Herb Miller - Remember Glenn Miller - COMPACT DISCS [CD]

Herbert H fner - Lulu [COMPACT DISCS] date 01/22/2013

Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany, Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson's instantly recognizable melodic skill and empathy, it continues the songwriter's explorations of power, freedom, oppression and it's opposing force, a love unbound.After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was among the very first to be declared an Inchenemy of the stateInch by the Nazi regime but also to both the eternal struggle he fought and the human spirit that pervades all of Nilsson's best work. It is also a double-pointed poison pen letter a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an acknowledgement of the promise it always offers but never fulfills.Along with the novel use of color and photography in the artwork for Un-American Activities, there are swathes of new techniques, genres and timbres new to Molly Nilsson's music in evidence, 16 years into her music career. On InchJackboots ReturnInch is an icicle-cold New Beat track that deals directly with the current situation in Germany and the resurgent Nazi-affiliated AfD. The question the song asks is, what's the timeframe we're talking about? Is this the 30s, or somewhere a lot closer to home? The beat is picked up on InchThe Communist Party,Inch Nilsson's deepest bow to House music, evoking the early 90s Rave pioneers, Belgian 8

Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for InchAl Ahram WeeklyInch Inch[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.Inch Referring to it's sonic apperance, Sudanese Jazz hasn't too much in common with the western idea of Jazz. Sharhabil's sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the king of Jazz, literally, since in he won a competion over other artists for that title. The comes with a booklet including liner notes, interview and unseen photos (12 pages vinyl