Исполнитель: The Jelly Jam
Альбом: Shall We Descend
Жанр: Neo-Prog/Psychedelic
Год: 2011
Формат: FLAC (tracks+.cue) + log
Битрейт: lossless
Размер: 297 Mb
Залито на: Uploaded, Filesonic (3% восстановление)

Исполнитель: David Binney
Альбом: South
Год выхода: 2001
Страна: USA
Колличество дорожек: 11
Общее время звучания: 70:46 min
Жанр: Jazz / Free Jazz / Jazz Contemporary
Формат: Lossless / FLAC (log + cue)
Размер файла: 439 mb
Залит на: Narod.ru

If a musical work aspires to the adventurous, it is essential to have musicians who can confidently navigate the terrain. Saxophonist David Binney has assembled such a crew on South : tenorist Chris Potter, guitarist Adam Rogers, pianist Uri Caine, and bassist Scott Colley, plus Brian Blade or Jim Black on drums.
The opening "Out Beyond Ideas" is layered like a story with several chapters. Potter wails passionately above the soaring vamp until everyone gently alights to Earth. "The Global Soul" opens with a mysterious plucked solo by Colley, percolating with Caine and Colley in a three-note tandem. "Leaving the Sea" begins with a creeping piano statement and, in its wake, Binney's soprano whispers into play along with spare accompaniment by Colley and Blade. The hypnotic ballad "Traveler" features Rogers overdubbed on guitars and electronic effects by Binney. "New York Nature" includes more dexterous axe-work, starting off in the jazz idiom and ending up as a soul/funk excursion.
Binney is the prime mover behind this project, but he has so much confidence in his fellow musicians that he seems content to stay somewhat in the background. His compositions are almost symphonic in nature, challenging without being esoteric, thought-provoking without seizing the listener by the collar.
South proves that jazz is not restricted to a head/solos/head structure. Nor does it have to be a lot of indiscriminate wailing in an arcane tongue. As leader, Binney takes full advantage of his talented ensemble, and this excellent disc reveals just how connected the common threads of music, from jazz to R&B to classical, can be. ~ Terrell Kent Holmes, AAJ

South is a hauntingly beautiful album of outstanding compositional innovation. The sheer angularity of the opening horn phrase is like tiptoeing across an exposed arete, the cymbals nervously fluttering wisp-like at your heels, the thinnest melodic bridge that leads you to the relative safety of the song's harmonic center. Here you hunker down, comforted by the warm tones of a gently cascading guitar motif brilliantly set against parallel-running streams of intoxicating saxophone. It's a triumvirate amongst many libationary moments. In fact, the whole album makes you dizzy.
Soft complex textures trade places with raucous screaming solos. Rich horn arrangements belie the modernity of this recording. The same worn out path or a new direction? Neither. An able and ample continuation of the layered sublimity derived from Miles Davis' late electric period and culminating with John McLaughlin's genius post-bop The Heart of Things.
Musicianship is paramount. Complexity emerges from great orchestration. Catchy hooks and whistle-able humdinger melodies open into freer heart-wrenching loquacious solo sections. Binney and Chris Potter scream and scorch their way through Kenny Garrett-esque frenzy. Adam Rodgers gets to tip his overdrive pedal and Scott Colley and Brian Blade, and sometimes Jim Black, pound like a gale against the tent wall, incessantly driving the ferocious rhythm, exciting and propeling the weaving soloist through a chicanery of brotherhood: transience; a dynamic fraternity of fleeting bedfellows interspersed amongst polyrhythmic peaks.
That's not to say the music is never calm, collected, even calculated. The quieter passages better suit the relatively straight-laced Uri Caine, and also provide a platform for rest and a moment's breath. But it is only for a moment, and we are soon up again kicking in to the next slope, transporting to new musical heights on this leviathan of modern jazz. ~ J.F. Derry, AAJ

While saxophonist/composer David Binney has made a significant contribution to modern jazz with his involvement in the high-octane New York City-based outfit “Lan Xang”, amid fine recordings on his “Mythology” label and numerous high profile session dates, the artist has eluded widespread recognition. However, Binney has steadily constructed a budding reputation as a strong composer who possesses a praiseworthy technique whether performing on alto or soprano saxophone. With his latest effort titled South, the saxophonist reaps the good fortunes of an all-star aggregation of solo artists and first call session aces.
On works such as “Out Beyond Ideas” and “Moment In Memory”, Binney shines forth as a gifted melody maker who melds blistering and concisely stated notes with an often silken edge. Here and throughout, the leader and tenor saxophonist, Chris Potter makes for a vicious front-line attack as their respective styles offer a bit of contrast and counterpoint to the altogether bustling crosscurrents. The piece titled, “Leaving The Sea” boasts climactic opuses in concert with the saxophonists’ rippling notes and soulful discourses in conjunction with guitarist Adam Rogers’ fleet-fingered single note leads. – Binney and pianist Uri Caine surge forward with zealous aplomb atop drummer Jim Black’s propulsive rock/funk pyrotechnics on, “Von Joshua,” whereas the band perpetuates stimulating choruses, oscillating rhythms, lush harmonies, and inviting lyricism on “Southpaw.”
Overall, there is no hint of filler material or aimless jamming on this wonderfully orchestrated recording, as Binney and co. utilizes space and depth to their advantage. No doubt, the best of both worlds coalesce for a joyful union of spiraling dialogue and tail spinning musicianship. Hence, Binney’s potent compositional pen and the ensemble’s torrid interplay provide the recipe for one of the year’s finest modern jazz-based outings! Highly recommended. ~ Glenn Astarita, AAJ

The music on altoist Dave Binney's set, which is comprised entirely of his originals (other than one free improvisation), is consistently intriguing. The post-bop solos, particularly those of Binney and tenor-saxophonist Chris Potter, are excellent but it is in the arrangements themselves, and in the way that the improvisations flow naturally out of the episodic frameworks that are most impressive. Although the overall results are logical, the frequently passionate music is quite unpredictable, with the forms evolving as much as the individual solos. Some doomsayers may claim that jazz has not evolved since the mid-1970s, but South is one of hundreds (if not thousands) of bits of evidence to the contrary. This is a set that will grow on listeners, keeping one guessing even after several listens. ~ Scott Yanow, AMG

Исполнитель: Kauhukakara
Альбом: Elainten Fanfaari
Год выхода: 2011
Страна: Finland
Колличество дорожек: 10
Жанр: Progressive Rock / Avant-Prog
Формат: Lossless / FLAC (log + cue + scans)
Размер файла: 269 mb
Залит на: Narod.ru

Исполнитель: Radio Moscow
Альбом: The Great Escape Of Leslie Magnafuzz
Жанр: Psychedelic/Hard/Blues rock
Год: 2011
Формат: FLAC (image+.cue) + log
Битрейт: lossless
Размер: 327 Mb
Залито на: Uploaded, Filesonic (3% восстановление)

Исполнитель: Kauhukakara
Альбом: Taistelu Pahoja Kelloja Vastaan
Год выхода: 2008
Страна: Finland
Колличество дорожек: 10
Жанр: Progressive Rock / Avant-Prog
Формат: Lossless / FLAC (log + cue + scans)
Размер файла: 214 mb
Залит на: Narod.ru

Исполнитель: Arteria
Альбом: Cuatro Visiones
Год выхода: 2010
Страна: Mexico
Колличество дорожек: 10
Общее время звучания: 52:26 min
Жанр: RIO /Avant-Prog / Zeuhl
Формат: Lossless / FLAC (log + cue + scans)
Размер файла: 306 mb
Источник: lindinalwa
Залит на: Narod.ru

Review:
Известнейший мексиканский музыкант, композитор и аранжировщик Juan Carlos Ruitz, известный по Decibel, Nazca, La Musica de Erich Zann и Culto Sin Nombre, запустил новый проект Arteria и выпустил дебютный альбом Cuatro Visiones. Электрическая гитара, фагот, электровиолончель, ударные и множество различных электронных аксессуаров создают сложное и причудливое музыкальное полотно. Чувствуется влияние ранних Art Zoyd, Univers Zero, Present, Бартока, Стравинского и конечно же, музыки Nazca. Avant-prog, Zeuhl, RIO, Chamber, Experimental и Neoclassic - это далеко не весь спектр, присутствующий в данном альбоме.
"Cuatro Visiones" является действительно сильным альбомом, который можно охарактеризовать как классическиий Kammerprog (можно говорить о почти ретро Kammerprog-е), который любители жанра не должны пропустить. Кроме того, альбом еще раз подтвердил мои подозрения, что Мексика, как и другие страны Южной и Центральной Америки, не является музыкальной периферией и ничем не уступает европейским или североамериканским командам!

Исполнитель: Push The Triangle
Альбом: Cos La Machina 1
Год выхода: 2004
Страна: France
Колличество дорожек: 10
Жанр: Progressive Rock / Avant-Prog / Jazz-Rock
Формат: Lossless / FLAC (log + cue + scans)
Размер файла: 292 mb
Залит на: Narod.ru

Ещё один проект с участием Michel Blanc и Franck Vigroux, возглавляющим по совместительству не слишком известный лейбл D’Autres Cordes. На нём записывается сообщество музыкантов со своим собственным пониманием авант-прога и авант-джаза. Эта музыка характеризуется, как правило, своеобразным и энергичным саундом и сложнейшими структурами на основе фри-джаза. Несмотря на не очень широкую известность, данное сообщество, как я считаю, является важным звеном современной французской авангардной сцены (а может быть, и мировой).
Как и на большинстве релизов D’Autres Cordes, музыка PTT отличается cпецифической энергетикой. Первый альбом довольно хаотичен, второй гораздо более структурирован и интереснее.

Исполнитель: Uz Jsme Doma & Martin Velisek
Альбом: Jaro, Peklo, Podzim, Zima (Spring, Hell, Autumn, Winter)
Год выхода: 1996
Страна: Czech Rep
Колличество дорожек: 13
Общее время звучания: 30:21 min
Жанр: RIO / Avant-Prog / Avant-Punk
Формат: Lossless / APE (log + cue + scans)
Размер файла: 164 mb
Источник: barin99
Залит на: Narod.ru

AMG:
"Uz Jsme Doma spent the first years of its existence in underground Czechoslovakia. After the Velvet Revolution it was one of the first groups to storm out and establish an alternative rock sound for the new republic. Along with Plastic People of the Universe they became ambassadors of Central European rock, frequently touring the U.S. and establishing a cult following in America. If the PPU embody the Communist repression of the 1970s and 1980s in their gloomy, despair-driven music, then Uz Jsme Doma represents the exuberance of liberation. Punk in spirit, activists at heart, and strongly avant-garde in their dissonances, complex songs, and humor, they are the Czech Republic's best group of the 1990s.
Jindra Dolansky (saxophone, vocals) started Uz Jsme Doma in 1985 in the border town of Teplice. The group's name comes from a Czech expression that loosely translates into 'now we're at home' (meaning 'now I get it'). Stamped 'antisocial' by the Communist government, the group spent its first years playing illegal concerts, going through numerous changes in their lineup, and writing an impressive repertoire of avant-punk songs influenced by Pere Ubu, the Residents, the Sex Pistols, and the Rock-in-Opposition movement. In the wake of the student protest of November 17, 1989, and the precipitated events that ensued, Uz Jsme Doma rose as a symbol of new times. They performed in front of 15,000 people on December 3 and soon co-leader, lyricist, and lead singer Miroslav Wanek was drafted by the interim government of the group's hometown.
The end of the Communist era meant the group was now able to record. Uprostred Slov (1990) and Nemilovany Svet (1991) were quickly committed to tape. These years saw the group's lineup stabilize around Wanek, Dolansky, saxophonist Alice Kalousková, guitarist Romek Hanzlík, bassist Pavel Kerka, and drummer Pavel Pavlicek. Even though painter Martin Velisek never played a note with the band, he has always been considered a full-time member. His artwork has been instrumental in establishing the group's identity.
As early as 1991, Uz Jsme Doma embarked on a never-ending touring schedule that quickly took them to America, building a following in New York and on the West Coast, and earning them a reputation as 'touring monsters.' In 1992 an English version of Nemilovany Svet (Unloved World) was released in the U.S., which in turn led to a contract with BMG for the recording and release of Hollywood. Disenchanted with the major label's lack of support, the group signed with Czech label Indies and released Pohádky ze Zapotrebí (1996). This album introduced a new rhythm section in bassist Jan Cerha and drummer Milan Novy. The group made many visits to America during this period, appearing in the Residents' tour/album/CD-ROM Freak Show in which they played the circus band, and recorded a live album, Vancouver 1997. Hanzlik quit shortly after. For the 1999 CD Usi, Wanek and Dolansky revamped the band by hiring Radek Podvesky (guitar) and Petr Böhm (drums)."

Исполнитель: Jimmy Page
Страна: England
Альбом: Playin' Up A Storm
Жанр: Classic Rock / Rock 'N' Roll / Blues-Rock
Год: 2011
Формат: FLAC (image+.cue) + Covers
Размер: 269 Mb
Залито: FileSonic / FileServe

Исполнитель: L'Ensemble Raye
Альбом: En Frac!
Год выхода: 1996
Страна: Switzerland
Колличество дорожек: 12
Жанр: RIO / Avant-Prog / Chamber Prog
Формат: Lossless / APE (log + cue + scans)
Размер файла: 253 mb
Залит на: Narod.ru

L'Ensemble Raye biography:
L'Ensemble raye, from Switzerland, was founded near 1985, just after Debile Menthol split. From the ashes of Debile Menthol, several bands had been created. Momo Rossel Founded Nimal with Jean-20 Huguenin, Gilles Rieder founded Manoeuvres d?automne and started to play with Jad Fair and Half Japanese while Cedric Vuille and Jean-20 Huguenin created L'Ensemble raye.
It all began when Vuille and Huguenin discussed about pieces of theirs that they thought would fit together; it gave birth to L'Ensemble raye first album Meme en hiver, comme un pinson dans l'eau on which Meme en hiver side featured Vuille's compositions and Comme un pinson dans l'eau was featuring Huguenin's.
Since the creation of L'Ensemble raye, many changes in the line-up have occurred. Through their eight albums, you can see many different (but all great) musicians. That is one of the strengths of this band; the musicianship is impressive and the musical is truly creative and unique.
As they are the logical continuation of Debile Menthol, they could be described as a post-R.I.O. band or simply an avant-progressive one, while they named their music "A Cinema for Ears". They also cite influences as Etron Fou Leloublan, Aksak Maboul, Skeleton Crew and Albert Marcoeur.