Calypso Calaloo [Rounder, 1993] *; Stone Free: A Tribute to Jimi Hendrix [Reprise. The Spirit of Cape Verde [Tinder, 1999] B+; Cape Verde [Putumayo World Music, 1999] A. Dublin to Dakar: A Celtic Odyssey [Putumayo World Music, 1999] Dud. You get plot summaries and program music, jingle singers and cartoon. Putumayo Presents Cape Verde [p] 1999 CD Putumayo / PUTU 156-2 Add issue. Putumayo Presents Cape Verde [p] 1999 CD Putumayo / PUTU 156-2 Add issue. 3 Reviews stereobread Apr 23 2012. Very languid sounding and subdued music. XonE Jan 22 2010. A nice blend of african and latin music.

If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

Pheli nazar mein song download. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. As much as any other instrument, the guitar has been instrumental in defining the reach and depth of ECM Records.

It's captured in full glow on three releases from the label's Rarum series, featuring Pat Metheny, Egberto Gismonti, and John Abercrombie. While the sure-fire star power from that list comes in the form of Pat Metheny, his 1975-84 work is likely unfamiliar to legions of fans who signed on to his later Geffen material and the lovely Verve date Beyond the Missouri Sky with Charlie Haden. John Abercrombie and Egberto Gismonti also have relatively high profiles—having appeared on 43 and 14 records on the label, respectively—and together with Bill Frisell and Ralph Towner, they round out ECM's heavy hitters on the axe. The Rarum series offers artists the right to choose from their own material and compose their own liner notes. Metheny does the best by far with the notes, though each player has something personal to say. You won't find much in common among these three players' styles.

Metheny's style is robust, friendly, and folksy; Abercrombie sweeps out and around with broad gestures of electric sound; and Gismonti keeps to his own idiosyncratic path through Brazilian and folk music. Read on to learn more. (Note: see for links to other Rarum reviews.) Pat Metheny Rarum IX: Selected Recordings Mainstream Pat Metheny fans will find in his Rarum a series of surprises, given his more popular later work with the famed Pat Metheny Group.

The guitarist did not take long to accrue a loyal audience—as was his intent, as early as 1975's Bright Size Life—and he presented a total picture: player, leader, composer, and all-around musician. Whether you are partial to his generally soft tone and approach is another matter best left out of this consideration.

Let's put it this way: most of this music will sound vaguely familiar to those who haven't heard Metheny's 1975-84 ECM work. And those in search of information, perspective, and insight will do well to read his eleven dense pages of commentary on the music; those in search of bad hairdos will find them in abundance as well. 'Phase Dance' ( Pat Metheny Group, 1978) places Metheny in the company of Group mainstays Lyle Mays, Mark Egan, and Dan Gottlieb with some of the most propulsive waves of sound every put to wax. His effected guitar sounds great in this electric setting. Speaking of sounding great, Jaco Pastorius's appearance on 'Bright Size Life' offers yet more testimony for his ability to weave forward lines within and across barlines. Straight-ahead jazz rears its head on the all- star 'Everyday (I Thank You)' (recorded in 1980 with Brecker, Haden, and DeJohnette), from one of my earliest exposures to proper jazz, 80/81. Horace Silver's 'Lonely Woman' ( Rejoicing, 1983) gets a softened, melancholic trio treatment with Billy Higgins applying his usual deft brushwork.