Evolving, like all prog, from psych and jazz, the Latin American scene is full of imaginative fusion and wild technical prowess.
via The Rich History—and Present—of Latin American Prog — Bandcamp Daily
Evolving, like all prog, from psych and jazz, the Latin American scene is full of imaginative fusion and wild technical prowess.
via The Rich History—and Present—of Latin American Prog — Bandcamp Daily

Awesome Tapes From Africa is lucky to have an owner who has a deep passion for the music he puts out. PopMatters.com lets Awesome head honcho Brian Shimkovitz hold court. It’s worth checking out Brian’s blog which started his interest in African music.

Jeff Treppel of Bandcamp does a decent job of introducing new audiences to some rather wonderful Italian progressive rock, both old and new, here on Bandcamp’s WordPress blog.
I owe Leo Feigin of the stellar imprint Leo Records perhaps the greatest debt of my musical life. It was he who introduced me, via releases and correspondence, to the works of Sergey Kuryokhin and The Ganelin Trio somewhere near 30 years ago (how time flies…). This is the trio at their peak.
Personnel:
Vyacheslav “Slava” Ganelin – Piano
Vladimir Tarasov – Percussion
Vladimir Chekasin – Saxophone
Naples, Italy wasn’t a completely bad experience for me. It gave me some of the best music I’ve heard in some time, and I got to browse my mate Paolo’s collection!
Thanks to Jazzcat, who posted this.
The tracks are as follows:
Track 1: from the album “Napoli Centrale” (Ricordi 1975) by Napoli Centrale
Track 2: from the album “Mattanza” (Ricordi 1976) by Napoli Centrale
Tracks 3 & 4: from the album “Sotto E ‘Ncoppa” (Carosello 1976) by Tullio De Piscopo Revolt Group
Track 5: from the album “Toni Esposito” (Numero Uno 1974) by Toni Esposito
I am well aware that some of my friends and colleagues hate this song, considering it near the bottom of Pierre Henry’s musical canon. So be it.
The reason I’m featuring this tune, however, is for two reasons. First, it was my introduction to Henry’s work. I wasn’t much of a hard-rock guy, and Spooky Tooth didn’t hold a lot of interest for me, but seeing the record cover had me wondering what sort of racket these guys were making. Second, the concept of a rock/experimental mass, based on the Apostolic Christian model, left me intrigued.
I know that Henry’s fellow composer, Pierre Schaeffer, was a devout Roman Catholic, but I read nothing of Henry’s beliefs over the years. Still, it was a nice gesture, an interesting project, and a doorway to Pierre’s far more adventurous works.

Another debt of thanks is owed to the good Al Clark, who posted this treasure on another account. Martin Hannett is known as the producer who brought the best out of so many bands from Factory Records. He put together this paean to English musique concrete composer Delia Derbyshire, who did wonders for the BBC’s Radiophonic Workshop from the 1960s to about 2000.
Pierre Henry, legendary pioneer in the field of musique concrète, passed away today. He was 89.
More to come on his passing shortly.
Matthew Higgs of The Guardian bears the bad news that Joy Division, whose music, as he says, ‘was cold and detached’, were actually a fun lot.

The world of jazz mourned the loss of American pianist Geri Allen, who died on June 12th at the age of 60.
Our good friends at La Montaña Rusa, one of Spain’s best jazz podcasts, offers a program in tribute to Geri here:
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