Tansini “Blues Garage” 2011 Italy Electric Blues

Tansini “Blues Garage” 2011 Italy Electric Blues 

full vk

https://vk.com/wall312142499_10749

full soundcloud

https://soundcloud.com/tags/marco%20tansini

full spotify

https://open.spotify.com/album/2naMQdig9E1D2yA1aMlb2Y

full deezer

https://www.deezer.com/fr/album/1440131

“Blues garage” is the second solo album by Marco Tansini, following the first release “American places”. This new album is a journey into the Blues and all of its shades and contaminations, represented here by different colours, from funk to rock and even swing. 
Marco is known around the world not only as a producer and songwriter but even as a great guitar player and in this new release he shows the more authentic and genuine side of himself. 11 tracks that give life to a guitar album which is refined and polished while, at the same time, minimal and direct, based upon a production that tends to put emphasis to the “live” spirit of this release. 
Far from being an experiment of music archeology, “Blues garage” is the personal interpretation of different kind of blues, where the only trademark is the performance’s and songwriting’s high quality level!…~


Believe me, if I could give this 100 stars instead of 5, I would. Tansini, where have you been all my life? I am in love. Blues Garage has got to be one of the (if not THE) best instrumental albums out there. Every single track will transport the listener into pure heaven. His guitar sings, weeps, and rejoices like nobody’s business, and the background of organ and drums is fabulous. I can’t stop playing this CD and every play gets even better (how can that be??). Oh yes, hear me yell, “Saints alive! And the saint is playing!” 
If you love superb guitar playing, and you love blues instrumentals that will dig into your soul, this will knock your socks off. Whew, guaranteed….by..Jenny D…~

This guitarist from Northern Italy has released his second album chock full of interesting instrumentals, all derived from blues in some manner. His song titles are all colors and reflect various shades of the blues including rock, jazz, and beyond. The record started simply enough, but there is a nice subtle melodicism to his playing and his writing that pulled me in. I hear so much of this material, that I often treat it as background music. Yet Tansini has a certain skill to present very simple elegant music and commandeer a listener’s attention. Nicely done! …by…David Hintz…~


Credits 

Marco Tansini: guitar 
Gianni Grecchi: bass 
Paolo Apollo Negri: Hammond organ 
Paolo Botteschi: drums


Tracklist 
B1 –Marco Tansini Brown 4:29 
B2 –Marco Tansini Cherry 4:01 
B3 –Marco Tansini Blues Garage 4:40 
B4 –Marco Tansini Orange 4:56 
B5 –Marco Tansini Green 4:56 
B6 –Marco Tansini Yellow 4:47 
B7 –Marco Tansini Amber 4:19 
B8 –Marco Tansini Purple 4:50 
B9 –Marco Tansini White 4:14 
B10 –Marco Tansini Black 6:24 

Read More

Koichi Oki "Yamaha Superstar!“ 1971 Japan Jazz Funk Electronic

Koichi Oki  "Yamaha Superstar!“ 1971 Japan Jazz Funk Electronic

full vk

https://vk.com/wall-59990730_94

Japanese Organ maestro Koichi Oki, includes groovy versions of ‘Light My Fire’, 'Look of Love’ and a version of 'Spinning Wheel’ with fuzz guitar, plus drum break on one track. ….~

Liner Notes: 
Koichi Oki The tracks on this album “Yamaha Superstar” were specially created for the Yamaha EX42 by Koichi Oki, the world’s leading Yamaha Electone player. 
On this album Koichi Oki uses many of the sounds which are exclusive to the Yamaha Electone and which are revolutionizing the field of electronic organ sounds. 
The first Yamaha organs—seventy-eight reed organs—to be exported to Britain were shipped in 1892 only five years after Torakusu Yamaha built Japan’s very first prototype. Since that time the company, renamed Nippon Gakki Co. Ltd., has gone from strength to strength and while its musical instruments have steadily improved in range and excellence, it has also diversified into many other fields. Not so long ago, after all, the name “Yamaha” in Britain meant motor cycles and not musical instruments at all. Had our climate been other than it is we should know the name for its sno-cats and and skis made of the revolutionary new Fibreglass Reinforced Plastic, while boats and archery equipment of the same material obviously have a great future here. 
It is, however, in the sphere of music that the Company’s greatest efforts have been expended and here is to he found its greatest achievement. 
In the organ field Yamaha have scored many “firsts”, most notable being their revolutionary flat speaker based on the principle of a piano soundboard. It is to this speaker which enables the sound of the organ to travel across its surface that the Yamaha “Natural Sound” must be attributed. 
Turning to the EX42, the scope of the organ is such that it gives ample expression to any type of playing from popular melodies, so ably demonstrated by Koichi Oki, to classical. 
No other organ in the world has Yamaha’s exclusive “Touch Response” combined with the again exclusive “Touch Vibrato” which, for the first time, enables an organist fully to express mood and to translate the force in his fingers into volume and tone colour. 
Koichi Oki recorded for AD-RHYTHM Records, London by courtesy of YAMAHA FOUNDATION FOR MUSIC EDUCATION, Japan…..~

Tracklist 
Yamaha Electronic Sounds 
A1 Light My Fire
A2 The Look Of Love
A3 Summer In Shima
A4 Felicidad
A5 Something
A6 My Sweet Lord
B1 Let It Be
B2 Spinning Wheel
B3 El Condor Pasa
B4 Bridge Over Troubled Water
B5 Tchaikovsky One
B6 Another Day 

Read More

Expo ‘70 "Mother Universe Has Birthed Her Last Cosmos" 2018 -2 × CD,Compilation Poland Psych Space Rock

Expo ‘70  "Mother Universe Has Birthed Her Last Cosmos" 2018  
2 × CD, Album, Compilation Poland Psych Space Rock

full vk

https://vk.com/wall312142499_10657

full bandcamp

https://zoharum.bandcamp.com/album/mother-universe-has-birthed-her-last-cosmos

Collects the Universal Tongue and Small Doses Ostara 3"CDr tracks that have never been re-released. Newly mastered, the LP/CS downloads include 2 out-of-print cassette-only releases from Gold Soundz, Woolgather Visions and Mechanical Elements. Mother Universe features Matt Hill from Umberto on analog drum machine, synth and bass alongside Justin Wright’s tripped-out guitar ambiance. The session was hugely inspired by Manuel Göttsching’s legendary recording E2E4….~

Originally released as mini CDrs on different labels in 2009, Expo 70‘s Justin Wright was joined for these two lengthy sessions by Matt Hill from Umberto on both bass guitar and at the drum machine controls. And what flights of psychedelic fantasy they are, drifting and floating on ever-flowing waves of looped guitar and recursive effect pedal washes that uncurl, largely in homage to Manuel Göttsching‘s E2E4.

The bass leads the way into the title track while the cascading echo FX tumble and ripple in seemingly every direction, Wright layering loops and real-time playing into an all-encompassing pot-pourri of guitar ambience. Dubwise delay trails flicker off the subtly applied rhythms, Hill’s bassline keeping steady with all the onward plodding surety of a four-legged steed setting out on a long journey. With the melodies wrapped up in feedback and recursing cyclically, it’s good to have something solid to keep the track on course as hypnosis awaits and the synaesthetic light show doubtless begins.
For a piece that starts all head-nodding and scintillatingly ambient, Hill ramps the dissonance up a few notches as the percussion takes the foreground, rhythm box kicks spattering and chuntering into chaotic patterns of multifaceted dimensions. The dynamic shifts that the duo undertake proceed to dissect, reflect and regurgitate the elements of the track further until it is possible to imagine some form of heat death of the universe is being explored in a micro / macrocosmic fashion.
Which is exactly the sort of thing that space rock is meant to do, and “Mother Universe Has Birthed Her Last Cosmos” demonstrates perfectly why Wright deserves the reputation as an astral navigator he has developed over the last fifteen years, and fifty and more albums. “Ostara” is even further out on the trip, buzzing and gliding at the same time, coming up from the sparest of beginnings before peaking on the crest of the drone waves and taking the long, slow descent through gently prickling forests of delay. The reverb trails soon scoop up reality and drop it in tabulated shards of sound that seem to bounce into ever-increasing, then entropically dissolving, recurrent waves and a satisfyingly final bass guitar coda.
The four tracks that made up Woolgather Visions and Mechanical Elements are brought together on the second disc of the CD edition and as bonus downloads for the vinyl and tape re-releases, having appeared on Gold Soundz as limited cassettes in 2009 and 2010 (as well as a CDr compilation of both sets in 2013).
“Tropical Trip Through Acid Clouds” has yet more of the Ashra influence to the fore, brightly chirruping notes sparking brightly at first, and there’s a mechanistic klang here too, one which underpins the rising drones. When the guitar scalds its way back to the top of the skyscraping treble infusions, Wright briefly lets his inner plank-spanker loose among the flickering delay, and it’s easy for a moment or ten to imagine him both crouched cross-legged over his instrument and standing astride a monumental speaker stack with a view over the contracting universe that the overall album title alludes to. But a sense of entropic decay sets in, the soaring plangentries are cut short and faded into meanders and byways of the background electronic hum.There’s more of this sort of thing on the charmingly un-hippyish “You And Your Dream Catcher Should Take A Hike”, the electrical vibrations rising strongly into an all-pervading cosmic whirl that bursts with swarming overtones and emergent helicoptering pulsations. The mood of harmonic-shifting stasis continues on “Neither Here Nor There (A Study)”, Wright constructing those proverbial cathedrals of sound from a familiar architectural palette that nevertheless allows him to build a glittering palatial confection. Everything glides sedately in dimensions that manifest both Göttsching and Popol Vuh‘s ways of approaching a new age of psychedelic music, while remaining resolutely Expo 70 to the core….-Linus Tossio….~

What more can we say about these guys that we haven’t already. Masters of divine sci-fi spacekraut dronemusic, sprawling epics that drift heavenward, guitars swirl and pulse, bass throbs and rumbles, rhythms don’t pound or shuffle as much as pulse, a gloriously cosmic ur-rock that is not about rocking at all, but instead about sitting back and drifting off, letting the music lull you into a state of suspended animation, moving inward before moving outward, expanding like a new universe being born. All of the above imagery is especially apt to describe Mother Universe Has Birthed Her Last Cosmos, a one track, 20 minute space drone kraut jam from our beloved Expo 70. The main guitar part is surprisingly active, as is the bass, there’s a definite groove here, the song has propulsion, and moves with purpose, the sound of a timelapse camera capturing the stars blinking out one at a time, viewed through a capsule full of bong smoke. Dreamy druggy and divine….Aquarius Records….~

Before you, another archival material Expo 70, designed by Justin Wright. 'Mother Universe Has Birthed Her Last Cosmos’ is a collection of rare recordings from 2008-2010, released on two mini CDRs and two cassettes. They have been inaccessible for a long time and included some of the best in Expo 70 history, above all a title recording, strongly related to the achievements of Ashra and the early Amon Düül II. This composition and 'Ostara’, which make up the program of the first CD, are the beginnings of a three-person version of the project, known as Expo Seventy (in contrast to the solo recordings marked with the Expo 70 spelling). Both recordings were attended by Matt Hill on bass.
The second CD of this compilation is filled with four few-minute songs from Justin Wright’s solo sessions. In addition to traditional guitar sounds, he explores the possibilities of the Moog synthesizer. These compositions perfectly complement the material from the first disc.
The album released in the cardboard fold-out packaging for Japanese vinyl replicas is strictly limited to 500 pieces. The cover design was made by Justin Wright. Michał Porwet watched over the entire publishing process……~


Credits
Bass, Drum Programming [Analog] – Matt Hill (6)
Guitar – Justin Wright
Mixed By – Justin Wright

Tracklist
1-1 Mother Universe Has Birthed Her Last Cosmos 22:35
1-2 Ostara 21:51
2-1 Tropical Trip Through Acid Clouds 15:08
2-2 Hexed by a Devil in the Cemetery 14:59
2-3 You and Your Dream Catcher Should Take a Hike 15:02
2-4 Neither Here Nor There (A Study) 14:58 

Read More

Marco Antônio Araújo “Influências” 1981 Brazil Prog Folk,Symphonic

Marco Antônio Araújo “Influências” 1981 Brazil Prog Folk,Symphonic

full vk

https://vk.com/wall-38342449_9587

https://vk.com/wall235028934_403

For my 100th review on PA, I´d like to introduce one of Brazil´s best instrumental prog ventures of all times. Marco Antônio Araújo and his band are from my hometown and they played a very unique mixture of progressive, folk, rock and classical music. Araujo, a big Beatles fan, lived in London for a time during the 70´s and when he came back he brought with him all the inlfuences that made him one of the most original and celebrated songwriters of his time. His music is quite rooted in the traditional musical forms of Minas Geraes, a state that was famous for its baroque churchs (therefore the proeminent use of the flute on most of the songs, and also the french horn sometimes). 
when the record came out it was hailed as a masterpiece, and it deserved it! It´s difficult to describe the music, since it is quite original, although influences are easy to tag and goes from Jetrho Tull to Beatles, classical music, Brazilian folk and so on. Yet the results are a smooth, well crafted collection of songs. You have to hear it to believe. 

He recorded 4 albums of original music and was on his way to become an international successs, when it all came to an end by his tragic death in 1986, of a brain aneuurism. But he left his mark and Influências was his first album, and one of the most celebrated ones, since it was recorded and well received at a time when instrumental prog music was not really in fashion (to say the least!). His band mates are very skilled, most of them did solo works and became much sough after studio musicians in years to come. His brother Alexandre Araújo does some great guitar solos and Eduardo Delgado proves to be one of the best flute players around. 

If you like something different, instrumental progressive music, with strong folk and classical influences, this is a must have. Highly recommended!…by Tarcisio Moura ….~

Well, my dear friends, this is my first review for progarchives; although there is a long time I appreciate opinions made available here. What a large amount of bands I´ve been listening due to this site recomendations ! 
As being a brasilian, this first review is for the álbun and the musician whose in my honest opinion I consider the best product in our progressive music. Although Bacamarte´s “Depois Do Fim” is a must, “Influências” by Marco Antonio Araújo is even of higher quality; and not only for just one reason. 
First of all, MAA has the cultural profile of those fantastic progressive musicians. He has a strong classical trainment, which appears clearly in his work (albun like “Entre Um Silêncio E Outro” - Between One Silence And The Other). Also he was a intense “flower power generation” guy, fascinated by “The Beatles and The Rolling Stones”; and these two lines forms the essence of the ideas that led to progressive movement. Second, MAA kept in his music strong elements of brasilian folk music (a very interesting kind of music); bulking this in a melting pot with classical and “roquenrou” (rock´n´roll); having as a result something strongly different from anything anyone has done prior to him. And third of all, he is a master composer, creating incredible melody lines; as for example the main theme (played by flute), of “Abertura n 2” one of the best melodic line that I ever heard in my life !! 
So, I leave here a strong recomendation of a careful listening in order to really judge if “Influências” as the best effort of brasilian progressive music; by our best progressive musician. And after all, these commented qualities performs a strong reason for achieving here five stars…Antonio Giacomin…..~

Marco Antonio Araujo was the most respected musician in Brazil’s instrumental music scene in the 80’s, compared only to Marcus Vianna from Sagrado. Although his work hasnt gained enough recognition among the prog fans worldwide, he is, in my opinion, one of the best folkish accoustic guitar players of all times. He was able to incorporate ethnic elements from the Minas Gerais state region with the finest progressive / folk rock influences of Jethro Tull and Pink Floyd like no one else. His characteristics as a guitarrist are quite unique. Influencias release really broke ground in the industry at the time, bringing a re-birth to the prog scene in the country in the early 80’s. Many brazilian bands followed his path since the release of Influencias. The music is extremely beautiful shifting from accoustic guitar / flute / piano mellow passages, to long full improvisating passages. Marco Antonio always gave total freedom to his fellow musicians, and the result is incredible. He was able to put out several solid good albums before his premature death, caused by drug abuse. His presence in the Brazilian scene is missed a lot….~

Multi-instrumentalist Marco Antonio Araujo (1949-1986) recorded only a handful albums before his untimely death in 1986, but in his brief career he established himself as one of Brazil’s preeminent prog-rock musicians, shaping lyrical, grandiose sonic epics, often with a folkie musical tint. Before emerging as a solo artist, Araujo was a veteran of the 1970s musical and theatrical scenes – he had gone abroad to England and fell under the spell of British rock music, which became an integral part of his own compositions and improvisations. Here’s a quick look at his work… 
Flowery but for-real folky prog from Brazil, with expansive electric guitars, shimmering keyboards and a lot of tootly flute. It’s like Mike Oldfield, Stevie Vai, George Harrison and Edu Lobo prancing through a field of flowers together, with that guy from Jethro Tull playing Pied Piper under the shade of an apple tree… Yeah, it’s pretty goofy, but I think for prog fans, this is definitely an artist to have on your radar. Araujo builds on huge, epic jam sessions, particularly the two ten-minute long pieces that bookend this album, “Panoramica” and “Folk Song”, but all the songs are over five minutes and share a similarly grandiose vibe. This is considered by many to be a touchstone of Brazilian prog… and it certainly is a solid album for the genre…..~

“Influences” is the first of the four albums released by the composer, guitarist and cellist from Minas Gerais, one of the greatest Brazilian musicians of all time, Marco Antônio Araújo. 

With the excellent band Mantra, Marco Antônio Araújo made a refined sound, blending folk, erudite music, music from Minas Gerais and rock. Influences of Jethro Tull (or just the similar sonority generated by the guitar with the flute) can be noticed, but the music of MAA is strong personality, marked by sensitivity, intelligence, and a progressive awareness “from the inside out” - MAA not “trying to be progressive,” repeating clichés and falling into what many end up falling. 

The sound in Influences is dominated by guitars and flute, always counting on the great guitarist Alexandre Araújo (brother of MAA), and some metals and piano of invited musicians. The balance between heavier and softer movements is noticeable, as you can already notice by the opening strip, “Panoramic”, a 10-minute epic. Other highlights of the album are the title track, energetic “Opening No. 2”, “Folk Song”, beautiful music that starts with voices and MAA on guitar, then metal, flute … Well, just listening. 
There are still 2 bonus tracks, the latter (Floydiana II) actually a version of the first track from their second album…….~

Line-up / Musicians 
- Marco António Araújo / acoustic & slide (2) guitars, percussion, arranger 

With “Grupo Mantra” band: 
- Alexandre Araújo / guitars, percussion 
- Eduardo Delgado / flute, percussion 
- António Viola / cello 
- Ivan Correa / bass 
- Mário Castelo / drums, percussion 

And: 
- Oiliam Lanna / wind arrangements (1) 
- Philip Doyle / flugelhorn (1,2,6) 
- Amilton Pereira / trumpet (1) 
- Maurício Silva / trumpet (1) 
- Edson Maciel / trombone (1) 
- Edmundo Maciel / trombone (1) 
- Maurício Maestro / voice & handclaps (2)

Songs / Tracks Listing 
1. Influências (6:21) 
2. Folk Song (10:36) 
3. Bailado (4:59) 
4. Panorâmica (10:00) 
5. Cantares (5:14) 
6. Abertura N° 2 (8:22) 

Read More

Durgha Esmael "Herbivora" 2018 Indonesia Instrumental Prog Psych

Durgha Esmael  "Herbivora"  2018 Indonesia Instrumental Prog Psych

full vk

https://vk.com/wall312142499_10535

https://vk.com/wall-48309703_23207

https://vk.com/wall-64705959_42368

https://vk.com/wall-64941108_31850

https://vk.com/wall406173680_14812

https://vk.com/wall61455704_1480

full bandcamp

https://durghaesmael.bandcamp.com/releases

Noisy, energetic, psychedelic instrumental rock music from Indonesia. Don’t be put off by the 73 minute running time, the raw energy on display here is more than enough to keep you engaged for the duration….~


Line-up: 
Jimi Mahardikka - Guitar 
Tommy Ard - Bass 
Dimas - Drum 
Rarya Lakshito Jati - Cello 
Nadya Hatta - Keys

Tracklist: 
1. Sun Rise (4:22) 
2. Winds Of The White Poppy (5:56) 
3. In Secret Between The Shadow (6:10) 
4. Beach Life (5:26) 
5. Long Intervals Of Insanity (6:30) 
6. Steal The Night (3:50) 
7. Sea Of Wonder (2:14) 
8. We Slipped Into Midnight (10:28) 
9. The Elevator Eyes (4:43) 
10. The Message Of The Strength (9:47) 
11. Yellow Butterfly (3:49) 
12. The Unity Of Being (10:22)

Read More