In the early 1970s San Diego was a sleepy Southern California Navy town on the Mexican border and a seemingly unlikely gathering point for some of the most innovative, unclassifiable American artists of their era. Yet the presence of Harry Partch - hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum - and a newly established and highly experimental music department at the University of California San Diego (UCSD) ushered in a revolution that was as much social as it was musical. Drawing from the occult, self-realization and radical political movements of 70s Southern California, these artists sought to dismantle the established control systems of American life, looking to the future even as they sometimes referenced a distant, idyllically imagined past. In their pursuit of “Irrelevant Music” - Kenneth Gaburo’s term for an untainted music free of constraint and compromise - these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Sonic Meditations, compositional linguistics, microtonality, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound and pure noise were their tools. My 2023 book, Alien Territory: Radical, Experimental and Irrelevant Music in 1970s San Diego, presents the story. In this collection are the sounds.

Collection from Gerhard Tschierschnitz, known as René Carol, a German Schlager singer of the 1950s and 1960s.

Philatelically interested friends of the art of music might be tempted to dub this rarity the Mauritius of early music, as only a single copy of the First Part of Sacred Concerts, which the Hamburg council musician and bandmaster Johann Schop printed in 1644, still exists in Germany, while the other three, which can be traced worldwide, have only survived in fragments in some cases. However, other criteria than mere rarity apply to the value of the work of art, and it is precisely these that Schop's church music fulfills in every respect: supplemented by some of the instrumental pieces that the composer and violin virtuoso once played for noble dancing pleasures, the filigree, directly appealing song movements in their wondrous weightlessness rise hopefully above the devastating course of time - peace reigns here, which in reality was still four years away.

In German usage, it has become customary to refer to older compositions for keyboard instruments, unless they were expressly written for the harpsichord or organ, as "Clavierwerke". The boundaries were fluid, which is why these sonatas for a "clavier" without pedal can also be interpreted on an appropriate pipework. Despite various modernizations, the organ in St. Cyriakus Church in Duderstadt certainly offers this: created by Johannes Creutzburg in 1733-35, the instrument belongs to the same period in which the young Johann Ludwig Krebs completed his training with the Leipzig Thomaskantor Johann Sebastian Bach. In the six sonatas, which were only rediscovered in 2009, the pupil admittedly speaks a different language to his teacher: the pieces are playful, light-hearted, occasionally "dallying" and always gallant in his hand.

Anyone who has made it past the seventh year can hope for a rosy future. The Orelon Trio, founded in Cologne in 2018, has just crossed this striking threshold - but without its members Judith Stapf (violin), Arnau Rovira i Bascompte (cello) and Marco Sanna (piano) ever having to get together: Within a short space of time, the "high-flyers" were already making a name for themselves, they were soon performing at prestigious venues, top-class competition successes (ARD, Melbourne, Graz) came as a matter of course, the first recordings and the enthusiastic response from specialist circles were not long in coming. How could they not, when the "oreloj" (Esperanto for: the ears) of the three musicians are so excellently attuned that they can perceive unheard-of things even in familiar repertoire. The Orelon Trio's first cpo release leaves no doubt about this.

The Brazilian acoustic jazz group, led since 2014 by drummer, producer and composer Tuto Ferraz, debuts in Chile to display the best of its repertoire, characterized by attractive jazz rhythms that fused with other musical styles, such as samba and cha-cha, generate unique sounds.

"Robert Liriano" can refer to a musician, a baseball player, a high school basketball player, or a retail store manager, among other individuals.

Kitty Kallen (born Katie Kallen; May 25, 1921 – January 7, 2016) was an American popular singer whose career spanned from the 1930s to the 1960s, to include the Swing era of the Big Band years, the post-WWII pop scene and the early years of rock 'n roll.

The six Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Johann Sebastian Bach (1685–1750). They are some of the most frequently performed solo compositions ever written for cello. Bach most likely composed them during the period 1717–1723, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass).

A few good sides make this a fair to middling LP and not one of their best overall.

French classical pianist Éric Heidsieck presents a programme of Piano Sonatas from prolific German composer Paul Hindemith.

center]Julie London - Julie Is Her Name - Julie Is Her Name Vol. 2 (1958/2021) [Official Digital Download 24/96]
FLAC (tracks) 24-bit/96 kHz | Front Cover | Time - 58:40 minutes | 847 MB
Jazz | Studio Master, Official Digital Download
Julie Is Her Name, Volume II is an LP album by Julie London, released by Liberty Records on August 1, 1958, under catalog numbers LRP-3100 (monaural) and LST-7100 (stereophonic)

Producer, vocalist and creative powerhouse KUČKA marks a year of her sophomore album Can You Hear Me Dreaming? with a deluxe package, featuring bonus tracks and previously unreleased remixes from Jacques Greene, Nosaj Thing, MESSIE, PESH, BUFFEE and many more.

For many decades, students of Domenico Scarlatti, including me, have been debating about the relationship between most of Scarlatti’s Sonatas and Flamenco dance. Silvia Rambaldi and Andreina Di Girolamo deserve our praise for presenting a practical demonstration that moves beyond the boundary of words, uniting dance and harpsichord performance, by means of the collaboration of the dancer Rita Marchesini, who is an expert on both Baroque and Flamenco dance.

Pharoah Sanders — Karma on SHM-SACD Japanese pressing features the high-fidelity SHM-SACD format (single layer). Cardboard sleeve packaging. Universal. 2025. Released in May of 1969, Karma was the famed tenor saxophonist's third Impulse! Records album and is now seen as a milestone of the Spiritual Jazz movement. A natural progression in the sonic exploration that Sanders, along with John Coltrane and Alice Coltrane, had spearheaded throughout the previous five years, the album features two tracks, the 32-minute-long "The Creator Has A Master Plan," and "Colors." Filling the entire A-Side of the LP, "Creator," co-composed by Sanders with vocalist Leon Thomas, is as close as Spiritual Jazz comes to having its own anthem. Meanwhile, the lone B-side track, "Colors," is no less transfixing. A jazz legend, Sanders died at age 81 on September 24, 2022.