| | Respect: The Soul Generation Soundtrack CD
This two-disc anthology is a guaranteed dance party in a box. It's nice to have Motown, Stax, and Atlantic artists all in a single collection, along with independents like Curtis Mayfield. If the compilers could have found a way to include some Philly soul, and maybe some Al Green and Hi Records, it would have been just about perfect. As it is, there's not a bad cut here, and once this set gets in your player, its bound to stay for a while. ~ Steve Leggett
36 track import collection spanning the past 50 years of classic soul tunes. Artists include, Aretha Franklin, Stevie Wonder, Isaac Hayes, Smokey Robinson & The Miracles, Ray Charles, Marvin Gaye, Ohio Players, Jackson 5, Isley Brothers, The Spinners, Sam & Dave, The Commodores, Rufus Thomas, Curtis Mayfield, Rare Earth, Diana Ross & The Surpremes, Edwin Starr, Martha Reeves & The Vandellas, Barry White, Otis Redding, Carla Thomas, James Brown and many, many more. 2001. Respect: The Soul Generation Soundtrack Music Respect: The Soul Generation Soundtrack Review
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Perhaps "world pop" best describes Abjeez music. The Abjeez unique sound is influenced by wide mixture of world compositions mastered to its' own description of original melody and songs. Abjeez music is suited for everyone regardless of age, sex or cultural backgrounds. The lashing passion behind Abjeez force is to award love, carry hope and perhaps become a diverse musical alternative for future generations in Iran. The name Abjeez comes from the word Abjee, which is slang for “sister” in Iranian language Farsi. The Abjeez are sisters Safoura and Melody Safavi, backed by a colorful group of musicians ...
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CIPA-3020-2 On this album Joschi Schneeberger presents a new variation of a Gipsy-Swing groupPiano, geniously played by Aaron Wonesch plays a strong role, plus 2 Rhythmguitars (Striglo Stöger and the son of Joschi, Diknu) and of course the Accordeon (Karl Hodina). It swings and has this melancholic Vienna touch!German Linernotes:Der Jazz hat eine rasante Entwicklung genommen – in knapp 100 Jahren (die ersten Aufnahmen stammen aus dem Jahre 1915, aber es wurde natürlich schon davor gejazzt) eilte man von den strengen Formen des Barock (dort J.S.Bach – hier King Oliver) bis zu den freien Spielarten der totalen Abstraktion (dort neue frei improvisierte Musik – hier „Free Jazz“). Wozu aber die „Klassik“ rund 500 Jahre brauche hudelte der Jazz (wir leben in der hastigsten aller Zeiten) in dieser kurzen Zeitspanne herunter und steht jetzt vor der Tatsache, daß man schwer die Formen noch weiter auflösen kann als bis zur völlig freien Spielweise und –wiese.Man steht an. Man kann nicht freier als frei spielen, man kann nur mehr variieren (was absolut nichts schlechtes ist, aber manche wollen ja jeden Tag das Rad neu erfinden) und so kam man auf den Ethno-Jazz, in dem man alle möglichen Volksmusiken mit dem Jazz vermischt – meist ohne darauf zu achten, ob das neue Gemisch auch zumindest einigermaßen kompatibel ist. Aber das ist auch schon wieder nichts Neues.Der Jazz ist an und für sich von seiner Grundsubstanz her „Ethno“, denn in New Orleans mischten sich die Kulturen – schwarz und weiß mit allen Zwischenschattierungen, Franzosen und Briten und Spanier und Deutsche mit allen Zwischenschattierungen, so daß unsere Musik von allem Anfang an die Punzierung Ethno-Jazz verdiente.Und dann kam in den 30-er Jahren noch ...
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