Kip Hanrahan - Coup de Tete

"A record which will begin an epoch ... Remember the name: Kip Hanrahan, filled with talent, ambition, ideas..." - Le Monde, Paris


Fittingly enough, the first sound heard on Kip Hanrahan's premier release is that of the conga and the first word sung is "sex," two leitmotifs that would appear consistently in his ensuing work. Coup de Tete burst on the scene in the early '80s as an entirely fresh, invigorating amalgam of Cuban percussion (much of it Santeria-based), free jazz, funk, and intimate, confrontational lyrics. Hanrahan had worked at New Music Distribution Service, a project run by Carla Bley and Michael Mantler (both of whom appear on this album), and had established contacts with numerous musicians from varied fields who he threw together in a glorious New York City melting pot. With the percussion and electric bass laying down thick and delicious grooves, the cream of the younger avant saxophonists in New York at the time wail over the top, accompanying some of the most brutally uncomfortable lyrics ever put to wax. The relationships Hanrahan details are turbulent to say the least, often intertwined with economic concerns as well as a general sense of the impossibility of understanding one's mate. After asking him for abuse and being refused, his lover (sung wonderfully by Lisa Herman) taunts, "When you could only sulk/I had more contempt for you than I ever thought I could have." Interspersed among the bitter love harangues and ecstatic percussion-driven numbers are two stunningly lovely pieces, Marguerite Duras' "India Song" and Teo Macero's "Heart on My Sleeve," both aching with romanticism. Coup de Tete is a superb record, an impressive debut, and, arguably, one of the finest moments in Hanrahan's career along with the following release, Desire Develops an Edge. Highly recommended. - by Brian Olewnick, AMG

Artist: Kip Hanrahan
Album: Coup de Tete
Year: 1979-81
Label: American Clavé (1981)
Total time: 44:43

Tracks:
1.  Whatever I Want (Kip Hanrahan) 5:44
2.  At The Moment Of The Serve (Kip Hanrahan) 5:24
3.  This Night Comes Out Of Both Of Us (Kip Hanrahan) 5:42
4.  India Song (Marguerite Duras/Carlos d'Alessio) 4:16
5.  A Lover Divides Time (To Hear How It Sounds) (Kip Hanrahan) 3:16
6.  No One Gets To Transcend Anything (No One Except Oil Company Executives) (Kip Hanrahan) 3:43
7.  Shadow To Shadow (Kip Hanrahan) 7:07
8.  Sketch From Two Cubas (Kip Hanrahan) 4:08
9.  Heart On My Sleeve (Teo Macero) 5:19

Personnel:
Kip Hanrahan (Voice and Percussion, Quinto) - 1-3,5-9
Jerry Gonzalez (Congas and Percussion) - 1-3,5-8
Arto Lindsay (Electric Guitar) - 1-3,5-8
Anton Fier (Trap Drums) - 1-3,5-8
Daniel Ponce (Congas and Iya) - 1-3,5,7
Chico Freeman (Tenor Saxophone and Clarinet) - 1,2,4,9
Carlos Ward (Alto Saxophone) - 2,4,7,9
Bill Laswell (Bass Guitar) - 1,3,4,7
Lisa Herman (Voice) - 3,5,7
George Cartwright (Alto Saxophone, Flute and Piccolo) - 1,3,4
Ignacio Berroa (Trap Drums) - 2,5,6
Jamaaladen Tacuma (Electric Bass) - 2,5,6
Nicky Marrero (Bongos and Okonkolo) - 1,3
Byard Lancaster (Tenor Saxophone, Flute) - 1,3
George Naha (Electric Guitar) - 2,3
Orlando Digirolamo (Accordion) - 4,9
Gene Golden (Chekere and Congas) - 6,8 
Carla Bley (Piano and Voice) - 4
Billy Bang (Violin) - 4
John Clark (French Horn) - 4
Angel Perez (Congas) - 6
John Stubblefield (Tenor Saxophone) - 6
Bern Nix (Electric Guitar) - 6
Dom Um Romao (Surdo Grande and Agogo) - 7
Fred Firth (Electric Guitar) - 7
Carlos Mestre (Congas) - 8
Michael Mantler (Trumpet) - 8
Cecil McBee (Double Bass) - 9
Teo Macero (Tenor Saxophone) - 9
David Liebman (Soprano Saxophone) - 9
Victor Lewis (Drums) - 9

Legendary Pink Dots - 9 Lives to Wonder

Broken funk, twisted humor, and some of the finest lyrics on the planet come together all too rarely, but they do it here with a rare panache. Ka-Spel and co. are firing on all cylinders with this release, ranging from the blatantly silly ("Crumbs on the Carpet") to the sweet ("The Angel Trail") to the relentlessly ominous ("Nine Shades to a Circle"). In the wonderful world of appliances that is the Dotsography, this ranks close to the top. Recommended for all who have never heard the world's finest pop band, and absolutely essential for even the most casual fan. - by Robert P. Beveridge, Amazon.com

Artist: The Legendary Pink Dots
Album: 9 Lives To Wonder
Year: 1994
Quality: eac-flac, cue, log, artw.
Label: Play It Again Sam
Runtime: 58:28

Tracks:
1.  Madame Guillotine 5:32 
2.  On Another Shore 6:22 
3.  Softly Softly 2:05 
4.  Crumbs On The Carpet 4:55 
5.  Hotel Z 7:46 
6.  Oasis Malade 2:57 
7.  A Crack In Melancholy Time 5:36 
8.  Siren 5:30 
9.  The Angel Trail 2:00 
10.  Nine Shades To A Circle 10:22 
11.  Terra Firma Welcome 5:16 
All compositions by LPD

Personnel:
Edward Ka-Spel (Vocals, Keyboards)
Phil Knight (Keyboards)
Ryan Moore (Bass Guitar, Double Bass, Drums)
Martijn de Kleer (Electric Guitar, Acoustic Guitar, Tympani)
Niels van Hoornblower (Saxophone, Flute, Clarinet)
Cevin Key (Drums)

Herbie Mann - Returns to the Village Gate

By 1961, flutist Herbie Mann was really starting to catch on with the general public. This release, a follow-up to his hit At the Village Gate (two songs are from the same gig while three others actually date from seven months earlier), features Mann in an ideal group with either Hagood Hardy or Dave Pike on vibes, Ahmed Abdul-Malik or Nabil Totah on bass, drummer Rudy Collins and two percussionists. Mann really cooks on four of his own originals, plus "Bags' Groove," blending in the influence of African, Afro-Cuban and even Brazilian jazz. Worth searching for. - by Scott Yanow, AMG

The first side is much the same group as the wonderful 1961 "At the Village Gate" session: Herbie Mann (flute), Hagood Hardy (vibraharp), Ahmet Abdul-Malik (bass), Rudy Collins (drums), Chief Bey and Ray Mantilla (African percussion). On side two it's a slightly different group: Herbie Mann (flute), Dave Pike (vibraharp and marimba), Nabil Totah (bass), Rudy Collins (drums), Ray Barreto and Ray Mantilla (percussion). I'm not sure of the original session dates, but the original LP cover I have is copyright 1963. The earlier sessions were important steps in world music/jazz fusion, and Herbie hit the nail on the head with his mixture of African percussion stylings, jazz instrumentation, and jazz standard tunes (Comin' Home Baby, Summertime, It Ain't Necessarily So). On "Herbie Mann Returns to the Village Gate", he carries on with Milt Jackson's "Bag's Groove" and four titles written by Herbie. For those who've longed for more "At the Village Gate", this is it. Side one especially sounds like an extension of the earlier recordings. Side two is a bit different, with even more of an African percussion feel, but also a middle eastern flavor in places, credited by Herbie to Nabil Totah's bowed bass playing. Great rhythmic and lyrical playing throughout, and a complete joy. It's impossible to pick highlights for me as I like the entire album. The follow-up 1966 "Monday Night at the Village Gate" swings too, and has a cover by the same artist, but it's a different sound with a lot of brass. This is the only recording I've found that really belongs with "At the Village Gate", a recording I've been in love with for forty years now. It's not hard bop, or swing, or straight African, or jazz-rock; strongly jazz though, it has also elements of modern world music, ambient, and fusion. Herbie was way ahead of his time in some respects, and this is really just a wonderful groove that I don't think anyone else ever did better.If you liked "At the Village Gate", you'll also thoroughly enjoy this one--a forgotten gem overshadowed by the earlier 1961 recording. I give it five stars because it's just a natural groove, and it's hard to imagine anyone not liking this. If you haven't heard "At the Village Gate", get both, unplug the phone and the computer, sit back and enjoy. They don't make music like this anymore. - by Paul Franklin, Amazon.com

Artist: Herbie Mann
Album: Return to the Village Gate
Year: 1961
Quality: eac-flac, cue, log, artw.
Label: Wounded Bird (2001)
Runtime: 36:28

Tracks:
1.  Bag's Groove (Milt Jackson) 8:34
2.  New York Is a Jungle Festival (Herbie Mann) 9:53
3.  Candle Dance (Herbie Mann) 5:30
4.  Bedouin (Herbie Mann) 7:48
5.  Ekunda (Herbie Mann) 4:43

Personnel:
Herbie Mann (Flutes)
Rudy Collins (Drums)
Chief Bey (Percussion)
Ray Mantilla (Percussion)
Hagood Hardy (Vibraharp) - 1,2
Ahmed Abdul-Malik (Double Bass) - 1,2
Dave Pike (Vibraharp or Marimba) - 3-5
Nabil Totah (Double Bass) - 3-5

Gerry Mulligan - The Jazz Soundtracks

The Subterraneans:
Here is an album that showcases the many talents of Andre Previn, composer-conductor-arranger-andpianist. His versatility further extends into the performance fields where he is just as much at home with jazz, the blues, popular music and with the classics. One week, Andre may be heard playing jazz in a swank night club; the following week, he will be performing with one of the great symphony orchestras; and a little later on, you will find him conducting for a top Hollywood motionpicture score. He is familiar to television viewers because of his guest appearances with Dinah Shore, Dean Martin, Steve Allen, Ernie Ford, Ernie Kovacs, Rosemary Clooney and others. Andre has won Motion Picture Academy Awards for "GIGI" and for "PORGY AND BESS." He also won a Grammy Award for his work with David Rose on the M-G-M record, "LIKE YOUNG," a song which Mr. Previn composed.Another award-winner spotlighted in the album is Gerry Mulligan who has won the International Jazz Critics Award as the best baritone saxophone player for 1957, 1958 and 1959. Gerry also plays a feature acting role in "The Subterraneans." This long-playing record is a collection of Previn's original compositions (except for "COFFEE TIME" and for "SHOULD I") from the sound track of Arthur Freed's Production "THE SUBTERRANEANS" played by small, medium and large orchestras with solos by some of the foremost jazz artists in the country. - from gerrymulligan.info

I Want to Live:
Baritonist Gerry Mulligan and a group of West Coast all-stars were heard throughout the soundtrack of the Susan Hayward movie I Want to Live. Although not a soundtrack, this LP features six themes from the movie (all composed by Johnny Mandel) performed by the same musicians, who this time around get an opportunity to really stretch out. Since the band is comprised of Mulligan, trumpeter Art Farmer, altoist Bud Shank, trombonist Frank Rossolino, pianist Pete Jolly, bassist Red Mitchell and drummer Shelly Manne, virtually all of the music is quite interesting with plenty of fine solos and hard-swinging. - by Scott Yanow, AMG

Artist: Gerry Mulligan
Album: The Jazz Soundtracks (The Subterraneans/I Want to Live)
Year: 1958-59
Quality: Easy CDDA flac files, artw.
Label: Gambit (2007)
Total time: 67:04

Tracks:
1.  Why Are We Afraid? (Andre Previn) 1:57
2.  Guido's Blackhawk (Andre Previn) 3:05
3.  Two by Two (Andre Previn) 3:57
4.  Bread and Wine (Andre Previn) 4:10
5.  Cofee Time (Andre Previn) 2:42
6.  A Rose and the End (Andre Previn) 3:24
7.  Should I? (Andre Previn) 2:27
8.  Look Ma, No Clothes (Andre Previn) 1:33
9.  Things Are Looking Down (Andre Previn) 5:36
10.  Analyst (Andre Previn) 4:16
11.  Like Blue (Andre Previn) 1:57
12.  Raising Caen (Andre Previn) 3:04
13.  Black Nightgown (Johnny Mandel) 3:32
14.  Theme from "I Want to Live!" (Johnny Mandel) 6:52
15.  Night Watch (Johnny Mandel) 3:53
16.  Frisco Club (Johnny Mandel) 4:41
17.  Barbara's Theme (Johnny Mandel) 4:37
18.  Life's a Funny Thing (Johnny Mandel) 5:12

Personnel:
Gerry Mulligan (Baritone Saxophone)
Art Pepper (Alto Saxophone) - 1,3,4,6,8-10,12
Red Mitchell (Double Bass) - 1,3,6,8,10,12-18
Shelly Manne (Drums) - 1-3,5-8,10-18
Andre Previn (Piano, Arranger) - 1-11
Jack Sheldon (Trumpet) - 1,3,6,8,10,12
Bob Enevoldsen (Trombone) - 1,3,4,6,8-10
Bill Perkins (Tenor Saxophone) - 1,3,6,8,10
Art Farmer (Trumpet) - 4,9,13-18
Carmen McRae (Vocals) - 2,5,7,11
Bud Shank (Alto Saxophone) - 13-18
Frank Rosolino (Trombone) - 13-18
Pete Jolly (Piano) - 13-18
Johnny Mandel (Arranger) - 13-18
Buddy Clark (Double Bass) - 4,9
Dave Bailey (Drums) - 4,9
Russ Freeman (Piano) - 4,9,12

Marsha Ambrosius – Far Away : Lyrics, Mp. Ringtones Watshit .

• Artist : Marsha Ambrosius
• Song: Far Away
• Album: Late Nights & Early Mornings

Such a beautiful song! Marsha Ambrosius, a previous member of the English band duo Floetry has came out with an astonishing new song 'Far Away', taken from her upcoming debut solo studio album 'Late Nights & Early Mornings' slated for free on January 4, 2011. This would have been heavy with Michael Jackson on it!

heck out Marsha Ambrosius - Far Away video through the link below and talk along with the Marsha Ambrosius - Far Away lyric.Share on Your FacebookWatch Marsha Ambrosius - Far Away Music Video here

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Marsha Ambrosius Far Away Lyrics :Send "Far Away" Ringtone to your Cell So sad to see you go so soonI know that you ain't coming backIn the beginning everything was coolToward the end of it all it's all badI know I played my voice in making it what it isAnd I acknowledge that you did the sameI guess i'm up outta heremusicjuzz.blogspot.comI'm moving on againI'm sure that you will understandI play by the rulesYou play by the gameI couldn't of stayedIt's easier to sayCos I was by your sideWhen you went through the painI guess it doesn't count now that you're so far awayAnd every minute you're goneI'm missing you soI can't think that you're far awayCan't get you out of my mindBoy you're out of my lifeI can't consider that you're far away?If you could see me babyNow that you're so far awayDidn't want you to go babe, babeOoh tear stains on my pillowTryna forget yaDon't know what i'm gonna doMore days and countingI've been laying and staringMyself in the mirrorAll alone in my roomI can't find this way againGonna think with my headCos my eye is what got me hereSo hurt from what you've doneMore than adequate reasons for me to move onCos I gave you my wordYou put your faith in meSupposed to be the one to have you what you needI was by your sideWhen we were meant to beGuess it doesn't count now that you're soFar awayAnd every minute you're goneI'm missing you soI can't consider that you're far awayCan't get you out of my mindBoy you're out of my lifeI can't think that you're far away?If you could see me babyNow that you're so far awayYeah.If I'd have known Sunday morningThat you would be goneI would have never come homeI wouldn't have answered my phoneTo hear the sound at your toneI knew that something was wrong babeThe ? who had told meThat you was alone inside an empty roomIdentified you as my babyOh my babySo far awayAnd every minute you're goneI'm missing you soI can't think that you're far awayCan't get you out of my mindBoy you're out of my lifeI can't think that you're far away?If you could hear me babyNow that you're so far awayYeah.Can't think that you're goneSend "Far Away" Ringtone to your Cell Watch Marsha Ambrosius - Far Away Music Video here

Mark E Music Photos: Marsha Ambrosius – Far Away : Lyrics .

• Artist : Marsha Ambrosius
• Song: Far Away
• Album: Late Nights & Early Mornings

Such a beautiful song! Marsha Ambrosius, a former member of the English band duo Floetry has came out with an amazing new song 'Far Away', taken from her upcoming debut solo studio album 'Late Nights & Early Mornings' slated for release on January 4, 2011. This would have been labored with Michael Jackson on it!

heck out Marsha Ambrosius - Far Away video through the connection below and sing along with the Marsha Ambrosius - Far Away lyric.Share on Your FacebookWatch Marsha Ambrosius - Far Away Music Video here

Tweet

Marsha Ambrosius Far Away Lyrics :Send "Far Away" Ringtone to your Cell So sad to see you go so soonI know that you ain't coming backIn the beginning everything was coolToward the end of it all it's all badI know I played my part in making it what it isAnd I know that you did the sameI guess i'm up outta heremusicjuzz.blogspot.comI'm moving on againI'm sure that you will understandI play by the rulesYou play by the gameI couldn't of stayedIt's easier to sayCos I was by your sideWhen you went through the painI guess it doesn't count now that you're so far awayAnd every minute you're goneI'm missing you soI can't consider that you're far awayCan't get you out of my mindBoy you're out of my lifeI can't see that you're far away?If you could see me babyNow that you're so far awayDidn't want you to go babe, babeOoh tear stains on my pillowTryna forget yaDon't know what i'm gonna doMore days and countingI've been laying and staringMyself in the mirrorAll alone in my roomI can't get this way againGonna think with my headCos my eye is what got me hereSo hurt from what you've doneMore than enough reasons for me to move onCos I gave you my wordYou put your trust in meSupposed to be the one to give you what you needI was by your sideWhen we were meant to beGuess it doesn't count now that you're soFar awayAnd every minute you're goneI'm missing you soI can't see that you're far awayCan't get you out of my mindBoy you're out of my lifeI can't mean that you're far away?If you could see me babyNow that you're so far awayYeah.If I'd have known Sunday morningThat you would be goneI would have never come homeI wouldn't have answered my phoneTo hear the phone at your toneI knew that something was wrong babeThe ? who had told meThat you was alone inside an empty roomIdentified you as my babyOh my babySo far awayAnd every minute you're goneI'm missing you soI can't believe that you're far awayCan't get you out of my mindBoy you're out of my lifeI can't believe that you're far away?If you could see me babyNow that you're so far awayYeah.Can't suppose that you're goneSend "Far Away" Ringtone to your Cell Watch Marsha Ambrosius - Far Away Music Video here

Larry Goldings - Caminhos Cruzados

Listening to this CD, it is surprising to note that few bossa nova records up to now have featured organs. Larry Goldings's subtle style (a laid-back Jimmy Smith) perfectly fits the idiom and some of the selections performed on his set are given straight-ahead sections for variety. The music is mostly easy listening with an appealing ensemble sound, consistently excellent concise solos from Goldings and guitarist Peter Bernstein, and tasteful backup from drummer Bill Stewart and percussionist Guilherme Franco. The three guest appearances by Joshua Redman make one wish that he were on more tracks for his tenor fits very comfortably into this setting. - by Scott Yanow, AMG

With the Walther Wanderley bossa nova organ records from the 60's in mind (uff), this excellent CD from Larry Goldings take the "latin B3" to the next level with no comparison to Wanderley. Goldings plays the organ in a laid-back Jimmy Smith style and that suits this excellent trio with Bernstein (guitar), Stewart (drums) and guest Joshua Redman (tenor on a few tracks). Musically this CD is not challenging for the listener, it's just very well played memorable bossa tunes from Jobim and Gilberto among others, in a laid-back mood. The only drawback for Goldings fans is that this CD is currently out-of-print.- by Terje Biringvad, Amazon.com


Artist: Larry Goldings
Album: Caminhos Crusados
Year: 1994
Quality: Easy CDDA flac files, artw.
Label: BMG
Total time: 60:42

Tracks:
1.  So Danco Samba (Jazz Samba) (Antonio Carlos Jobim/Vinicius de Moraes) 5:44
2.  Caminhos Cruzados (Antonio Carlos Jobim) 7:22
3.  Ho-Ba-La-La-La (Joao Gilberto) 3:59
4.  O Amor Em Paz (Once I Loved) (Antonio Carlos Jobim/Vinicius de Moraes) 4:40
5.  Where or When (Lorenz Hart/Richard Rodgers) 6:23
6.  Manine (Larry Goldings) 5:56
7.  Avarandado (Caetano Veloso) 4:04
8.  Serenata (Leroy Anderson/Mitchell Parish) 5:02
9.  Menina Moca (Luiz Antonio) 5:20
10.  Words (Larry Goldings) 5:50
11.  Una Mas (Kenny Dorham) 6:22

Personnel:
Larry Goldings (Hammond Organ)
Peter Bernstein (Guitar)
Bill Stewart (Drums)
Guilherme Franco (Percussion)
Joshua Redman (Tenor Saxophone) - 1,5,10

Grant Green - Am I Blue

"Am I Blue" features the classic Green/Patton/Dixon ensemble plus Johnny Cole and Joe Henderson on horns in a delightful yet unusually laid back vain. The gospel influence in John's playing is particularly evident on this recording, as is his minimalist philosophy. (If you don't have to play it, don't) Ironically, in his latter years, due to a strange accident with a car jack which would injure a tendon in his hand he would not have use of his pinky and fourth finger, yet could still create some of the richest and most amazing connections on the organ as well as develop very rich and lucid solo ideas ! The showstopper on the CD is the light and bouncy For All We Know... Of course, Johnny Coles and a then newcomer and relatively unknown Joe Henderson definitely get their word in, but it is amazing to hear John's passing chords behind them. Grant Green typically lays out, listening, listening, listening, listening (which is what a soloist needs to be doing when his other bandmates are playing... not playing over them, or holding coversations, but listening and taking in the dialogue). Finally, Grant comes in and is as crisp, melodious and swinging and used expect him to be... throwing in a few surprise left hooks as well! - - Last word goes to John... who in turn not only takes a well crafted single note solo, but digs down with a real nifty shout chorus as well (though admittedly I will ever have to admit that Johnny Hammond Smith and Wild Bill will ever have him beat on that.) With Ben Dixon in his corner, however, he does take it home quite masterfully ! of note: That's the one thing that distinguishes a Grant Green session from one of those sessions where people are trying to copy such a session - - you can really tell the players are listening to each other, providing a lot of space and responding to one another's ideas! True Jazz masters are at their best not when they're showing off what they know... but when they're really listening and responding to what's going on around them. Then magic occurs, as was the historical case of John Coltrane's layer of sound discovery. - by Eddie Landsberg, Amazon.com

Artist: Grant Green
Album: Am I Blue
Year: 1963
Label: Blue Note (RVG Remastered, 2002)
Runtime: 42:08

Tracks:
1.  Am I Blue (Harry Akst/Grant Clarke) 6:57
2.  Take These Chains From My Heart (Hy Heath/Fred Rose) 6:13
3.  I Wanna Be Loved (Johnny Green/Edward Heyman/Billy Rose) 7:39
4.  Sweet Slumber (Lucky Millinder/Al J. Neiburg/Henri Woode) 7:17
5.  For All We Know (J. Fred Coots/Sam M. Lewis) 14:00

Personnel:
Grant Green (Guitar)
Joe Henderson (Tenor Saxophone)
Johnny Coles (Trumpet)
John Patton (Organ)
Ben Dixon (Drums) 

Antelope Valley Estate Planning Attorney Joins Board of CareNet .

Lancaster, California (PRWEB) June 10, 2009

Antelope Valley estate planning attorney Kevin Von Tungeln has linked the panel of directors of CareNet Women`s Resource Center, a pregnancy counseling center situated in Lancaster, California.

"I am honored to be asked to join CareNet Women`s Resource Center," said Kevin Von Tungeln, partner at Thompson Von Tungeln.

"Their mission of providing valuable pregnancy services to women in need is one that I am proud to be a piece of.The faculty and volunteers at CareNet are extremely compassionate and have assisted thousands of families during the trying period of pregnancy."

CareNet provides pregnancy testing, free childbirth classes, labor coaches, ultrasound, free maternity and baby clothes, baby furniture and supplies are available on a modified basis.CareNet also provides data on borrowing and adoption referrals, individual peer and professional counseling, education on abortion and abortion alternatives, post-abortion counseling, mentoring (marriage and individual) and abstinence education.

For more data about CareNet, please see their site at http://www.cprav.com/.

About Kevin Von TungelnWith more than 17 years` legal experience, Kevin L. Von Tungeln serves Thompson Von Tungeln in the areas of estate planning, probate, trusts, wills, trust administration, conservatorships, guardianships and elder law. He is qualified by the State Bar of California Board of Legal Specialists as a Board Certified Specialist in Estate Planning. Get to know more about Kevin`s approach to estate planning by showing his informational videos at:http://tinyurl.com/d59rz2Kevin can likewise be ground at LinkedIn by leaving to: www.linkedin.com/in/kevinvontungeln

About Thompson Von TungelnAntelope Valley estate planning law firm Thompson Von Tungeln (TVT) offers sophisticated estate planning and organization for the affluent, discriminating client. As Board Certified Specialists in Estate Planning, Trusts and Probate as qualified by the State Bar of California Board of Legal Specialization, partners Mark E. Thompson and Kevin L. Von Tungeln are expertly equipped to answer these clients with the creative, effective and custom solutions they demand. For more information, contact TVT at 661-945-5868 or call their website at EstatePlanningSpecialists.com.

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Bosambo Trio - Tongue-tied

Given the formation (two acoustic guitars, percussion) the trio's sound calls to mind modern Latin music in the listener. The harmonic world of the themes and the musical forms are perhaps closest to the jazz music of the '90s. The continuously changing mode of playing from accompaniment to solos and back lends variety to the sound of the ensemble, the most distinctive feature of which is its clarity, which makes it easy to follow. - from www.bmcrecords.hu

Artist: Bosambo Trio
Album: Tongue-tied
Year: 1999
Quality: eac-flac, cue, log. artw.
Label: BMC
Runtime: 53:39

Tracks:
1.  D Song (Istvan Toth) 9:18
2.  Ivy (Janos Kormos) 6:17
3.  Zeuo (Istvan Toth) 6:46
4.  Silent Tango (Peter Erdelyi) 6:54
5.  Sifrad (Istvan Toth) 8:52
6.  Good Morning Anna (Janos Kormos) 4:54
7.  Tongue-Tied (Istvan Toth) 6:09
8.  On The Road (Istvan Toth) 4:25

Personnel:
István Tóth (Acoustic Guitar)
János Kormos (Acoustic Guitar)
András Dés (Percussion)
Gábor Winand (Vocals, Tenor Saxophone) - 1,7
László Gõz (Trombone) - 1,4
Kornél Fekete Kovács (Flugelhorn) - 4
Andrea Molnár (Vocals) - 1
Péter Szendõfi (Brushes on a carboard box) - 4
György Müller (Percussion effectd) - 3

Marián Varga - Solo in Concert

He has played piano since the age of six. He studied piano and composition at the conservatory in Bratislava. He left the conservatory after three years to become a member of the group Prúdy, and contributed to the legendary album Zvoňte zvonky. He left Prúdy as suddenly as he had left conservatory only to establish the first Czechoslovak art rock band Collegium Musicum. The repertoire of Collegium Musicum, comprising mostly instrumental pieces, included reinterpretations of the themes of classics such as Joseph Haydn, Béla Bartók and Igor Stravinsky, complemented by original compositions. Already at this stage his work bore signs of postmodernism (Eufónia of the album Konvergencie), which later became the basic principle of his work. When Collegium Musicum disbanded in 1979, Varga started a solo career. Among other achievements, he became a pioneer of absolute improvisation (real-time composition) in Slovakia. In the meantime he continued to contribute to popular music. His ongoing collaboration with Pavol Hammel led to five successful albums and to the first rock musical in Slovakia. - from Wikipedia.org 


Artist: Marián Varga
Album: Solo Concert
Year: 2003
Quality: CD-DA flac files, artw.
Label: Ars Nova
Runtime: 58:16

Tracks:
1.  Vezova hudba II 6:51
2.  Canzona 6:46
3.  Nechtiac 1:33
4.  Melodia z Preludia a fugy As dur A. Sostakovica 3:16
5.  Zlta lalia 4:36
6.  Bukolika 3:23
7.  Ticho sveta pred Bachom 3:25
8.  Scherzino zo Suity semplice 1:20
9.  Naozaj budem musiet ist 2:01
10.  Posledna jesen 3:50
11.  Dve Brahmsove variacie na Handelovu temu 2:38
12.  Spomienka na Vivaldiho 1:35
13.  Nesmierny smutok hotelovej izby 3:46
14.  Mobile 1:04
15.  Viragom (improvizacia na uhorsku ludovu temu) 3:14
16.  Zagajduj, gajdose (slovenska ludova) 1:37
17.  Sonatina pre klavir, 2.cast 3:20
18.  Sequenza 0:50
19.  Tema z Beethovenovych variacii na rusku temu A dur 0:57
20.  Talianska baletna hudba z opery J.Cikkera Juro Janosik 2:05

Personnel:
Marián Varga - keyboards