Derya Yıldırım Grup Şimşek
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Billie EILISHHappier Than EverInterscope

As Ben Ratliff wrote in the New York Times, “the aggressive and sublime first album by the band Elder Ones, Holy Science, is a kind of gauge for how strong and flexible the scene of young musicians in New York’s improvised and experimental music world can be. At the center of it are drones and phonemes. The group’s leader, the 30-year-old composer and singer Amirtha Kidambi, holds forth behind a harmonium, the small keyboard instrument with hand-pumped bellows; it’s commonly used in bhajan, the Indian devotional-singing tradition that was central to her musical experience while growing up in a South Indian family.”Kidambi formally trained in classical music, singing works by avant-gardists including Nono and Stockhausen, but the pull of free jazz and Alice Coltrane drew her toward a different path. The influence of both Alice and John Coltrane is especially apparent on the new album, as is her work with composer and saxophonist Darius Jones, and her study of Carnatic music.While in Darius Jones's a cappella group, Kidambi developed a language for wordless vocals, freeing her from being tied to syntax, a technique she uses through most of Holy Science. The music is anchored by bass-lines and drones on the harmonium, often doubled on the bass by Brandon Lopez. Matt Nelson on the soprano saxophone evokes the sound of the Indian double-reed nadhaswaram, and the playing of John Coltrane and Pharoah Sanders, blending with and harmonizing her voice and the reeds of the harmonium. Drummer Max Jaffe’s ability to seamlessly pivot between complex grooves and timbrally explorative free-playing, completes the equation. Each musician was chosen for their unique improvisatory language on their instrument, ultimately informing Kidambi’s compositional approach.Reflecting on her various influences, Kidambi explained, “I grew up Hindu, but with a pantheist universalist bent, the idea that all religions are different paths to the same God or Truth. Not only is the music of John and Alice Coltrane so influential, they both practiced universalism. Alice's primary guru was the same one that my family followed, and she participated in the bhajan singing tradition. I grew up singing with the harmonium, and I know all the tunes on her Huntington Ashram records. She looms large for me as a figure who blended so many different styles and traditions, uncompromising in her vision and authentic to herself. She was, in a way, a universalist in her music, blending her influences of Stravinsky, gospel, free jazz, the avant-garde, world music, and her spiritual practice into a totally individual sound. I really relate to that way of thinking about music and the universe.”The first piece composed in the suite was "Dvapara Yoga," which began as a meditation on the death of Eric Garner. The album title derives from a 19th century text written by Swami Sri Yukteswar Giri, which scientifically explains the yugas, or eons of cosmic time in Hindu mythology. The four movements Sathya-Yuga, Treta-Yuga, Dvapara-Yuga and Kali-Yuga, explore themes of creation, destruction, and rebirth, with the final movement pivoting on the Vishnu Sahasranam Vedic chant, and ending with an apocalyptic reset of the time cycle.

Deluxe Edition pressed on 180 grams vinyl.Iconic and much sough after self titled LP by Piry Reis now re-issued as a deluxe edition containing an extra bonus track (spaced out Jazz interpretation of No Risco Do Relâmpago).After playing for several years with Egberto Gismonti group and other prominent Brazilian acts, Piry decided to record this album which was originally released in 1980 featuring a special guest appearance by Egberto Gismonti.

The discovery of a previously unreleased recording of “Non chiedermi più” – the only duet ever recorded by Piero Ciampi – through the work of Journalist Lucilla Chiodi, has given way to the reissue of this expanded and fully remastered version of the album “Lucia Rango Show”. Recorded by the singer in 1967 with the full involvement and supervision of Ciampi himself in the recording studio, the album was arranged and conducted by Maestro Elvio Monti, and also features the valuable participation of Alessandro Alessandroni's I Cantori Moderni. Forgotten by most and having become over time a sought-after collector's item for all fans of Ciampi's output and Italian music in general, the album contains a selection of tunes belonging to the early years of the Leghorn singer-songwriter's career, and as many as six songs – very precious – written by Ciampi specifically for Lucia Rango, who consigns to history their only interpretation ever recorded.____________________________________________________Missed opportunities, never-released albums, wrong or hasty decisions... The world of music – like many others – is full of fascinating stories and “what ifs”, to use comic-book jargon.The story of Lucia Rango, an Apulian singer who was active for a short period during the Sixties, rightfully belongs to that category and meets all requirements for becoming a legend. In 1967, when she was almost unknown, she recorded Lucia Rango Show, an entire album made of songs taken from the repertoire of her friend Piero Ciampi, who worked closely with her on their selection and arrangements.Being one of the most maudit and personal authors of national songwriting, Ciampi had always been a perfect outsider: blunt, shy, extremely talented, and unable to adapt to the rules of the music business. But above all, the Leghorn-born singer was a superb songwriter. The match between his songs and Rango's classical voice and ethereal beauty looked like a very promising one, but never brought any success.Arranged and orchestrated by Maestro Elvio Monti, and embellished by the participation of Alessandro Alessandroni's I Cantori Moderni, the record is a perfect child of the Sixties, featuring beat tunes and “yè-yès”, Italian canzone, intense ballads, Brigitte Fontaine-like atmospheres and the rediscovered duet of Lucia with her friend Piero, “Non chiedermi più”, whose recording was known among insiders at the time but sadly appeared to be lost forever.Ciampi's voice lives again in a song that has remained unreleased for more than 50 years within this new expanded version of Lucia Rango Show, thanks to the long research of journalist Lucilla Chiodi (Musica Jazz). Needless to say, the album is an enormously valuable historical document for all fans of Ciampi's output and Italian music in general: along with classics such as “Fino all'ultimo minuto”, “Quando il giorno tornerà” and “Hai lasciato a casa il tuo sorriso” – all originally included in Ciampi's first LP released under the alias Piero Litaliano in 1963 – Lucia Rango's voice consigns to history as many as six songs conceived and written specifically for her recording debut by Ciampi along with Elvio Monti. To date, Rango's invaluable interpretations are the only versions ever recorded of “Samba per un amore”, “Il tuo volto”, “Stasera resta qui”, “Primavera a Roma”, “Ti ho sognato” and “Sono stanca”.