"Seam Line" or "Kav HateFer" in Hebrew, is the term used by Israelis to describe the geographical boundary between the Israeli and Palestinian areas. As in life, with all the dynamic complexities of the region, the group "Kav Hatefer" incorporates many eclectic and intertwining styles of music. Established by Kobi Hagoel in 1995, with a fusion of tastes from the Middle East, the Balkans, North Africa, India and Persia, mixed with jazz and rock, the group has since performed all over Israel in clubs, festivals and on Israeli television. The music was written by Kobi Hagoel, Asi Givati and Harel Shachal.

Sylvain Cathala nous revient, et cette information а elle seule est une grande nouvelle. Nous suivons depuis suffisamment longtemps sa musique pour savoir qu'il a de nombreuses choses а dire, avec une rigueur intellectuelle, musicale et par bien des aspects, mathйmatiques qu'on peu reconnaоtre en un instant.
Ainsi, dans "Bloody 2", lorsque la contrebasse de Sarah Murcia joue ses premiиres notes, profondes, franches, toujours lumineuses, on entrevoit dйjа toute la mйcanique de prйcision qui va s'en suivre. Elle se nourrit de rythmiques impaires, de stratйgies de tension toujours renouvellйes entre pression et dйtente, de trouvailles harmoniques а la fois innovantes et simples.

Veteran Italian rock band Pooh formed in Bologna in 1966. During the late '60s, the band featured Roby Facchinetti, Valerio Negrini, Dodi Battaglia, and Riccardo Fogli, but after Negrini left in 1971, the band recruited guitarist, bassist, and vocalist Red Canzian plus drummer and percussionist Stefano D'Orazio, and began a long run as one of the best and most popular Italian rockers of their times. The band recorded for many labels, including CBS, Vedette, CGD (Compagnia Generale del Disco), and Warner Music Italy, selling over 100 million records in the process. Pooh continued to tour and record continually up into the 2010s, but in late 2016 they decided to call it quits by the end of the year, in order to complete their 50-year anniversary as a band.

J.S. Bach - Cello Suites for Guitar - Tilman Hoppstock (2018) {Christophorus CHR77422 Official Digital Download}
FLAC (tracks) - 16bit/44kHz - Official Digital Download -> 229 Mb | MP3 @320 -> 137 Mb
Full Artwork (jpg+pdf) -> 7 Mb | 5% repair rar
© 2018 Christophorus | CHR 77422
Classical / Baroque / Chamber Music / Classical Guitar

Tilman Hoppstock is one of Germany’s most famous guitar players and the work of Bach stands in his focus for a long time: His research of over 30 years culminated in the publication of two book titles and his musicological edition is considered today a standard work by nearly all guitarists who occupy themselves with Bach. In 2013 he earned the doctor’s degree for his research on Bach. The Six Suites for solo cello are nowadays performed on a wide range of instruments and Tilman Hoppstock has adapted the Suites Nos. 1, 2 and 5 for his instrument the guitar. His large knowledge of the contrapunctal technique of Bach combined with his stupendous virtuosity on the guitar resulted in a recording of great musicality and sensibility. © Christophorus

Edmond Hall, James P. Johnson, Sidney De Paris, Vic Dickenson - The Complete Blue Note Sessions (1985) {4CD Mosaic rec 1941-52}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 883 Mb | MP3 @320 -> 628 Mb
Full Artwork @ 300 dpi (jpg) -> 186 Mb | 5% repair rar
© 1941-52, 1985 Mosaic Records / Blue Note | MD4-109
Jazz / Early Jazz / New Orleans Jazz / Swing / Dixieland / Stride

To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett).

The world of early 18th century opera was very different to that of, say, Mozart. The story was the thing. Librettos were offered to musicians as a means of getting the poetic drama before the public. Thus the great librettists were set multiple times. So it was with Vienna's imperial poet Metastasio's Catone in Utica. This story, set in the ancient Numidian city of Utica - now a ruin in Tunisia - involves the Roman Cato the Younger and his conflict with Julius Caesar. The plot itself is the usual mixture of love and betrayal, but because it was by Metastasio there were at least two settings, by Vinci and Hasse, even before Vivaldi composed the present piece.