Oct 17, 2017

RhoDeo 1742 Roots


Today an Argentine composer, pianist, arranger, currently the leading exponent of nuevo tango, thanks to the skills and reputation he gathered while working extensively as Ástor Piazzolla's regular pianist from 1978 until the maestro's retirement for health reasons in 1989. During their collaboration, they performed with Milva, Placido Domingo, Gary Burton among others. His playing style, both sharply percussive and metallically lyrical, is instantly recognizable and bears some similarities to that of Vladimir Horowitz as well as some of the wistfulness of Bill Evans. As a composer he has taken Piazzolla's contrapuntal approach to tango music and added more jazz influence, notably with the regular use of a drumkit, lighter harmonies similar to those used in Bossa Nova, and extended passages of improvisation.     ....N'Joy

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Pianist Pablo Ziegler is known as one of Astor Piazzolla's foremost protégés. He began performing classical music in concert as a teen and became inspired by Dixieland jazz soon thereafter; he combined the two styles in his Pablo Ziegler Trio, which performed classical pieces with jazz arrangements.

After his years with the trio, Ziegler was invited to play with Astor Piazzolla's New Tango Quintet in 1978, and performed and recorded with the group for over a decade. He also performed with international artists like Milva, an Italian singer with whom he collaborated on an homage to Maria Callas at the Arena de Verona, as well as American vibes player Gary Burton.

Ziegler played with Piazzolla throughout the '80s, appearing on albums like New Tango and Astor Piazzolla: The Central Park Concert. After Piazzolla's death in 1992, Ziegler formed the Quintet for New Tango, performing internationally and releasing albums like 1999's self-titled work. He has also collaborated on albums with Emanuel Ax and the Orpheus Chamber Orchestra, both of which showcase Piazzolla's music. From 2000 on, Ziegler spent a great deal of time as a soloist with orchestras all over Europe, Asia, and South America -- especially in Argentina. He also recorded Quintet for New Tango for BMG in 2000, before issuing Bajo Cero: Duo for Tango with guitarist Quique Sinesi and guest bandoneonist Walter Castro on Enja two years later. In 2007 he released the live Tango & All That Jazz with a new quintet that also included vibraphonist Stefon Harris in a guest role.

His orchestral appearances and tours kept him from recording again until 2013, when he signed with the Zoho label. His label debut, Amsterdam Meets New Tango, featured Ziegler as soloist with the Metropole Orkest. Two years later, another duet offering with guitarist Sinesi (with Castro again guesting) resulted in Desperate Dance for Enja's Yellowbird imprint. It was back to Zoho for 2016's Sax to Tango in collaboration with saxist Julio Botti, followed by the all-Piazzolla program Tango Nuevo in duo with American classical pianist Christopher O'Riley a year later.

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The late New Tango composer and bandleader Astor Piazzolla has cast a nearly inescapable shadow over those who have attempted to further his tango innovations. Consider the hurdles for Pablo Ziegler, Piazzolla's pianist for a decade. Remarkably, Ziegler does not shy away from Piazzolla (in fact he revisits several of the master's pieces) and still offers a personal sound. "El Empedrado" runs the gamut from Piazzolla's influence to Ziegler's lush romanticism. "Milonga en el Viento" has a surprisingly traditional feel--paced by jazz style drumming. The ambitious Radio Tango II suggests an intriguing fusion of jazz, rock, Piazzolla, classical music, and traditional tango. Ziegler has quite a challenge before him, but if Asfalto is any evidence, he has the tools, the smarts, and the imagination to inch the New Tango line forward. The most startling difference is the addition of drum set to the tango ensemble. This adds a whole new dimension of drive and excitment, although possibly a step away from the intimacy of Piazolla's ensemble style. Recommend for those who love the Piazolla sound but also enjoy more a more frantic, rhythmic sound.This is music to be appreciated on all levels, intellectual, emotional, and certainly in your groove thang!

Pablo Ziegler - Asfalto-Street Tango   (flac  355mb)

01 Asfalto 5:12
02 La Muerte del Angel 3:08
03 Milonga en el Viento 6:04
04 El Empedrado 5:27
05 La Cumparsola 5:26
06 Soledad 6:04
07 Decarisimo 2:54
08 Radio Tango II 7:20
09 Elegante Canyenguito 5:05
10 Maria Cuidad 7:55
11 Michelangelo '70 3:11
12 Dos Cadencias Sobre "Adiós Nonino" 5:48
13 Elegia Sobre "Adiós Nonino" 3:50

Pablo Ziegler - Asfalto-Street Tango (ogg  150mb)

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The tango nueva has a new champion in pianist Ziegler, who is well qualified since he was with grand master Astor Piazzolla's bands in the last years of Piazzolla's life. This music is even more challenging than Piazzolla's; it's jazz-oriented and not as swinging, less dominated by the bandoneon, with more piano and electric guitar lead. Ziegler's core band is Walter Castro (bandoneon), Enrique Sinesi (guitar), Horatio Hurtado (bass), and Horacio Lopez (drums), they play on ten of the twelve tracks, recorded in Buenos Aires, Two other cuts with a different band featuring tenor saxophonist Joe Lovano were waxed in N.Y.C.. Once again, this is not music strictly in the tango tradition, or following the path carved by Piazzolla, but an entirely new, creative sound inspired by the modern tango. The three selections that pay tribute to Piazzolla are the 6/8 modal, behemoth romp "Imagenes 676," the last piece recorded by Piazzolla and Ziegler and redone here; "Primavera Portena," with its staccato, head-nodding, and spontaneous half-time accents, and Ziegler's "Astor's Place," inspired by a walk with Piazzolla, actually a stealthy, slinky number that speaks directly to the intimacy of their friendship. The rest are Ziegler's riveting compositions: "Conexion Portena" with cinematic dramatism in its ever-shifting tempos, the similar "Ritmico y Nostalgico" jumpy and all over the place in its urgency, and a highlight -- "Alrededor del Choclo" -- an adaptation of the famous classic tango "El Choclo" or "The Corn," using a circle-the-wagons approach to hinting at the theme, but never actually playing it straight out. The purest tango form comes from the sad sax of Lovano during "Muchacha de Boedo" in agreement with the bandoneon of Hector del Curto, and Lovano's other feature, "Once Again...Milonga," is spirited, the tenor's moves and countermoves shadowed by bandoneon and Ziegler's piano. There's also a Chick Corea-inspired dancing figure as the centerpiece of "Sandunga," for Ziegler's wife, and the scatting, darting, daunting sounds of "Desde Otros Tiempos," which starts as a steady midtempo, goes lugubriously slow, then goes frantic with passion, as most romances go.

In the liner notes, the quite informative Fernando Gonzalez (Miami Herald) calls tango a music of "winks and dares, " a perfectly concise description for what you hear on this truly remarkable and beautiful disc of music. Listen to this in contrast to Guillermo Klein's "Los Guachos II" (Sunnyside) for both sides of the emerging sound of creative music born in Argentina, fueled and inspired by jazz improvisation. The results are revelatory. Highly recommended.

Pablo Ziegler - Quintet for New Tango (flac  370mb)

01 Conexión Porteña 6:30
02 Desde Otros Tiempos 5:21
03 Milonguera 7:24
04 Once Again... Milonga 4:25
05 Imágenes 676 4:10
06 Alrededor Del Choclo 4:56
07 El Vals Del Duende 3:13
08 Ritmico y Nostálgico 6:28
09 Astor's Place 6:15
10 Muchacha de Boedo 6:24
11 Sandunga 4:31
12 Primavera Porteña 5:26

Pablo Ziegler - Quintet for New Tango (ogg  153mb)

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On Bajo Cero, the internationally renowned pianist Pablo Ziegler is featured in a highly virtuosic duet setting with guitarist Quique Sinesi. The respected veteran of the vibrant Buenos Aires jazz scene and former member of Astor Piazzolla's highly regarded ensembles also invited Walter Castro to play the bandoneon and round out this great musical program of sultry tango and jazz improvisations. Among the beautiful milongas included on this program are "La Rayuela," "Milonga del Adios," and "Planufer Milonga." These are intelligent reflections of the South American dance songs that remain very popular in the southern part of the continent. To vary the song selection, Ziegler includes two of Astor Piazzolla's rarely recorded compositions: "Chin Chin," a recording dedicated to the piano, and "Fuga y Misterio," one of the most complex fugues ever composed by Piazzolla. "Bajo Cero" is but one of the four great originals penned by Ziegler. It is a standout because of its three-part structure and emotional understatements. As with previous efforts as a pianist, composer, and bandleader on his 1990s releases, Pablo Ziegler is in great form and furthers the tango nuevo movement to a new level of interest.

Pablo Ziegler - Bajo Cero     (flac  279mb)

01 La Rayuela 4:16
02 Flor De Lino 4:11
03 Chin Chin 7:47
04 La Fundicion 6:23
05 Milonga Del Adios 8:10
06 Bajo Cero 7:25
07 Yuyo Verde 4:22
08 Planufer Mionga 6:57
09 Los Mareados 7:03
10 Fuga Y Misterio 4:57

Pablo Ziegler - Bajo Cero   (ogg  134mb )

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Pablo Ziegler spent over a decade as the pianist with bandoneon player Astor Piazzolla's band and after the latter's death, he became one of the major interpreters of the modern tango. With a quartet including Hector del Curto on bandoneon, guitarist Paul Myers, bassist Pablo Aslan and adding a special guest, vibraphonist Stefon Harris on several tracks, the spirit of Piazzolla is very much alive. Two of Piazzolla's compositions are performed, "La Muerte del Angel" and "Michelangelo," both of them intense affairs. Among Ziegler's potent originals are the bittersweet ballad "Milonga en el Viento" and the haunting "Muchacha de Boedo." The presence of Harris invites comparison to Piazzolla's recording with vibraphonist Gary Burton added to his band. Intimately recorded at the Jazz Standard in New York City, the audience is clearly spellbound by the music and keep extremely quiet until offering enthusiastic applause after each number. Highly recommended.

Pablo Ziegler Quartet - Tango & All That Jazz (flac  276mb)

01 La Muerte del Angel 5:40
02 Milonga en el Viento 6:17
03 Pablo's Band Intro 1:14
04 Michelangelo '70 4:58
05 Alredor del Choclo 5:00
06 Desde Otros Tiempos 5:28
07 Once Again...Milonga 5:34
08 Muchacha de Boedo 8:28
09 La Cumparsola 6:32
10 La Rayuela 5:54

Pablo Ziegler Quartet - Tango & All That Jazz (ogg  124mb)

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Oct 16, 2017

RhoDeo 1742 Mars 06


Today's artist was an American author and screenwriter. He worked in a variety of genres, including fantasy, science fiction, horror and mystery fiction. Widely known for his dystopian novel Fahrenheit 451 (1953), and his science fiction and horror story collections The Martian Chronicles (1950), The Illustrated Man (1951), and I Sing the Body Electric (1969), our man was one of the most celebrated 20th- and 21st-century American writers. While most of his best known work is in speculative fiction, he also wrote in other genres, such as the coming-of-age novel Dandelion Wine (1957) or the fictionalized memoir Green Shadows, White Whale (1992).

Recipient of numerous awards, including a 2007 Pulitzer Citation, Bradbury also wrote and consulted on screenplays and television scripts, many of his works were adapted to comic book, television and film formats. On his death in 2012, The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream.... N'joy.

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The Ray Bradbury Theater is an anthology series that ran for two seasons on HBO, three episodes per season from 1985 to 1986, and four additional seasons on USA Network from 1988 to 1992. It was later shown in reruns on the Sci Fi Channel. All 65 episodes were written by Ray Bradbury and many were based on short stories or novels he had written, including "A Sound of Thunder", "Marionettes, Inc.", "Banshee", "The Playground", "Mars is Heaven", "Usher II", "The Jar", "The Long Rain", "The Veldt", "The Small Assassin", "The Pedestrian", "The Fruit at the Bottom of the Bowl", "Here There Be Tygers", "The Toynbee Convector", and "Sun and Shadow".

Many of the episodes focused on only one of Bradbury's original works. However, Bradbury occasionally included elements from his other works. "Marionettes, Inc." featured Fantoccini, a character from "I Sing the Body Electric!". "Gotcha!" included an opening sequence taken from "The Laurel and Hardy Love Affair". Characters were renamed, and elements added to the original works to expand the story to 23–28 minutes or to better suit the television medium.

Each episode would begin with a shot of Bradbury in his office, gazing over mementos of his life, which he states (in narrative) are used to spark ideas for stories. During the first season, Bradbury sometimes appeared on-screen in brief vignettes introducing the story. During the second season, Bradbury provided the opening narration with no specific embellishment concerning the episode. During the third season, a foreshortened version of the narration was used and Bradbury would add specific comments relevant to the episode presented. During the fourth and later seasons, a slightly shorter generic narration was used with no additional comments.

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The Ray Bradbury Theater 17 There Was An Old Woman (avi  319mb)

A stubborn old woman has spent her entire life defying death; after the Grim Reaper finally pays his call, her ghost tries to reclaim her body from the mortuary.

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The people of Earth are preparing for war—a war that could potentially destroy the planet. Explorers are sent to Mars to find a new place for humans to colonize. Bradbury's Mars is a place of hope, dreams, and metaphor—of crystal pillars and fossil seas—where a fine dust settles on the great empty cities of a silently destroyed civilization. It is here the invaders have come to despoil and commercialize, to grow and to learn—first a trickle, then a torrent, rushing from a world with no future toward a promise of tomorrow. The Earthman conquers Mars...and then is conquered by it, lulled by dangerous lies of comfort and familiarity, and enchanted by the lingering glamour of an ancient, mysterious native race.

Ray Bradbury's The Martian Chronicles is presented here as a full cast audio production with an original music score and thousands of sound effects by the award winning Colonial Radio Theatre on the Air. It marks their fourth collaboration with one of the most celebrated fiction writers of our time—Ray Bradbury.

Ray Bradbury - The Martian Chronicles 06 (mp3  21mb)

06 The Martian Chronicles 25:12

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Ray Bradbury - The Martian Chronicles 01 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 02 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 03 (mp3  20mb)
Ray Bradbury - The Martian Chronicles 04 (mp3  22mb)
Ray Bradbury - The Martian Chronicles 05 (mp3  21mb)

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Oct 15, 2017

Sundaze 1742


Vidna Obmana is a pseudonym used by Belgian composer and ambient musician Dirk Serries. The name Vidna Obmana, a phrase in Serbian, literally translates to "optical illusion" and was chosen by Serries because he felt it accurately described the music. Obmana's music has often been characterized as anamorphic and organic. He uses the techniques of looping and shaping harmonies, minimizing the configurations to a few notes.....N'Joy

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Belgian producer Dirk Serries, aka Vidna Obmana, is a prolific composer of deep ambient and electro-acoustic music, utilizing slow, shifting electronic figures and sparse environmental recordings to construct long, minimalist, often extremely personal textural works. Taking his nom de plume from the Yugoslavian for "optical illusion" (a concept which carries much weight in his composing, as well), Serries has released material through a wide range of different labels, including Projekt, Amplexus, Extreme, Hic Sunt Leones, Syrenia, ND, and Multimood. Born and raised in Antwerp, Serries began recording experimental noise musics in the late '80s, working solo and in combination with artists such as PBK, exploring the more abrasive side of electronic composition. Beginning with the release in 1990 of Shadowing in Sorrow, however, (the first part of what would come to be known as Vidna's ambient Trilogy) Serries began moving toward an almost isolationist ambient aesthetic, exploring themes of calm, solitude, grief, and introspection in long, moving pieces which tended to chart similar ground as American space music artists such as Robert Rich, Michael Stearns, and Steve Roach (Serries has since collaborated with both Rich and Roach). The first two movements of the Trilogy -- Sorrow, as well as its follow-up Passage in Beauty -- were self-released by Serries in 1990 and 1991, with the third volume, Ending Mirag, appearing the following year on the American ND label. The album was praised as some of the finest post-classical experimental electronic music of its time, and the Stateside connection finally opened his music up to an American audience, leading also to his association with Sam Rosenthal's Projekt label (the entire Trilogy was finally reissued by Projekt sister label Relic as a boxed set in 1996, with several new Vidna releases also appearing in the interim).

Although his textural recordings form the core of his output to date, Serries' more recent solo and collaborative works (such as The Transcending Quest, Echoing Delight, and The Spiritual Bonding) have also found him pushing the minimalism of his earlier works into the Fourth World territories of artists such as Jorge Reyes, Michael Stearns, and Jon Hassell, setting lush, dreamy soundscapes in a larger, more engaging rhythmic framework (usually with contributions from percussionists Djen Ajakan Shean and Steve Roach). Still, as many compilations and retrospectives of his earlier or unreleased work have appeared in recent times so as to confuse somewhat the trajectory of his development, which at any rate seems to trade more or less equally between the freeform conceptual landscapes of his earlier Projekt, Relic, and ND works and the more structured interactivity of the Extreme and Amplexus releases. Collaborations have also increasingly occupied Serries' time, with full-length works with Steve Roach (Well of Souls, The Spiritual Bonding), Robert Rich (The Spiritual Bonding), Asmus Tietchens (a self-titled collaboration for Syrenia), Sam Rosenthal (Terrace Of Memories), and Djen Ajakan Shean (Parallel Flaming) appearing all within the space of only a few years. Both Landscape in Obscurity and The Shape of Solitude followed in 1999, and in the spring of 2000 Obmana returned with Echo Passage and Surreal Sanctuary. Subterranean Collective was issued the following year.

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The first solo Vidna Obmana work in three years is a surprising return to textural composition, particularly since intervening collaborations with Djen Ajakan Shean and Steve Roach have revealed the more restless side of Dirk Serries compositional persona. Still, an overarching focus on melody and dynamics distinguishes Appearance from earlier program works such as the Trilogy, combining mood with movement in far more obviously "musical" ways.

Vidna Obmana - The River of Appearance (flac 288mb)

01 The Angelic Appearance 5:48
02 Ephemeral Vision 8:47
03 A Scenic Fall 10:23
04 Night-Blooming 8:28
05 The Solitary Circle 6:17
06 Weaving Cluster 5:15
07 Streamers Of Stillness 7:25
08 The Ominous Dwelling 6:35

Vidna Obmana - The River of Appearance  (ogg  134mb )

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Recycling is a process wherein a complete piece of music goes "through the wringer." It is more thorough than remixing and more respectful than deconstruction. It allows the processor to maintain a spiritual dialogue with the original composer/performer even if the new piece is unrecognizable (as often happens). Vidna Obmana (aka Dirk Serries) and Asmus Tietchens invented and named the process. Motives for Recycling is their first set of recycled material. This double CD features some of Tietchens' older material (from the '70s and '80s) recycled by Serries. Serries put his minimalist stamp on the process. He also added some experimental and avant-garde sounds to give the set some originality. This highly imaginative album will appeal to fans of Lustmord, Laszlo Hortobagyi, Jeff Greinke, and TUU.

Linea [1+3] was originally released as a cassette in 1988. Recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops, FM noise and feedback. Produced, recorded and mixed at the Serenity Studio, Belgium, in December 1996.

Vidna Obmana and Asmus Tietchens - Motives For Recycling  1 (flac 334mb)

Linea [1+3] (1988) = Linear Writings (1996)
01 Vot 4 20:25
02 Vot 5 10:24
03 Vot 4/2 18:28
04 Vot 6 18:00

Vidna Obmana and Asmus Tietchens - Motives For Recycling  1  (ogg 139mb)


Nachtstücke was released in 1980. Contains pieces recorded between 1975 and 1978 on 2-track Revox and 4-track Teac tape recorders. All sounds were created on the Moog Sonic Six synthesizer, using a Philips reverb and an Echolette tape delay for effects. Composed, arranged and recorded at Audiplex Studios, Hamburg, Germany. Eight-track recycling by Vidna Obmana using processors, speed variations, volume changes, loops and harmonizers. Produced, recorded and mixed at the Serenity Studio, Belgium, in January 1998.

Vidna Obmana and Asmus Tietchens - Motives For Recycling  2  (flac 294mb)

Nachtstücke (1975-1978) = Nachtstücke Revisited (1998)

01 Opening (First Nachtstück) 5:41
02 Second Night 6:03
03 4th Theme 7:44
04 Swarm 8:18
05 Miniature One 2:57
06 In A Blaze 5:11
07 Revisited 5:50
08 Miniature Two 5:05
09 Vot 7 11:44
10 Towering 12:28

 Vidna Obmana and Asmus Tietchens - Motives For Recycling  2   (ogg  136mb )

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The Surreal Sanctuary is a monumental album from Vidna Obmana , it has seven tracks, and each features Serries showcasing a different instrument, including the human voice. (Jim Cole, an extraordinary overtone singer, is a guest performer on the track "Lamentation.") Serries uses the recycling technique that he and Asmus Tietchens perfected, which involves breaking down a base track and remanufacturing it with different shapes, timbres, and textures. At each step, the music is processed, continuously. It's like processing the process while it's being processed by a process within a process. It is endless and curiously like an endless Frippertronics loop; it just keeps going and going and going, yet it remains interesting. This description sounds like it could apply to dissonant and experimental avant-garde music, but this disc is everything that fans expect of Serries -- cutting-edge electronic ambience. This album will appeal to fans of Steve Roach and Robert Rich, and is essential for all fans of electronic music.

Vidna Obmana - The Surreal Sanctuary (flac  329mb)

01 Infinity 5:10
02 Lamentation 7:15
03 The First Coil 8:52
04 The Profound Isolates 10:05
05 Jewel Of The Underground 7:50
06 The Fragmented Dome 17:53
07 Flame 14:02

Vidna Obmana - The Surreal Sanctuary  (ogg  139mb)

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Echo Passage is a collaboration between the gifted Belgian composer Vidna Obmana and Italy's Alio Die. Both Vidna Obmana and Alio Die are known for this excellent solo and collaborative works in the ambient genre, but Echo Passage sees these two world-renowned artists coming together to create a enigmatic blend of sonic sound space and deep, ethereal ambience. Echo Passage is a single long-running piece that clocks in at just under 69 minutes. This is a lush and fantastic recording that truly demonstrates Vidna Obmana and Alio Die working at the top of their game. The choice of timbres on Echo Passage are impeccable, and the use of silence and melodic subtlety in the compositions is comparable to the works of Steve Roach, Robert Rich, or even the symphonic works of Claude Debussy, particularly "La Mer" and "Nocturnes." This is an excellent recording, and one that is truly representative of both Vidna Obmana and Alio Die's large body of work.

All three movements merge without pause, delivering more than hour incredible immersion, boredom-free, which is not always case when dealing with time superformats Is it for a bird chant or some spacey layer, all sonic events are beautiful and contribute to maintain interest and feed soundscape with multiple degrees of depth ...Final part alone leaves one speechless, redefining what is the core in so-called "religious" or "sacred" music.

Vidna Obmana & Alio Die - Echo Passage (flac  335mb)

01  Echoes Of Light - A Slip Of Darkness - The Passage 68:32

Vidna Obmana & Alio Die - Echo Passage  (ogg  153mb)

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