In a Time Lapse-Ludovico Einaudi

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“Einaudi has the odd combination of being original without being especially challenging; his music sort of lies there. But this release may well be a good place to start. Its most noticeable new feature is a light overlay of pop electronics not present on Einaudi's solo piano and piano-and-orchestra music. It actually works well, lending rhythmic and textural variety to the beginnings of each piece. The music soon enough progresses into chord arpeggios on Einaudi's piano, but he has the opportunity to apply his simple musical logic to a variety of moods. This, too, sets the music apart from new age models. In short, who knows? Even if crossover is not your bag, you may find yourself drawn by this. Or maybe you just want something that will relax you in freeway traffic. Einaudi could work either way.” Review by: James Manheim-All Music Guide

Ethiopiques, Vol 4: Ethio Jazz & Musique Instrumentale 1969-1974-Mulatu Astatke

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“To some, the term “Ethiopian jazz” might seem impossible; after all, it's a very American form. But what's truly surprising isn't the fact that these musicians play jazz so well, but the range of jazz they manage, from the George Benson-ish guitar workout of “Munaye” to the twisting sax of “Tezeta.” Really, though, it's more Jimmy Smith than Duke Ellington in its aim (although Ellington is on the cover, on stage with Mulatu Astatke, the bandleader behind all these selections). The grooves often smoke rather than swing, with some fiery drumming, most notably on “Yekermo Sew,” and throughout the guitar is very much to the fore as a rhythm instrument. Perhaps the most interesting cut, however, is “Yekatit,” from 1974, which is Astatke's tribute to the burgeoning revolution which would oust Emperor Haile Sellassie. Some of these pieces, certainly “Dewel,” has seen U.S. release before; the track appeared in 1972 on Mulatu of Ethiopia, which was Astatke's third American LP, showing that jazz aficionados, at least, had an appreciation for what he was achieving in the horn of Africa.” (Reviewed by Chris Nickson, All Music Guide)


Josephine-Magnolia Electric Co.

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“Even if Jason Molina of Magnolia Electric Co. didn’t write songs about loss and loneliness, his pained, hollowed-out voice would still convey those subjects with unsettling intensity. The sympathetic accompaniment of his expansive band—which abandons its on-stage Crazy Horse roar to operate in a spare, desolate gray area between funeral-paced country and bloodshot soul on the quietly breathtaking Josephine—does nothing to make Molina seem any less alone.” (A.V. CLUB Album Review)


Emmy Rossum "Sentimental Journey" (2013)

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Emmy Rossum has successfully embodied the antiquated spirit of many American classics, ranging from the ’20s to the ’60s in her cover album “Sentimental Journey.”  Rossum adds a modernized vocal clarity to several wholesome ballads and jazz tracks that were childhood staples in her household.

Each track is intended to correlate with one specific month, and “Sentimental Journey” represents January as the launch of another year.  Rossum was smart in meticulously choosing songs of the past to emotionally encompass her musical calendar.  This deliberate arrangement of songs could classify “Sentimental Journey” as a concept album.

Source: UNews


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