320 kbps | 354 MB | LINKS
320 kbps | 354 MB | LINKS
FLAC | 425 MB | UL
“We All Love Ennio Morricone” is an all-star tribute album celebrating the music of the revered Italian composer Ennio Morricone, performed by some of the greatest names from the worlds of contemporary pop, rock, jazz, and classical music.
1. Celine Dion – I Knew I Loved You
2. Quincy Jones Feat. Herbie Hancock – The Good, The Bad And The Ugly
3. Bruce Springsteen – Once Upon A Time In The West
4. Andrea Bocelli – Conradiana
5. Metallica – The Ecstasy Of Gold
6. Yo-Yo Ma – Maléna
7. Renée Fleming – Come Sail Away
8. Ennio Morricone – Gabriel’s Oboe
9. Daniela Mercury Feat. Eumir Deodato – Conmigo
10. Dulce Pontes – La Luz Prodigiosa
11. Chris Botti – Love Affair
12. Vanessa And The O’s – Je Changerais D’avis
13. Roger Waters – Lost Boy Calling
14. Ennio Morricone – The Tropical Variation
15. Denyce Graves – Could Heaven Be
16. Taro Hakase – Addio Monti
17. Ennio Morricone – Cinema Paradiso
On Music for Two, banjo wizard Béla Fleck and stand-up bass maestro Edgar Meyer effortlessly sail through a challenging program that includes compositions by Bach, a sonata by Henry Eccles, a Miles Davis tune, and a number of self-composed finger twisters. The amazing thing about this varied selection is not its eclecticism–which is only to be expected with these two–but that it all blends together so seamlessly. Fleck’s jazz-tinged compositions (like “The Lake Effect”) and Meyer’s bluegrass-inspired tunes (like “Wishful Thinking”) sit so comfortably next to Bach’s baroque jewels and Davis’s cool jazz that it makes you question the entire of concept of musical classification. (In fact, the Bach preludes, inventions, and partitas translate so well to the banjo/bass arrangements, you have to wonder if old JSB might not have had a bit of bluegrass in his soul.) Music for Two was recorded live at a series of 2001 concerts, where Fleck and Meyer proved conclusively that the banjo and the bass were capable of remarkable subtlety and not just twang and boom.
Besides Ennio Morricone’s Legendary Italian Westerns compilation, this is easily the most essential audio document of the spaghetti western genre. The two CDs include no less than 67 cuts, spanning the years 1966-1981, going heaviest on the late ’60s and early ’70s; about half of the tracks have never been released anywhere, let alone in the U.S. If you like this peculiar and fascinating style, you’ll find this essential: it has excerpts from well over a dozen films that are virtually unknown (as are the composers) to non-aficionados. The weird trademarks of this music — galloping rhythms, tear-jerkingly sad melodies, overwrought melodramatic vocals, low twangy guitars, indescribably oddball orchestral flourishes of mariachi trumpets, lonesome harmonicas, tinny organs — are often present. But be cautioned that this is not in the same league as the work done in the style by the master, Ennio Morricone (who has only one selection on this compilation). Some of the cuts are cheesy without much redeeming musical value. Others are linked to the genre only by virtue of their inclusion in an Italian Western soundtrack; some sound like more-or-less typical adventure soundtrack music, some sound more like Hollywood western fare than spaghetti western dishes, and some even verge close to folky singer/songwriter territory.
mp3 192 kbps | 126 MB | UL
Edgar Meyer and Yo-Yo Ma have collaborated successfully before on albums such as Appalachia Waltz and Appalachian Journey, but this album reaches new levels of musical interest and variety. In this collaboration, they’ve added two more fabulous musicians to the mix: Chris Thile on mandolin (originally of Nickel Creek fame) and Stuart Duncan on fiddle (session musician with the big names in Nashville). This album relies primarily on instrumental work, but each track has a unique sound. The album never sounds repetitive. At times, the musicians even pull out instruments we’re not used to hearing them play: we hear Meyer on the gamba and piano, Duncan on the banjo and mandolin, and Thile on the guitar, fiddle, gamba, and vocals.
Maestro Terry Riley returns to the transcendent brilliance of his mprovisatory All Night Flights from the 1970s in this spectacular two-hour solo performance for just intonation keyboard. Originally created for the Aleph-Bet Sound Project that John Zorn organized for the Contemporary Jewish Museum in San Francisco, the music has been sitting in Terry’s archives for years and now finally sees the light of day in all its glorious entirety. Recorded at Terry’s private studio at Moonshine Ranch at Midnight, the music captures a magically mystical vibe, timeless, meditative and entrancing. A modern classic from the godfather of minimalism who continues to surprise and challenge us with each new release.
mp3 320 kbps | 255 MB | US
Yann Tiersen musical career is split between studio albums, collaborations and film soundtracks with a distinctive sound that is always involved. It can be recognized by its use of a large variety of instruments; primarily the guitar, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter. Tiersen is often mistaken as a composer of soundtracks, himself saying “I’m not a composer and I really don’t have a classical background,” but his real focus is on touring and studio albums which just happen to often be suitable for film; his most famous soundtrack for the film Amélie was primarily made up of tracks taken from his first studio albums.