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Seeing is Believing
Frank and Jim Kovac have teamed up to combine over 30 years of music experience and a craving for originality to create the band, KOVAC BROTHERS. The group blends elements of rock, with jazz harmony and a dash of southern rock edge to get their unique sound. The influences of Steely Dan, and The Allman Brothers are now made relevant with a relentless fusion of music. The vocal style is reminiscent of classic Elvis Costello and Tom Petty, with a contemporary dash similar to Rob Thomas. In addition, the mix of contemporary subject matter, timeless lyrical content, and flip anecdotes, reminiscent of the best in American roots music to keep the listener grounded during the musical journey. Describing the collective nature of KOVAC BROTHERS introduces the rebirth of the band. Before Kovac Brothers, the last time Frank and Jim performed on a major stage together was at the 1997 HORDE Tour in Philadelphia with Colonel Bruce Hampton (Aquarium Rescue Unit) and members of Leftover Salmon. At the time, Frank Kovac was touring relentlessly with New Brown Hat and Jim Kovac was a free-lance drummer, a hired gun, most notably with industrial band Simulcast, hip-hop group the Nervous System and pop singer Amie Miriello (now Dirtie Blonde). Jim Kovac adds, "We're not just looking to create interesting music but also to promote independent music as a more sincere representation of people's ideas". Beginning in January of 2006 as Rhythm Clutch then KoVaX, and finally KOVAC BROTHERS, they recruited some highly regarded area musicians to get started. Dave Morrison on bass, Geordie Van Nostrand on guitar, provided a rock edge and sax players Evan Olmstead and Jeff Wasserman rounded out the jazz side. A highly committed musical schedule and other interests sadly saw Morrison and Van Nostrand leave by 2008. Long time friend and band mate from the New Brown Hat era, Fell Herdeg took up bass duties adding superb pocket and fine vocal harmony. Replacing the second guitar was keyboardist and songwriter Patrick Sweeney. Sweeney expanded the harmonic texture of the band while also lending some great vocal harmony as well. "The songs seemed to come alive with this instrumentation" stated a pleased Frank Kovac. With out hesitation, some focused listening moved Frank and Jim to produce the record aptly named "Seeing is Believing". Narrowing down songs from the abundant collection of writer Frank Kovac, was the next step and teaming up with another old friend, renowned producer Brad Young, started the project moving at a industrious pace. The group and it's' sound is magnetic. Sweeney has simply stated that every song is unique but they are all saying, "welcome, come on in and listen". With that in mind, KOVAC BROTHERS, is certainly one of those must have bands for your collection or a show you have to See to Believe.- Shop: odax
- Price: 19.90 EUR excl. shipping
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Dare to Dream
Toni Brown spent most of her life in music's visceral fold. From 1980-2000, Toni was publisher of Relix Magazine, a bible amongst Dead Heads and a visionary link to 'intelligent music alternatives.' Relix effectively helped spawn the improvisational jamband scene and provided scores of new bands with the propulsion to jump-start their careers. DARE TO DREAM features special guest Vassar Clements on fiddle, John Beland of the Flying Burrito Brothers and Toni Brown's classic rock band. Co-produced by John Beland and Hot Tuna's Micahel Falzarano, this project features amazing guitar leads and good rock material. A highlight is the acoustic version of Blind Faith's 'Can't Find My Way Home,' (an arrangement Beland wrote for Linda Ronstadt in the early 70s) which got some serious airplay. Some good Grateful Dead covers are featured amongst Brown's originals. Toni has been touring for nine years, appearing nationally at clubs, theaters and festivals, and has toured in Japan. She has shared the stage with Merl Saunders, Hot Tuna, Vince Welnick, Bela Fleck, Jazz Mandolin Project, David Nelson Band, Memphis Pilgrims, JGB, Tom Constanten, Illuminati, Zen Tricksters, Leftover Salmon, ekoostik hookah, Living Earth, New Riders, Buddy Cage, Max Creek, David Gans, Juggling Suns, Peter Rowan, Vassar Clements and many others. Currently playing music and writing full time, Toni Brown has found her creative niche in the singer/songwriter tradition, weaving an evolving musical tapestry of soul drenched color and passion.- Shop: odax
- Price: 30.47 EUR excl. shipping
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Collard Greens & Gunpowda
Many dog owners and trainers feed their pets an admixture of leftover food from the dinner table and gunpowder. It is said that gunpowder causes a canine to be more aggressive, erratic. Angry. In essence, the food portion of this strange diet sustains the dog's growth while the gunpowder alters it's temperament and corrodes it's emotional stability. The combination simultaneously nurtures and destroys the animal. Dogs reared in this manner are most often killed in dog fights, die from health complications, or are put to sleep.... Sorepo Records proudly announces the release of Blac Phoak's groundbreaking new album, the aptly titled Collard Greens and Gunpowda. After selling over 9,000 hand-to-hand units of their underground album, The Movement, the eight member group, Yum Yum, Donavelli, Spody, Ni'key Baby, Vorhese, DK, Emlo, and Chozen, are back with their first commercial release. The new project flows as life does itself highlighting and poetically interpreting all of the fundamental human emotions including distress, anger, pain, depression, happiness, fear, love, and sensuality. The album's title relates to the opposing spiritual, emotional, and socio-psychological forces shaping the lives and perspectives of the group members. The group finds it's roots in the historic city of Selma at the heart of Alabama's Black Belt region. The Black Belt, also referred to as the Bible Belt, is one of the most economically deprived regions in the nation, prompting comparisons to third world countries. Moreover, the Bible Belt, despite it's religious intensity, is overwhelmed by crime, violence, and failing educational institutions. It is a world were black mothers are forced to raise their children to survive instead of to live. It is this incongruous background that lays the foundation for the group's unique perspective: While Selma's civil rights legacy, black power ethos, and concentrated spirituality afforded the group members their consciousness, character, and faith, the city's joblessness and hopelessness are partly responsible for the group's anger, emotional instability as well as for the more destructive aspects of their personalities. Collard Greens and Gunpowda is concept driven from beginning to end. Following closely to the theme of the album, most of the songs reflect the contradictory nature of the black experience. However, despite the intensity and scope of the album, it still maintains a unique commercial appeal. One of the group's most defining songs, "First Thang Monday Mornin' (Remix)" is an unusually self-aware song about procrastination, failed self-change, and regret. The refrain reads in part, "First thang Monday mornin', I'm getting off this nicotine, puttin' down this alcohol and slacking off these collar' greens, but Monday neva comes." Also featured on Collard Greens is the subversive "Start a Riot," a street anthem destined to be a coast to coast club banger. This song, in particular, is a classic example of the Blac Phoak formula... "Give your audience what they need to hear, flipped in a way they want to hear it". Not overlooking the lighthearted side of life, Collard Greens & Gunpowda includes the tongue in cheek "Southern Lovers". One of the albums more humorous and whimsical tracks, it is seemingly a song about "gimme guls" (the southern version of gold diggers), but is more a play on materialism. The song finds the artists instructing us on how to get the gold diggers without giving the gold. In the process, they almost make it cool to be broke: "Southern lovers ain't no Casanovas ridin' 'round in no Range Rovers, girl we drive in Chevy Novas hemmin' you up on yo' mama's sofa." All in all, the masterfully assembled Collard Greens and Gunpowda is a breath of fresh air in the some times suffocating world of Hip-Hop music. The album, boldly combining social commentary, emotional disclosure and commercial appeal, can only be described as Collard Greens and Gunpowda. The group members with their varied lifestyles, distinct personalities and diverse perspectives can only be described as Blac Phoak. A movement indeed. Chozen "Man this is fo'real to me. I mean the way I connect with it is almost spiritual. I actually believe, I was born to be an MC. That's why they call me 'Chozen'....and when I hit that stage man, I go into a whole 'nother zone. But on another level, I also believe that what I do can affect the world, and I stand by my beliefs because I was taught that a man is nothing without his integrity. I was also raised to speak my mind, so of course this music is just natural to me. I done seen so much and been through so much...I just want to bring my point of view and my experiences to our music and give something to the world that has as much grit, intensity, passion and significance as this here ditch we represent." Yum Yum "There ain't no way to really describe me or my style. It's slaughta. I been all over and ran with all types of cats, from arm robbers to activist, dope dealers to doctors, hustlers to lawyers. So I picked up a little of this, a little of that from everybody along the way. I ain't no psychologist or nothing, but you could say that that's what shaped the attitude I approach life with. I don't want no stress. I didn't even want to be no rapper. I wasn't one of those cats walking around with a backpack and a notebook all of the time, but when we created Sorepo and set up the studio I would be down there messing around with the group and they started telling me that I had a raw style. They damn near made me get on a song. Up until then, I was doing it as a joke. I still just rap when I feel like it. But I guess I'll keep doing it. Ain't no telling." Nikki Donavelli "My life is crazy because I was like raised in two different places with two different realities. My people back in Ohio was heavy in the dope game-I ain't gone lie I got caught up...did almost a year--but my mom always made me aware of the history of our folk. And then living in Selma just reinforced all of the stuff I had learned. The level of consciousness I put into my songs is just a reflection of the crazy way I was brought up. You know, Collard Greens and Gunpowda. The content of my lyrics is a lot of times inspired by folk like W.E.B. Dubois and Malcolm X, but the spirit of my rhymes have the influence of cats like Tupac Shakur, the Last Poets and Donald Goines. I feel like it's on me to represent them all." D.K. "Man, I have 5 brothers & sisters and I grew up in a home that sometimes had up to 19 other people in it--Foreal. My family was real active in the community, so I was raised on the struggle. At the same time, growing up around all them people, you got to create your own space just to keep your sanity. Sometimes you had to fight just to eat. Man, that's the story of my life. I been at it with someone or something every since I was peeing in the bed. It's been a constant war with myself, always challenging myself, always trying to get better. It really just comes down to survival. You know a lot of people call me hard-headed, but sometimes I feel like it's my will that gets me by. I'm a born competiter. Now, I almost feel like I am competing with myself. It's like 'can I make a hotter beat?' or 'can I write some more fire lyrics?' I feel like I am about to loose it sometimes because I know they ain't ready for us and I'm ready for them to know they ain't." Spody "Man I been hustlin' all my life. And it seem like I been rappin' as long as I been hustlin, so I guess you can say I'm a veteran of both worlds. I bring to hip hop, what I got from the streets. That type of Wisdom and Knowledge that can't be learned in 4th period history class. I know I got something to get and give from this. Ain't no free lunch in life, and ain't nobody gone give you sh-t. You got to earn it or take it. And after watching so many of my homeboys getting locked up and buried, I knew there wasn't nothing left for me on the streets. What I'm doing now- Shop: odax
- Price: 17.54 EUR excl. shipping
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Piano Recital I
PARTITA No. 2 in C minor, BWV 826 JOHANN SEBASTIAN BACH (1685-1770) Bach's six Partitas date from the ripe period following his move to Leipzig (1723). His first published instrumental works, they appeared individually in the years 1726-31 (the present C minor Partita in 1727) and were assembled as his 'Opus One' in 1731, collectively titled Clavierübung (keyboard Practice or Exercise). According to Bach's first biographer, Johann Nicolaus Forkel, the partitas made 'a great noise in the musical world. Such excellent compositions for the clavier had never been heard before. Anyone who had learnt to perform well some pieces out of them could make his fortune in the world thereby,... they are so brilliant, well sounding, expressive, and always new.' Forkel was correct in his appraisal, and these creations do indeed unfailingly renew themselves. They are effectively playable on piano, harpsichord and clavichord, and lend themselves to a multitude of interpretations. The Partitas (known also as German Suites, as Bach announced, consisted of 'Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, and other Galanteries.' The Partita in C minor opens with a Sinfonia rather than a Preludium which is in effect a three-stage Italian Ouverture beginning with a clarion call to order. The proscribed Allemande, Courante and Sarabande are filled out with a Rondeau (replacing the Menuet} and a vigorous, driving Capriccio in lieu of the concluding Giga. VARIATIONS in F minor, Hob. XVII : 6 SONATA No. 53 in E minor Hob. XVI : 34 JOSEPH HAYDN (1732-1809) The F minor Variations (sometimes commonly known as 'Andante con Variazioni') were composed in 1793, and exemplify the mastery and tremendous emotional breadth of some other late Haydn symphonies. As a matter of fact, one can draw a striking analogy between the Tema of this masterpiece and one of the so-called 'Drumroll' Symphony's second movement: Both of these are double themes consisting of a first part minore, it's sequel in answering maggiore. Of course each variant becomes increasingly more embellished until the coda where a climax of astonishing intensity and subdued drama is joltingly introduced. When young Beethoven was sent to Vienna with a stipend from Count von Waldstein so that the burgeoning composer could study with Haydn and 'regain the soul of Mozart' (who had just died), I daresay that Beethoven did indeed inherit much from Mozart, but Haydn probably had the biggest influence on his young charge. These sublime Theme and Variations offer evidence for this writer's assertion. The Sonata in E minor was first published in July 1773 by Beardmore & Birchall of London but almost certainly, Haydn had composed it considerably earlier. In any event, this E minor Sonata is one of the finest and most popular of the master's 'middle period.' It's first movement, Presto's engaging, disjunctive style is for me reminiscent of C.P.E. Bach innovative mood. One noteworthy feature is the way the music keeps breaking up into small paragraphs and then resuming it's forward course. Such drama and imagination! In contrast, the Adagio slow movement sings with a long, ruminative line. As the movement reaches it's apex, the pulse begins to quicken and, almost without resolution we find ourselves face to face with a sprightly Finale, Vivace molto innocentemente. This linking of these two movements is very much a harbinger of the familiar device used by Beethoven in so many of his mature compositions (e.g. The Fourth and Fifth Piano Concertos, the Violin and Triple Concertos, the Waldstein, Appassionata and Lebewohl Sonatas and the Serioso String quartet). DREI KLAVIERSTÜCKE, Op. 117 JOHANNES B HMS (1833-1897) During the Summer of 1890, Brahms completed his String Quintet in G major, Op. 111 and, in September, sent the manuscript to Fritz Simrock, his publisher. Simrock had hoped Brahms would oblige with a Fifth Symphony and indeed, the composer had begun work on such a score. But, alas, along with the Quintet's manuscript, came a note: ' The time has come for you to say goodbye to any further compositions of mine.' A new symphony was out of the question and Brahms facetiously added further that he had thrown his leftover manuscript paper in the river at the end of his vacation at Bad Ischl. Incentive was restored by a visit to Meiningen in March 1891. The rejuvenating catalyst was an evidently superb musician named Richard Mühfeld and posterity owes to him a substantial debt for causing Brahms' change of heart. Having come forth with two works inspired by Mühlfeld, the Trio for Clarinet, Cello and Piano, Op. 114 and the Quintet for Clarinet and Strings Op. 115, and with his creative juices restored, the 'retired' master, as an extra bounty, penned a superb collection of short piano pieces, Op. 116-119, his two sonatas Op. 120, the Ernste Gesang, Op. 121 and the Chorale Preludes for Organ, Op. 122. The three Intermezzi Op. 117 were published in 1892, the same year as Op. 116. No. 1 in E Flat, an Andante in 6/8 metre with a second section, piu adagio--un poco andante, is a German version of a Scottish cradle song 'Lady Anne Rothwell's Lament' and Brahms follows it so closely that in one section the words can actually be fitted to his melody. The second Intermezzo in B flat minor is likewise, another song without words. It's mood of bittersweet nostalgia is very much akin to the poco Allegretto third movement of the Third Symphony, Op. 90 (Brahms tempo indication for Op.117/2 is Andante non troppo--piu adagio). The triptych is completed by the Intermezzo in C sharp minor (Andante con motto--poco piu lento moto ed espressivo, again inspired by an old ballad. SONATINA (1957) Edino Krieger (1928) Edino Krieger was born in Brusque, Santa Catarina on March 17, 1928. He studied music with his father, a conductor, composer, and founder of the local Conservatory, and later studied the violin with Edith Reis (1943) and composition with Hans-Joachim Koellreutter (1944-48) at the Rio de Janeiro Conservatory, and subsequently had lessons with Aaron Copland at the Berkshire Music Center in Tanglewood and with Peter Mennin (1948-49) at the Juilliard School. His early works were in late Romantic and Impressionist style, but after a brief dodecaphonic period (1947-53), he turned toward neo-Classicism with nationalistic allusions, and fused the latter two styles from 1966. The composer has given his own text for the Sonatina here recorded: 'Composed in 1957, the piano Sonatina belongs to Krieger's neoclassical period. In 1952 the composer abandoned avant-garde experiments in order to heighten his command of traditional forms, with classical and pre-classical styles within a free tonal-modal idiom and incorporating Brazilian thematic elements. The neoclassical phase includes teaching pieces, designed for developing young instrumentalists. Among these works are the Suite for Strings, the Prelude and Fugue and the Sonatina for piano. The Sonatina is in two movements. The first, marked Moderato, begins with a binary Alberti bass, below a ternary melodic line with a cantabile, lyric character. The contrasting marcato second theme appears in the left hand and both themes are worked in a long and dynamic development. The brief recapitulation brings the return of the initial lyric material. The second, Allegro, has a moto perpetuo character and is built upon a wild, undulating melodic figure in the low register. Above this appears an affirmative theme of episodic character, though the initial undulating material predominates throughout.' Music Notes by Harris Goldsmith.- Shop: odax
- Price: 19.59 EUR excl. shipping
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Chateau Debris-Venus Has Seen Us
The debut album from Charlie Williams, a founding member and original guitarist with the Aquarium Rescue Unit featuring Col. Bruce Hampton. The Rescue Unit was a groundbreaking, genre shattering sound laboratory in the early 90s that produced such great players as Otiel Burbridge, (Allman Bros), Jimmy Herring,(Allman Bros, Jazz is Dead, and Phil Lesh), and Jeff Sipe,a.k.a. ApartmentQ-258,(Leftover Salmon). Other players colliding in that orbit were Rev. Mosier, (Blueground Undergrass), and Dr. Dan. Charlie wrote songs off ARU's two Capricorn releases including 'Gone Today,Here Tomorrow' and 'Davy Crockett', both of which also featured Chuck Leavell,(Eric Clapton,Rolling Stones),on keyboards. Both of these songs received international airplay and were performed regularly by Kevin Eubanks on the Tonight Show with Jay Leno. Playing with Col. Bruce warps your musical perspectives as demonstrated in the careers of ARU alumni. Consequently, the boundaries between styles become nihilistic concepts. As a result, this album reflects that tenure and embraces Charlie's influences in jazz, blues, funk, bluegrass, and swing. The players on the album include Jeff Sipe, members of Blueground Undergrass, the Fiji Mariners, and Dr. Dan. In addition to the Aquarium Rescue, Charlie is a founding member of the Zambiland Orchestra in Atlanta,and consequently has performed and recorded with most of the guest artists which have included members of Phish, Widespread Panic, String Cheese Incident, the Allman Brothers, Bela Fleck, Leftover Salmon, Sam Bush, Warren Haynes, Derek Trucks, Moe, Galactic, and most other current jam bands. Also he is a featured performer on the soon to be released Zambiland Live album, slated for release in the spring of 2001 on Terminus Records. Currently, Charlie teaches and performs in Atlanta, Georgia.- Shop: odax
- Price: 20.41 EUR excl. shipping
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The Terror / Dementia 13
Twin Pack of two essential cult films in Blu Ray + DVD. Dementia 13: 1st time available in HD! The film was written and directed by Francis Ford Coppola and produced by Roger Corman. Although Coppola had been involved in at least two nudie films previously, Dementia 13 served as his first mainstream, "legitimate" directorial effort. The plot follows a scheming young woman who, after having inadvertently caused the heart attack death of her husband, attempts to have herself written into her rich mother-in-law's will. She pays a surprise visit to her late husband's family castle in Ireland, but her plans become permanently interrupted by an axe-wielding lunatic who begins to stalk and murderously hack away at members of the family. The Terror: 1st Time available in HD! The Terror (1963) is an American horror film produced by Roger Corman, and famous for being filmed on leftover film sets from other AIP productions, including the Haunted Palace. The movie was also released as Lady of the Shadows, the Castle of Terror and the Haunting, and was later featured as an episode of Cinema Insomnia and of Elvira's Movie Macabre.- Shop: odax
- Price: 23.26 EUR excl. shipping
