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- Oum Kalthoum - HAYART ALBI MA'AKOum Kalthoum - Hayyart qalbi, 1961
Composer: Reyad al-Sunbati
Lyrics: Ahmed Rami
Genre: Ughniyah
Maqam : Kurd
HERE
Переслать - Paco De Lucia & Paco Pena - Paco Doble - "DOS GUITARRAS FLAMENCAS EN AMERICA LATINA"
Paco De Lucia & Paco Pena
"Paco Doble"
"DOS GUITARRAS FLAMENCAS EN AMERICA LATINA"
Paco de Lucía was born Francisco Sánchez Gómez in Algeciras, a city in the province of Cádiz, at the southernmost tip of Spain directly in front of the Rock of Gibraltar. The youngest of the five children of flamenco guitarist Antonio Sánchez, and brother of flamenco singer Pepe de Lucía and flamenco guitarist Ramón de Algeciras, he adopted the stage name Paco de Lucía in honor of his Portuguese mother, Lucía Gomes. In Algeciras, and generally in Andalusia, it is a custom to name boys (especially if they have the same first name) by adding the mother's name in order to properly identify them, such as "Paco de (la) Carmen," "Paco de (la) María," and so on.
In 1958, at age 11, he made his first public appearance on Radio Algeciras, and a year later was awarded a special prize in the Jerez flamenco competition. In 1961, he toured with the flamenco troupe of dancer José Greco. In 1964, he met Madrileño guitarist Ricardo Modrego with whom he recorded three albums: Dos guitarras flamencas, Dos guitarras flamencas en stereo, and Doce canciones de Federico García Lorca para guitarra. Between 1968 and 1977, he enjoyed a fruitful collaboration with fellow New Flamenco cantaor (Flamenco singer) Camarón de la Isla. The two recorded 10 albums together. His 1976 album Almoraima was a success and featured notable tracks such as Almoraima and Río Ancho, the latter track of which has been covered by other guitarists such as Al Di Meola.
In 1979, de Lucía, John McLaughlin, and Larry Coryell formed "The Guitar Trio" and together made a brief tour of Europe and released a video recorded at London's Royal Albert Hall entitled Meeting of Spirits. Coryell was later replaced by Al Di Meola, and since 1981, the trio has recorded three albums. De Lucía's own band, the Paco de Lucía Sextet (which includes his brothers Ramón and Pepe) released the first of its three albums that same year. He has released several albums encompassing both traditional and modern flamenco styles.
In 1995, he recorded with Bryan Adams the hit song and video "Have You Ever Really Loved A Woman" on the soundtrack for the movie Don Juan DeMarco. Through his wide discography he has advanced the technical and musical boundaries of his instrument. The University of Cadiz recognized de Lucía's musical and cultural contributions by conferring on him the title of Doctor Honoris Causa on March 23, 2007.
Until asked to perform and interpret Joaquín Rodrigo's Concierto de Aranjuez in 1991, de Lucía was not proficient at reading musical notation. As a flamenco guitarist, he claimed in Paco de Lucía-Light and Shade: A Portrait that he gave greater emphasis to rhythmical accuracy in his interpretation of the Concierto at the expense of the perfect tone preferred by classical guitarists. Joaquín Rodrigo declared that no one had ever played his composition in such a brilliant manner. Since de Lucía was not able to read music, he worked on his interpretation of the concerto with Narciso Yepes.
Paco Peña (born 1 June 1942) is a Spanish flamenco guitarist. He is regarded as one of the world's foremost traditional Flamenco players.[1]
Born in Córdoba, Spain as Francisco Peña Pérez, Paco Pena began learning to play the guitar from his brother at age 6 and made his first professional appearance at 12. Encouraged by his family, he left home and began performing throughout Spain with a government-sponsored folk music and dance program. This led to call-ups from professional Flamenco companies in Madrid and the Costa Brava, where Pena established himself as an highly-regarded accompanist to Flamenco dance and singing. However, dissatisfied with life on the coast and seeking a new challenge[2], he moved to London in the late 1960s to become a soloist. Initially the star attraction in the Restaurante Antonio in Covent Garden, Pena's performances generated so much interest among a British public previously uninitiated in Flamenco that he soon found himself sharing concerts with artists such as Jimi Hendrix, and made his solo debut at Wigmore Hall in 1967. It was not long before Pena was touring the world, both as a soloist and an accompanist with performances at Carnegie Hall in New York City, the Royal Albert Hall in London and the Concertgebouw in Amsterdam. He later founded the world's first university course on flamenco guitar, at the Rotterdam conservatory of music.
Pena also created the Centro Flamenco Paco Peña in Córdoba, and was responsible for the founding of the now-celebrated annual Córdoba Guitar Festival, which has seen appearances by other Flamenco greats such as Manolo Sanlúcar and Paco de Lucía.
In 1997 Peña was named Oficial de la Cruz de la Orden del Mérito Civil by King Juan Carlos of Spain.
His most famous compositions include his Misa Flamenca, a Flamenco Mass and Requiem for the Earth, both of which have received great critical acclaim.
He has also had a number of notable collaborations, significantly with the guitarist Eduardo Falú and the Chilean group Inti Illimani.
He has homes in both London and Córdoba. His most recent show is Flamenco Sin Fronteras (2009), which explores the relationship between Venezuelan music and Flamenco.
Peña is a good friend of classical guitarist, John Williams, and they have frequently played concerts together.
[01]. Danza Venezolana (Barrios)
[02]. Pajaro chogui (Pitagua)
[03]. Yo vendo unos ojos negros (Pablo Ara Lucena)
[04]. Guadalajara (Pepe Guizar)
[05]. (Yo todo) A media luz (Edgardo , E. Donato , Сesar Lenzi)
[06]. Tico - tico (Zequinha de Abreu , Oliveira)
[07]. Quizas, quizas, quizas (Oswaldo Farres ,Davis)
[08]. La Bamba (arr.- Paco Pena)
[09]. Caminando (Paco Pena , Reyna)
[10]. Choros no.2 (Joao Pernambuco)
[11]. Ritmo Orquidea (arr.- Paco Pena)
[12]. Carnival from 'Black Orfeus' (Bonfa , Peretti ,Creatore , Weiss)
[13]. Valse Criollo (Antonio Lauro , Reiter)
[14]. Amapola (Joseph Lacalle , Albert Gamse)
[15]. Cielito lindo (popular)
[16]. Alma llanera (gutierrez)
[17]. Manana de Carnaval
[18]. El jarabe tapatio
[19]. La flor de la canela
[20]. A pesar de todo
[21]. Siboney
[22]. Granada
[23]. Fina estampa
[24]. Virgen de amor
[25]. Malaguena salerosa
[26]. Tomo y obligo
FLAC tracks (EAC Rip): 370 MB | MP3 - 320 kbs: 170 MB | Scans
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Переслать - Mohamed Bajeddoub & Abderrahim Souiri - L'Art du mawwâl / The Art of Mawwâl
Mohamed Bajeddoub & Abderrahim Souiri
L'Art du mawwâl / The Art of Mawwâl, 2007
01. Ataytu li-qâdi l-hubbi
02. Amurru 'alâ d-diyâri
03. Dumû'u l-'ayni tajrî
04. 'Îdû ilayya l-wisâl
05. 'Aynî li-ghayri jamâlikum lâ tandhuru
06. Arâdû l-bi'âda
07. Amurru 'alâ diyâri Laylâ
08. Qultu li-Laylâ
09. Badat - Yâ ghazâlan
10. Zâranî tayfu
11. Zor man tuhibb
12. Jarhu qalbî
13. Lil-jamâli mulkun
14. Alhaju bi-l-ahbâb - Lâ tahsubû
15. Mâ l-farq
16. Lî habîbun
17. Yâ shams l'ashiya - Qudûmu l-habîb
320 kbps; including full booklet scans
Part 1 | Part 2 | Part 3
Переслать - Mohammad Rammal - L'Epopée de l'Achoura / The Ashura Epic
Mohammad Rammal
L'Epopée de l'Achoura / The Ashura Epic, 2007
1. Cycle of Sadness
2. Chest Pounding
3. Praise of the Prophet
4. Poems for Fatima, Daughter of the Prophet
5. Eschatological Evocation of the Expected Mahdi
6. A Lebanese Poetic-Melodic Form
7. Poems in the Honour of Ali
8. A Poem in the Honour of the Prophet's Descendants
9. A Poem in Honour of the Prophet's Family
320 kbps mp3; including full booklet scans
Part One
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Переслать - Marilyn Crispell - Live in San Francisco
Marilyn Crispell
Live in San Francisco, 1990
One of the finest modern jazz pianists, Marilyn Crispell first emerged as an exciting, adventurous soloist and composer on the free scene in the early '80s. She was a member of the Anthony Braxton Quartet during the '80s and '90s, and also led a number of her own dates (mostly for Leo and Music & Arts) during this period. Although not as widely acclaimed as she deserves to be, Crispell has nevertheless gained an increasing amount of respect and fewer write-offs simply as a pianist in the Cecil Taylor vein.
Crispell is a rarity in that she's not interested in hard bop, jazz/hip-hop, or fusion. Her style, with its slashing phrases, percussive mode, clusters, and speed, pays homage to Cecil Taylor (whom she reveres) but isn't merely an imitation. She's not as dance-oriented, and her use of space, African rhythms, and chording also recall Thelonious Monk and Paul Bley, two others she cites as influences, along with Leo Smith.
Crispell started piano lessons at age seven at the Peabody Music School in Baltimore. She later studied piano and composition at the New England Conservatory in Boston. She abandoned music for marriage and medical work in 1969, but returned to the music world six years later, moving to Cape Cod after a divorce and being introduced to the sound of transitional John Coltrane (A Love Supreme) by pianist George Kahn. Crispell attended Karl Berger's Creative Music Studio and studied jazz harmony with Charlie Banacos in Boston. She met Anthony Braxton at the studio, and toured Europe with his Creative Music Orchestra in 1978, recording on his Composition 98 album in 1981. Crispell began playing solo and leading groups in the '80s, teaming with Billy Bang and John Betsch in one band. She made several albums on the Music & Arts and Leo labels, among others, working with Reggie Workman, Doug James, Andrew Cyrille, Anthony Davis, Tim Berne, Marcio Mattos, Eddie Prevost, and several others.
Crispell continued recording throughout the '90s, yielding a number of incredible albums and interesting lineups that included her Braxton Quartet bandmates Mark Dresser and Gerry Hemingway, as well as sessions with Paul Motian, Irene Schweizer, Workman, Georg Graewe, Braxton, Gary Peacock, Fred Anderson, and many others, not to mention a few solo recordings, including Live at Mills College 1995. Marilyn Crispell has performed at a large number of jazz and avant-garde festivals, occasionally as a solo artist, as with her set at FIMAV 2000 (aka Victoriaville 2000), which preceded a solo set by Cecil Taylor. Since that time she has kept busy releasing Amaryllis in 2001, Storyteller in 2004, and Vignettes in 2008. ~ Ron Wynn, All Music Guide
This is the Marilyn Crispell CD to start out with. The avant-garde pianist, most influenced by Cecil Taylor but increasingly original through the years, explores eight selections during a dynamic live set. In addition to five originals, Crispell plays very fresh (and unpredictable) versions of "When I Fall in Love," Thelonious Monk's "Ruby, My Dear," and John Coltrane's spiritual "Dear Lord." In addition, the 55 minutes of solo piano are joined by two numbers featuring Crispell that were also released on other Music & Arts releases: a duet with Anthony Braxton and "Wha's Nine" from a very adventurous Reggie Workman set with vocalist Jeanne Lee and clarinetist Don Byron. Invigorating music. ~ Scott Yanow, All Music Guide
01. Penumbra
02. Zipporah
03. When I Fall in Love
04. Ruby, My Dear
05. Misconception
06. Tromos
07. Dear Lord
08. Encore
09. Composition No. 136
10. Wha's Nine?
320 kbps including full scans
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Переслать - Putumayo Presents Jamaica (Reggae Homeland)An entry from Putumayo's archives, Putumayo Presents: Jamaica makes a stab at covering the vast majority of the styles of reggae available on the island nation. More specifically, it restricts that coverage to the more classic forms (omitting dancehall, hip-hop, fusion, and generally anything involving gun talk and slackness). Essentially everything happening in the reggae scene after the end of the rocksteady movement and up to the death of Peter Tosh is represented here. The album opens with the title track from the Toots & the Maytals album Reggae Got Soul, infusing a bit of American soul into the reggae base. Culture follows with an exposition on the Rastafarian faith and Jimmy Cliff mixes the political realm with the party realm in "Give the People What They Want." Ska veteran Rico Rodriguez adds in a relatively rare reggae instrumental and Joe Higgs, one-time vocal tutor to Bob Marley, tosses in a basic piece of his repertoire. Polio victims Israel Vibration contribute a number and Ras Michael adds in a piece of reggae with a deep connection to the proper nyahbinghi drumming forms. The Gladiators perform a relatively basic work and early dance reggae is represented by the powerhouse combination of Black Uhuru and Sly & Robbie. Finishing the album are a pair of works from two of the largest innovators from the island: a piece of the earliest dub from Augustus Pablo's first album and a more recent work from Peter Tosh (licensing difficulties prevented the inclusion of a Bob Marley number), post-Wailers. Overall, it's an outstanding effort at including the major forms and styles as well as the proper figures in the scene over the last 40 years or so. Give it a listen as an introductory set of music to the reggae genre as a whole and use it as a stepping stone into deeper exploration of the various artists presented. ~ Adam Greenberg, All Music Guide
TRACK LISTINGS
[01]. Reggae Got Soul - Toots & the Maytals
[02]. Why Am I a Rastaman - Culture
[03]. Give the People What They Want - Jimmy Cliff
[04]. Midnight in Ethiopia
[05]. Upside Down - Joe Higgs
[06]. Rudeboy Shufflin - Israel Vibration
[07]. None a Jah Jah Children - Ras Michael, Sons of Negus
[08]. Streets of Freedom - The Gladiators
[09]. Sponji Raggae - Black Uhuru Listen
[10]. Point Blank - Augustus Pablo
[11]. Mystery Babylon - Peter Tosh
FLAC tracks (EAC Rip): 280 MB | MP3 - 320 kbs: 110 MB | Covers
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Переслать - Markus Klinko - French Music for Harp
Markus Klinko
French Music for Harp, 1992
01. Claude Debussy - Arabesque No.1
02. Claude Debussy - Claire De Lune
03. Claude Debussy - La Fille Aux Cheveux De Lin
04. Erik Satie - Gymnopedie No.1
05. Erik Satie - Gymnopedie No.3
06. Gabriel Fauré - Impromptu, Op.86
07. Gabriel Fauré - Une Chatelaine En Sa Tour, Op.110
08. Albert Roussel - Impromptu, Op.21
09. Alphonse Hasselmans - La Source, Op.44
10. Gabriel Pierne - Impromptu-Caprice, Op.9
11. Jacques Ibert - Scherzetto
12. Camille Saint-Saens - Fantaisie, Op.9
320 kbps mp3; including full booklet scans
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Переслать - Manuel Agujetas - Flamenco vivo
Manuel Agujetas
Flamenco vivo, 2003
This, my friends, is `the real deal'. Manuel Agujetas is a flamenco cantaor in a class by himself - his style is as real as it gets, completely raw and untamed, his singing as hot as the iron he works in his forge at home, his delivery at times as violent as his hammer pounding the white-hot metal on his anvil. In fact, one of the songs on this CD, `Martinete', is sung a cappella, accompanied only by his ringing hammer. All of the others were recorded in a small venue before an audience, with Agujetas being accompanied by the amazing Moraito on guitar. At times it sounds as if there is more than one guitarist at work, but there's `only' one. The interplay between guitarist and cantaor is astonishing, even by the elevated standards of the genre. Even though there are only six tracks here, it's over 50 minutes in length - a good deal of great music for the price.
The CD is actually the soundtrack to an amazing 1-hr film called AGUJETAS CANTAOR, directed by Dominique Abel - it's one of the most incredible documentaries I've seen on any subject. It's one thing to hear this amazing music - and I'm eternally thankful that I have, and that it's available - but to actually see Agujetas perform (the reactions of members of the audience, both those who are familiar with him and those who are apparently experiencing his art for the first time, are absolutely priceless), and to hear him reminisce about his life and expound on all sorts of subjects (he's quite the character, at one point referring to himself as 'dangerous') is a real treat. I don't know if a reference to YT will survive Amazon's editing process, but there are excerpts from the film available for viewing there, albeit of course at a much lower level of quality than the actual DVD.
1. Solea
2. Martinete
3. Seguiriya
4. Fandango
5. Solea por Buleria
6. Seguiriya
Manuel Agujetas - vocals
Moraito - guitar
320 kbps mp3; including cover scans - booklet missing, sorry!
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Переслать - Moneim Adwan - Il était une fois en Palestine
Moneim Adwan
Il était une fois en Palestine, 2005
Moneim Adwan was born in 1970 at Rafah in the part of Gaza. He start to sing when he was child some populars and religious songs. At 17 years old, he was interesting to play 'Ûd and few years later, he left his country to go to Tripoli (Lybia) where he got a master of Musicology at the University of Arts, with the teachers Fateh el-Ramiz (songs) and Abdallah Sebaï ('Ûd). After a turn in Egypt, Tunisia, Jordania and Irak, he worked during 6 years for differents events of the palestinian gouvernment, Ministery of Education, theater, cinema. He composed a opening music for Bethleem in January 2000. Since 1999, he recorded 3 cds in France : Chicha (meeting with the musician Michel Montanaro and the music of Provence), Nawah (meeting with the singer Françoise Atlan and sefarads songs, Buda Musique), Motayem "ecstatic with love" (meeting with the group Pêcheurs de Perles, music from Irak). In june 2004, he sung for the Fès Festival of world sacred music in Marocco. The songs of Moneim Adwan are his own compositions with all the musical heritage of his culture (traditional palestinian songs and classical arabic music). The text of this musician speak about the history of his country, the feeling and the sawl of palestinian people, the love. His strong and warmer voice who continue to sing is the most beautiful bird to carry the message of peace and hope even the war and the destruction. Moneim would like to transmit the palestinian sawl and philopsophy as much by the traditional repertory Taha than his own compositions Darwish. His last meeting with the sefarad singer Françoise Atlan (Nawah) and the group with irakians influences Pêcheurs de Perles (Motayem) give to him rich exchanges for resonance, tones and meaning.
C'est à Rafah, dans la bande de Gaza près de la frontière égyptienne, que vit Moneim Adwan, chanteur et joueur de oud (sorte de luth). Il est difficile de résister aux émotions diffusées par sa voix qui, pour aller vite, n'est pas sans rappeler celle de Cheb Mami. Tous deux ont en partage cette saisissante aisance à monter vers les aigus. Accompagné d'un ensemble constitué d'un kânun, d'un violon, d'une flûte ney et de percussions, Moneim Adwan emploie ses très sensibles cordes vocales à servir des textes de poètes palestiniens contemporains. Ils expriment l'amour, la beauté des choses, bref tout ce qui apaise et incite à espérer vivre des jours meilleurs. En lançant de tels vers, cet artiste atteint plus sûrement le cœur et l'âme de ses auditeurs que s'il usait des canons de la propagande. Moneim Adwan appartient à cette courageuse confrérie d'artistes qui tissent des liens au lieu de les couper. On l'a par exemple entendu aux côtés de Françoise Atlan dans un répertoire mêlant chants spirituels musulmans et juifs séfarades. Ce rapprochement n'est pas illogique. La musique palestinienne, constituée à la base d'airs inventés par des bergers et de petits agriculteurs, a en effet été soumise à de multiples influences venues de tout le monde méditerranéen. Les uns ont légué un mode, d'autres une ornementation ou une figure de style, tout cela se mélangeant aux traditions bédouines et aux répertoires savants des grandes villes arabes de l'intérieur des terres. C'est de ce creuset que surgit le lyrisme fervent de Moneim Adwan qui, avec ce premier album édité sous son nom, s'impose comme un artiste avec lequel il va falloir compter.
De nos jours dans les bacs des disquaires de Palestine on trouve de nombreux enregistrements composés autour de l'actualité qui rythme la vie des Palestiniens depuis 50 ans.
Moneim Adwan a choisi de sortir de cette vision politique de la musique pour proposer une autre musique, un horizon plus élevé, dans un style oriental moderne.
« Il était une fois en Palestine » a été composé comme une série de petites chroniques musicales où l'artiste prend la place d'un conteur qui fait apparaître les souvenirs du passé, du présent et de l'avenir. Dans cette suite de petites fictions, les clichés réducteurs qui accompagnent la vision des « Palestiniens » sont mis en défaut car on y rencontre des gens comme les autres qui aiment l'amour, la paix et qui ne désirent que « retrouver le calme bonheur de l'odeur du pain fait à la maison ».
Moneim Adwan a proposé à des poètes de lui écrire des textes aussi riches et divers les uns que les autres, qu'il a arrangés et orchestrés avec des musiciens palestiniens, arabes israéliens et égyptiens. Les improvisations du ney et du oud soulignent que dans ce territoire à l'avenir et au présent incertain, la plus belle des musiques est celle que l'on crée dans l'instant pour vivre dans l'esprit de la musique…
320kbps mp3, including full booklet scans
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Переслать - Manuel Barrueco - Sometime Ago
Manuel Barrueco
Sometime Ago, 1994
Manuel Barrueco is recognized internationally as a leading figure in the guitar world today. His artistry has been continually described as that of a superb instrumentalist and an elegant musician, possessing a seductive sound and uncommon lyrical gifts.
His international tours take him to some of the most important musical centers in the world each season. Recent appearances have included New York, Los Angeles, Chicago, London, Munich, Madrid, Barcelona, Milan, Rome, Copenhagen, Athens, Seoul, Taipei, Singapore, and Hong Kong. Manuel Barrueco also has completed nine tours of Japan.
Highlights of the upcoming season include concerts in Spain, Italy, Germany, Turkey, Yugoslavia, Greece, and Hungary, appearances with the Baltimore Symphony and the Seattle Symphony, and a European tour with the Cuarteto Latinoamericano.
Manuel Barrueco has made well over a dozen recordings for EMI. His most recent, "¡Cuba!," was called "an extraordinary musical achievement" by the San Francisco Chronicle, while his recording of Joaquín Rodrigo's Concierto de Aranjuez with conductor/tenor Plácido Domingo and the Philharmonia Orchestra, was mentioned as the best recording of that piece in Classic CD Magazine. His "Nylon & Steel," is a collection of duos with guitar greats: Al Di Meola, Steve Morse (Deep Purple), and Andy Summers (The Police), further demonstrating Barrueco's outstanding versatility and imaginative programming. This past spring, "Concierto Barroco" was released by EMI in Europe and Koch International in the USA, containing world premiere recordings of new works for guitar and orchestra by Roberto Sierra and Arvo Pärt, as well as two guitar concertos by Antonio Vivaldi.
In addition to performing works by the aforementioned composers, Mr. Barrueco's commitment to contemporary music and to the expansion of the guitar repertoire has led him to collaborations with distinguished composers such as Toru Takemitsu, Steven Stucky, Michael Daugherty, Roberto Sierra and Arvo Pärt.
His performances have been broadcast by television stations such as NHK in Japan, Bayerische Rundfunk in Germany, and RTVE in Spain. In the United States, he has been featured in a Lexus car commercial, on "CBS Sunday Morning", A&E's "Breakfast with the Arts", and "Mister Rogers' Neighborhood."
Manuel Barrueco began playing the guitar at the age of eight, and he attended the Esteban Salas Conservatory in his native Santiago de Cuba. He emigrated with his family to the United States in 1967, later completing his advanced studies at the Peabody Conservatory of Music.
Manuel Barrueco's explorations into American music have led him outside the artificial boundaries of classical music to contemporary artists Chick Corea, Keith Jarrett, Lou Harrison and Paul Simon. These composers combine classical sensibilities with jazz, world or pop music in a quintessentially American way. Although Barrueco had prior to this focused on the Baroque and Spanish repertoire, Sometime Ago shows that he is more than up to the challenge of performing and communicating this music.
About a third of the disc is devoted to twelve of Chick Corea's twenty Children's Songs for piano. Ranging from one to two minutes each, these miniatures are for the most part wistful and quiet in nature. Barrueco makes them sound as if they were written for the guitar, and as such they are a welcome addition to our repertoire. An original piano version is available on a recording by L. Bates (Naxos 8.550341), which also includes Preludes and Songs by Gershwin. Corea's Sometime Ago is an eleven-minute piece that translates easily to the guitar. By exploiting the guitar's wide tonal palette, Barrueco provides a new perspective on the piece, making it seem at once new and familiar. I enjoyed especially his spirited articulation on the opening melody lines and his emphasis on the upbeats in the chordal sections.
On listening to Keith Jarret's original performance of Köln Concert, Pt IIc for solo piano, I wondered how it could be transcribed successfully to the guitar. Its harmonic richness and virtuostic melody lines make for a technically demanding piece. High praise is due Barrueco for his intelligent transcription, which sounds smooth and spontaneous. In his hands, the piece takes on a more relaxed feel than the original, while still preserving its essence.
Five pieces by Lou Harrison are included on Sometime Ago. His Serenade for Frank Wigglesworth, written in 1952, stylistically foreshadows works ranging from Brouwer's Etudes to New Age guitar music. Basically a melody with arpeggiated accompaniment, its harmonies are achieved almost exclusively without the use of simultaneously played notes. Barrueco's refined playing and attention to detail in this simple piece produce a rewarding listening experience. Harrison's Music for Bill and Me and Sonata in Ishartum were both written for harp. In the contemplative Music for Bill and Me, Barrueco replaces several octave passages with single lines of overlapping notes, resulting in a more legato effect that is faithful to the spirit of the piece. Sonata in Ishartum has the feel of a two-voice fugue in flamenco mode, with Barrueco using color changes very effectively between the A and B sections. The last two Harrison pieces on this recording, Round and Air, are part of the Serenade for Guitar, a work with a Middle Eastern feel distinguished by monophonic writing and simple percussion. Barrueco plays Air with a very free feeling; Round, in contrast, is played with animation and forward motion. Particularly noteworthy is his articulation on the fourths in the middle section. These five pieces can also be heard on David Tanenbaum's recording Lou Harrison: The Perilous Chapel (New Albion NA055CD).
Sometime Ago opens with arrangements of Paul Simon's Old Friends and closes with his Bookends. Written for the guitar, they take on great beauty through Barrueco's sonorous and delicate performances.
Barrueco's forays into new areas (such as his release of works by Lennon/McCartney) are proof that great artists view learning and exploring as something to be done for as long as they continue performing. We are fortunate that Barrueco shares his discoveries with us through his recordings. Sometime Ago is a disc I will return to often. The liner notes provide good insight into Barrueco's thinking about these pieces and the idea behind this disc. The recording quality is very good. Recommended. - Jim Tosone
Children's Songs (Chick Corea)
02. One
03. Two
04. Three
05. Four
06. Five
07. Six
08. Seven
09. Fourteen
10. Fifteen
11. Seventeen
12. Eighteen
13. Twenty
14. Sometime Ago (Chick Corea)
15. Köln Concert Pt IIc (Keith Jarrett)
16. Serenade (Lou Harrison)
17. Music For Bill & Me (Lou Harrison)
18. Sonata in Ishartum (Lou Harrison)
19. Air (Lou Harrison)
20. Round (Lou Harrison)
21. Bookends (Paul Simon)
320 kbps including full booklet scans
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