Out Of 3-dimension (7.11) Suisha Goya No Asa (15.12) Romantic Rally (bonus Track) (8.19)
1st, let me say thanks to the contributors over the last few weeks, the releases are appreciated[as are all from all]
2nd, The next 8-10 posts will be on 4shared only. As stated B4, if you get the sign up logo,they are asking you to sign up for a FREE ACCT ONLY.You can find out all the reasons in the FAQ at the bottom of the page.They are not tracking you, but want to be able to supply bandwidth, I download at 1.5MB--4.75MB on all computers, and you may get more but never slow as some[45kb, or 120kb] So it's your choice, PS I get nothing by you signing up, just you having to d/l with no problems..
Re-uploads will also be done on comments after the repost,or if the file is available.
Example.. ROUND HOUSE--3 D is down, I have the disc somewhere but haven't found it yet,either physically or on a drive...
This is a cassette tape master of the sound source. At the time, I was working for small local live house. This tape was sent as promotional materials. Performed immediately after the "KEEP Ⅱ". Is similar to the arrangement also recorded.
1-OWL FLIGHT--17:13 2-MOON BEAM--9:14 3-DANCE OF PARANOIA OPUS 3--4:52 4-MODJA--6:24 5-ROCK N ROCKED ROCK--10:52 6-DANCE OF PARANOIA OPUS 2--12:31
Great sound and a big thanks to "HAINE' for this rare gem..appreciated..
new link::: http://www.mediafire.com/?0p8adu9ze22xpf5
Another great release, than to 'jt' for this appreciated.. 1. Ongaku 2. Poetry in Motion 3. Into Blue 4. Samishi 5. Mother Nature 6. The Island 7. Game Warrior 8. Asian Reprise 9. F.R.A. 10. Denshi Spirit 11. Liquid Pure 12. My Destiny 13. Jelements 14. My Destiny RMX
Here is the 3rd and final release from this great fusion band..Thank big thank you to 'a friend of the site/CB' appreciated. This band are must haves. I will reupload the others from them as well.
Recorded Live On August 12,13,1994, At The Roppmgi PIT-INN,Tokyo,Japan
01. Departuer In The Dark 12:43 Jun Fukamachi 02. Modja 5:18 Jun Fukamachi 03. Batteria Solo 2:07 Hideo Yamaki 04. Dance Of Paranoia Opus 3 2:48 Jun Fukamachi 05. Owl Flight 9:40 Jun Fukamachi 06. Moon Beam 9:52 Jun Fukamachi 07. Dance Of Paranoia Opus 2 8:05 Jun Fukamachi 08. Rock'n Rocked Rock 12:21 Jun Fukamachi
Related Artists:::
Jun Fukamachi - Piano,Synth Akira Wada - Eelectric Guitar Yasuo Tomikura - Electric Bass Hideo Yamaki - Drums
This is a post from 'ILLAA' this is their links as well, appreciated for this great upload.
01. Sweet Yam Potato 02. Smile 03. S.O.S 04. You Betcha 05. Valdez in the Country 06. Sukiyaki 07. What a Difference a Day Makes 08. Pretty Please? 09. Sakura 10. Showman's Boogaloo 11. I Won't Last a Day Without You 12. The Good Life
01. The Sun and The Melody - Part1 02. The Sun and The Melody - Part2 03. Sense of Crisis 04. Roma Dance 05. Jog Trot 06. Domino Fufu 07. Inns Of Sparrow 08. Insomnia 09. Sustain47 10. Around-about
Related Artists:::
Koichi Yabori - Electric Guitar, Acoustic Guitar, GR-Guitar-Synthesizer, Keyboard and Data Programming Masatoshi Mizuno - Electric Bass Kozo Suganuma - Drums, Percussion, Didgeridoo
flac
rar
Link in comments:::as this is on '4shared' you need at least a registered free acct. to download.They're rules not mine. [PS--D/L SPEEDS ARE FANTASTIC]
01 A Caminho de Casa ~ On My Way Home -- 02:26
02 Despedida -- 04:23
03 Sem Parar -- 05:46
04 Toys -- 05:05
05 Tempo de Ser Feliz -- 05:16
06 Som Silencioso -- 05:42
07 A Distancia -- 07:27
08 Amanhecer -- 05:02
09 Soft Madness --05:42
10 A Farther Place --02:27
T-SQUARE 27th Album! Hosted by the magazine at the Improv 2001 Popular Disc Awards "Award of the Japanese jazz fusion" Winner! Toys, TV Asahi series "Wide horse bird" theme song.
Related Artists:::
* Beto Paciello : Acoustic and Electric Piano (2,3,4,5,6,7,8,9)
* Dave Carpenter : Acoustic Bass (8)
* Evaldo Guedes : Acoustic Bass (1,2,5,9,10)
* Laerte Marques de Almeida : Lyric (1)
* Luis Conte : Percussion (2,3,5,6,8,9)
* Maguinho Alcantara : Drums (2,3,4,5,6,7,8,9,10)
* Masahiro Andoh : Acoustic and Electric Guitars
* Natan Marques : Acoustic and Electric Rhythm (2,5,7,8,9)
* Osny Melo : Synthesizer
* Papete : Percussion (4,7)
* Pedro Ivo : Electric Bass (3,4,6,7)
* Takeshi Itoh : Alto Saxophone, Flute
* Toninho Horta : Acoustic Guitar (1,10)
Here's one from the archives, great jazz/funk/fusion..
1. Fatback 2. May 3. Jeff 4. In The Sky 5. Autumn Rain 6. The Dawn 7. Quarter Moon 8. We Will
Shunzo Ohno on trumpet, Carter Jefferson on sax, Onaje Allan Gumbs and Kenny Kirkland on keyboards, Jeff Laton on guitar, Marcus Miller, T.M. Stevens on bass, Victor Louis on drums and Sue Evans on congas & percussion, plus background vocals by Yvonne Lewis & Ullanda McCullough.
Count's Jazz Rock Band is a Blues Rock Jazz group formed by Kenji Omura on guitar, Takeo Yamamura on bass and Martin Willweber (from the prestigious Berklee College of Music) on drums. Later Kenji & Martin played in live Jun Fukamachi' Triangle Session in 1977 with The Breckers Brothers. This compilation contains various rare tracks recorded live and studio between 1969 and 1971.
01. Kenji's Shuffle 02. The Waltz II 03. Grasshopper's Blues 04. The Fast One 05. Johnny Guitar (Victor Young/Peggy Lee) 06. She's A Woman (John Lennon/Paul McCartney) 07. Suite Part 1 08. Suite Part 2 09. Count's Rock Blues (Steve Marcus) 10. This Guy's In Love With You (Burt Bacharach/Hal David)
Title 'Into The Dreamland". formed by guitarist Ginji Ogawa in 1976. They played jazzy progressive rock and made at least three albums – ‘Crosswind’ [1978], ‘II’ [1979] and ‘Soshite Yume No Kuni E’ [1982]. I’ve only heard the last of these, which is pretty good stuff, though sometimes a bit cheesy, with lots of fiery guitar work and comparisons to Finch, Camel and Ain Soph. Ogawa also performed in Carmen Maki’s band [see below]. After Crosswind broke up in 1984, Ogawa formed several other bands and began a solo career. In 2001 he re-emerged with Ginji Ogawa Band, playing prog apparently comparable to Camel, Yes, Focus, Rush & Jethro Tull.
1.Mori Wa Fushigi Na Omochabako 2.Asoko E Masshigura - 4:11 3.Minomushi - 6:46 4.Umitaro To Ringo - 5:35 5.Cross Country - 6:04 6.Hyakuju No O - 4:15 7.Kawa No Hotori De Hitoyasumi - 2:12 8.Soshite Yume No Kuni E - 9:49
Experimental, hard-edged and intriguing trio that links surging rock, free-form jazz and funk. The ensemble includes drummer Ronald Shannon Jackson, guitarist Bill Frisell and bassist Melvin Gibbs. Their 1987 album for Antilles was among that year's more inviting, and they've also done New York concert dates and toured.
Power Tools was a one-off semi-supergroup that, if it didn't quite fulfill expectations, at least offered up this enjoyable album. It's an odd mixture; drummer Ronald Shannon Jackson was in the midst of his time with the free-metal-noise band Last Exit, bassist Melvin Gibbs was involved with various avant funk bands (including that of Arto Lindsay), and the pre-Naked City Bill Frisell was beginning to delve into that hazy area between country/Americana and jazz. Things don't gel so well when the band gets closer to free improv, as Frisell's inherent gauziness conflicts and deadens the impact of Jackson's more rambunctious approach. Things work better with the more song-oriented pieces, particularly those penned by Gibbs. His "Wadmalaw Island" and "Howard Beach Memoirs" both strike an appropriate balance, allowing Frisell to build on more solid structures while at the same time leaving room for Jackson to embroider freely. Much of the recording ping-pongs between these two poles: pleasant, if overly languid pastoral songs and higher-energy pieces that never quite rev up high enough. The closing rendition of "Unchained Melody," a song dear to Frisell's heart, is very effective. Strange Meeting, an apt title, is worth checking out for Frisell fans who only came to hear his work in the following years.
Studio Album, released in 1987
Songs / Tracks Listing
1. Wolf in Sheep's Clothing 2. Wadmalaw Island 3. Unscientific Americans 4. Howard Beach Memoirs 5. When We Go 6. President's Nap 7. Song Is Not Enough 8. Blame and Shame 9. Unchained Melody
Bill Frisell - guit. Ronald Shannon Jackson - dr. Melvin Gibbs - bass http://mir.cr/F3QJLJE8
Releases information LP and CD : Antilles 90627-2, ANCD8715/Ⓟ1987 Island Records Inc. Polygram Records , 1991
Recorded January 8, 9, 10, 1987 in New York City.
320vbr
zip
Link in comments::: thanks to 'sash716' for this. I've never listened to Bill Frisell B4
