The previous Art Ensemble of Chicago ECM album Nice Guys vaulted them to the top of improvised music groups in the U.S. and worldwide, paving the way for similar bands to be more accepted into the mainstream of modern music. Where "Full Force" generally lives up to the title, there's also a palpable diverse approach, producing more than enough potent music brimming from the sinews of these brilliant musicians to uphold their burgeoning cache.

Whereas most great live rock albums are about energy, At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians' interaction and playing. The great thing about that is, the original album that brought the Allmans so much acclaim is as notable for its clever studio editing as it is for its performances…

Arild Andersen's Hyperborean is based on an Ancient Greek legend: according to the myth, the Hyperboreans lived beyond the north winds, where the sun god Apollo presided. Andersen has created an impressive song cycle that draws from contemporary instrumental, European jazz, jazz-rock and the distinctive ECM production sound. Andersen's playing is typically tasteful and the compositions are unpredictable and evocative, making Hyperborean another worthy addition to his catalog.

Leaving behind the garagey jangle pop of their first recordings, R.E.M. developed a strangely subdued variation of their trademark sound for their full-length debut album, Murmur. Heightening the enigmatic tendencies of Chronic Town by de-emphasizing the backbeat and accentuating the ambience of the ringing guitar, R.E.M. created a distinctive sound for the album – one that sounds eerily timeless. Even though it is firmly in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds as if it appeared out of nowhere, without any ties to the past, present, or future…

Bassist Arild Andersen shines as the principal soloist in a celebration of music from ECM with specially-commissioned new big-band arrangements of well-known pieces by Dave Holland, Chick Corea, Trygve Seim, Jan Garbarek, and Keith Jarrett. The resourceful Tommy Smith adds powerful tenor solos, arranges Garbarek’s “Molde Canticle”, and directs the Scottish National Jazz Orchestra. Andersen’s composition “Independency” is a 16-minute highlight, in a sensitive and powerful arrangement by Mike Gibbs. Other contributing arrangers are Makoto Ozone, Christian Jacob, Geoff Keezer and Trygve Seim/Øyvind Bræke: all of them contribute sterling work, and their arrangements are likely to enter modern jazz’s big band repertory book. Recorded live at Glasgow’s Royal Conservatory, “Celebration” is a highly attractive album for a broad listenership, and as a statement about music introduced by ECM will be of special interest to long-time followers of the label.

Arturo Sandoval, one of the great trumpeters, leads his high-powered septet on a variety of diverse material. The uptempo bop original "The Real McBop" introduces the audience to the strong solo playing of pianist Phil Magallanes, tenor saxophonist Felipe Lamoglia, Sandoval, and guitarist Rene Toledo.

Dozens of compilations have been devoted to the recorded evidence of Benny Goodman's brief but fortuitously well-documented collaborative friendship with jazz guitarist Charlie Christian (1916-1942). The producers of the Masters of Jazz series have handled the Charlie Christian story more meticulously than nearly anyone else in the business. Because the guitarist didn't live long enough to establish himself as a leader, he exists in history as the eternal sideman who also happens to have been one of the very first progressively modern improvisers in jazz. Volume three in the series takes on selected recordings made between December 2, 1939 and June 4, 1940…

A Milan-based band led by Marco Galletti (keyboards), Arcansiel started in 1982 as ''Sprouts'' covering mainly Genesis songs. By mid-80's Galletti had already written some original material, while the band was renamed to Arcansiel, featuring also Gianni Lavagno on drums, Nico Clerici on bass, Piero Zancanaro on clarinet/sax and Claudio Baretta on guitars. It was the time for Arcansiel to start performing live, while they also recorded their first LP ''Four Daisies'', released on Contempo Records (re-released two years later on CD).
The album holds some similarities with the style of mid-70's Genesis and Marillion, but it also has a strong personality, mainly to the use of the saxes of Piero Zancanaro…

Built on foundations of multi-layered full-spectrum drones and loops, the music of Polmo Polpo is distinguished by slide guitar motifs that are more naive pop pastoral than spaghetti western. Opening track “Romeo Heart” builds inexorably from silence to jet-engine pink noise squall, coaxed along by descending bass and guitar lines - an excellent introduction to a record that gains emotional resonance and structural complexity with every song. “Requiem For A Fox” introduces the techno-inflected, underwater heartbeat pulse that marks much of Sandro’s earlier work, with whirring ring tones, detuned filters and a sardonic melody gradually giving way to the jauntier acoustic guitar groove and exuberant slide solo at song’s end…

La Guerra de los Gigantes' Sebastián Durón is one of the earliest Spanish operas in the history of music: a musical rarity in a stirring presentation by Rogerio Gonçalves, his Ensemble A Corte Musical as well as singers Eva Juárez (Jupiter), Camilla de Falleiro (Hercules), Anna Freivogel (Minerva) and Maria Weiss (Palante).

Karlheinz Stockhausen - Donnerstag aus Licht (1992) {4CD Set Stockhausen-Verlag No. 30}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 904 Mb | MP3 @320 -> 509 Mb
Full Artwork @ 300 dpi (png) -> 745 Mb | 5% repair rar
© 1978-80, 1992 Stockhausen-Verlag | Stockhausen 30
Classical / Avant-Garde / Experimental / 20th Century

Since 1991, a complete edition of all recordings in which Karlheinz Stockhausen has personally participated is being released on compact discs. Each CD in this series is identified by Stockhausen's signature followed by an encircled number. The numbers indicate the general historical order of the works. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director. He personally mixed down the recordings, mastered them for CDs, wrote the texts and drew the covers.