Various Artists - Salvatore Sciarrino: Paesaggi Con Macerie (Various Artists) - COMPACT DISCS [CD]

Released in 1983, Sandra Sá's 'Vale Tudo' is one of the essential Brazilian-boogie-funk records of the era. Pure class throughout, with a dream team of incredible musicians and producers behind the scenes. For some, this album is regarded as Sandra's magnum opus.It is drenched in the essence of the Brazilian 80s boogie and funk sound. A driving force behind this is the writing, arrangement, and musicianship of Lincoln Olivetti, who was instrumental in forging this unique sound within Brazilian production at the time. It is heightened even further by the astonishing team that feature on the record. Brazilian icon and heavyweight Tim Maia, Robson Jorge, Serginho Trombone, Oberdan Magalhães, Claudio Stevenson and Jamil Joanes (of Banda Black Rio fame), Junior Mendes, the list goes on. This crew of musicians synergised perfectly with Sandra's vocal style, all complementing each other to create a classic. One of our favourites from the album is the opening track 'Trem Da Central', an infectious groove that when paired with Sandra's cool and relaxed swaggering vocal resulted in an essential dancefloor jam! Equally delightful and dancefloor summoners are the catchy boogie funk of 'Candura', and the Earth, Wind & Fire sounding 'Pela Cidade'. Tim Maia features on the fast-paced duet 'Vale Tudo', which was written especially for Sandra to sing with Tim, who at the time was one of the biggest stars in Brazilian music. These boogie and funk compositions are balanced by fine slow jams giving the album a satisfyingly well-rounded feel. Sandra had been working in music since the 70s and continues to do so to this day, but this period of the early 80s was a rich and prolific time for her. If you are a fan of Robson Jorge & Lincoln Olivetti's self-titled album from 1982 or Marcos Valle's 1983 album featuring the song 'Estrelar', then this one is definitely for you. 'Vale Tudo' is a mu

Pieces' is the meeting of two generations - The experienced and mature the trumpeter Palle Mikkelborg and the guitarist Bjarne Roupé and the two young and ready Anton Langebæk on bass and the percussionist Benjamin Barfod. Bjarne Roupé Trio had been with Langebæk and Barfod for a while, and when Palle Mikkelborg was set to play a concert for Jazz Grooves at JB10 in Næstved, it was obvious that the four musicians worked together this evening. It became a success and the musicians took the initiative to use the recordings for this . Here it is 'Pieces Generations at Sunrise' - five well-chosen compositions with Roupé's overview and broad sounds, Langebæk's pulsating bass, Barfod's distinctive percussion and Mikkelborg's trumpet and flugelhorn on top. We get extremely personal renditions of John Coltrane's InchNaimaInch and the Abez classic InchNature BoyInch. A Swedish folk melody, InchSaudiInch, with a beautiful guitar intro and more of the same sonorous element in the opening track InchWitchi-tai-toInch, which is carried on by Barfod's gubal. The fine little theme is presented only at the end. Coltrane's great ballad InchNaimaInch is performed for the first time in the history of music with sansula. In the collectively composed and arranged InchPiecesInch, there are fanfares with electronics underneath, and Langebæk rounds off with a very solid bass solo. InchNature boyInch gets new and very beautiful life with Mikkelborg's horn followed by a very well playing Roupé.

We usually say that an ancient event InchoccurredInch or Inchtook placeInch. How should we, therefore, refer to a musical piece? It InchexistedInch, but, more importantly, it still InchexistsInch. The past creates the present. No matter how thoroughly we seem to know it, early music always remains a mystery. It prevents us from unveiling it completely, creating extensive areas of indefinition. Thus, a great and important adventure begins - filling the vague spots, affected by the reader's imagination, curiosity and care for encompassing the truth. By engaging in a dialogue with the music of the past, we take a clear stand towards it. Creative conversation leads to new content. The album includes 12 pieces arranged in pairs a composition by Waclaw z Szamotul opposite to a contemporary piece inspired by it. Independent, nearly unrestricted composing decisions representing today's reference to the music from five centuries back. The decisions result in a clash of new harmonics with raw Renaissance sounds and in the introduction of disturbing mood in lieu of certainty and hope, playing with imitation and recurrence of themes and intensive metric variability; they result in the use of Latin instead of original Polish and in the surprising resignation from the recognized title. The contemporary composers boost the narration or, on the contrary, slow it down, allowing us to almost hear and touch the light sparkling in vibrating intervals and warm chords. At the same time, the album presents an innovative interpretation of the work of Waclaw z Szamotul presented by it's performers. On the one hand, the interpretation pays respect to historically informed performances and, on the other, expresses the awareness that the present has it's own rights, therefore the interpretation presented today becomes more InchcontemporaryInch than InchRenaissanceInch.