Tales from the Earth by flutist, Mark Weinstein and pianist/vibraphonist, Omar Sosa, is one of the most extraordinary musical expeditions in a long time. The need for a subtext is not necessary; the extraordinary depth and ethereal beauty of the music would suffice. Nevertheless, once that subtext becomes evident, then the music touches parts of the body that much music might not. There is really no beginning and no end; this musical continuum needs only be entered with eyes wide shut and ears open; listening with the heart, soul, and every pore of the being is essential.

Due isole erranti si incontrano in mezzo al mare per dare vita ad un intenso viaggio musicale; dalle voci ancestrali dei tenores alle melodie intense e accattivanti in puro stile jazzy, dalle ispirazioni classiche all’improvvisazione contemporanea, dal ballo sardo ai ritmi solari caraibici per arrivare infine all’uso attento e ispirato della “boghe”, la voce solista del tenore barbaricino che, inserito in una tessitura musicale apparentemente lontana, assume una nuova dimensione e un grande fascino.

The Germans EVERTALE released their new album ‘The Great Brotherwar’ on October 27th via NoiseArt Records.

"Red Before Black", the title track of the new album from Florida-based death metallers CANNIBAL CORPSE, can be streamed below. Due on November 3 via Metal Blade Records, the follow-up to 2014's "A Skeletal Domain" was recorded at Mana Recording Studios in Saint Petersburg, Florida with producer/engineer Erik Rutan (SOILENT GREEN, BELPHEGOR, HATE ETERNAL), who previously worked with CANNIBAL CORPSE on 2006's "Kill", 2009's "Evisceration Plague" and 2012's "Torture".

Fans of JJ Grey and his ever evolving band Mofro will be delighted that the Florida swamp sage lives by the dictum "If it ain't broke, don't fix it" on This River. If anything, Grey has doubled down on the grittier, funkier aspects of 2010's Georgia Warhorse, and brought the studio closer to the stage to boot. The sound on this record is live, crackling. Half of its ten tracks are crunchy uptempo numbers that flex their funky muscles. The rest is balanced between well-articulated soul tunes, a rock number, and back-porch ballads. Set opener "Your Lady, She's Shady" is a crusty, greasy funk attack, while "Somebody Else" walks some weird line between part of the melody from the Classics IV's "Spooky" (courtesy of the Atlanta Rhythm Section's cover), vocal phrasing by Wilson Pickett, and guitars, bass, and horns coming straight from Stax. Speaking of which, the horn chart and melody in "Tame a Wild One" come right out of the late '60s – and in the grain of Grey's whiskey voice, it feels right. "99 Shades of Crazy" is dirty-ass blues-rock inspired by Delaney Bramlett and Sticky Fingers-era Rolling Stones.

Columbia Germany's Dream Dance series compiles up-to-date club music, providing around 40 tracks in each two-disc package. Although a fair percentage of the tracks included were bona fide dancefloor hits, there's a great deal of nondescript fluff surrounding them, making the sets ideal only for the most patient fan of trance and progressive house. Dream Dance, Vol. 2 includes Carl Cox's "Sensual Sophis-ti-cat," Jaydee's "Music Is So Special," Doctor Twilight's "Theme From Mission: Impossible," Trance A 190's "Harmonica," Dance 2 Trance's "Hello San Francisco," Jam & Spoon's "Follow Me," Visions of Shiva's "How Much Can You Take," and Scooter's "Cosmos."

This a welcome reissue of Pike's hyper-rare album. Dave Pike plays the vibes over a terrific funk accompaniment…

David Liebman Group - Blues All Ways (2007) {OmniTone 12208}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 278 Mb | MP3 @320 -> 110 Mb
Full Artwork @ 300 dpi (jpg) -> 9 Mb | 5% repair rar
© 2007 OmniTone Inc. | 12208
Jazz / Progressive Jazz / Modern Creative / Saxophone

While the blues is one of the clearest roots of conventional jazz tradition, few but saxophonist Dave Liebman could release an album that covers as many stylistic bases as Blues All Ways. There's good reason why Liebman can create a blues homage ranging from the 7/4 Memphis shuffle of "Elvis the Pelvis" and lithe, harmonically sophisticated swinger "Down Time" to the ethereal "Riz's Blues." With a quartet with this much shared history, the saxophonist has a lean but highly flexible unit that can not only handle anything he throws at it, but can lob more than a few surprises back at him. Any release from this group is worth hearing but Blues All Ways, like the largely undiscovered masterpiece Conversation (Sunnyside, 2003), stands out amongst its growing discography.