| | Buddha Bar IX CD
Audio Remixer: Anders Trentemoller.
Arrangers: Mikkel Hess; Livan Carrillo; Jaspa Jones; Kenneth Bager; Piet Blank; Thomas Troelsen; Andy Kaufhold; Burhan Öçal.
Personnel: Bea Luna (vocals); Jaspa Jones, Piet Blank, Andy Kaufhold (programming).
Audio Mixers: Jaspa Jones; Piet Blank; Andy Kaufhold.
Buddha Bar IX Songs | | Buddha Bar IX CD DISC 1: |
| 1. | Sospiro - Bardo State |
| 2. | Flight BA0247 - Mystic Diversions |
| 3. | Sleep - Amanaska |
| 4. | Yes Boss - Hess Is More |
| 5. | Koop Island Blues - Koop |
| 6. | Mongolia on the Line - Eccodek |
| 7. | Wood Street - Serafim Tsotsonis |
| 8. | Heart Beat of Life - Existence |
| 9. | Essence of Our Origins - The Lushlife Project |
| 10. | Astradeni - Michalis Koumbios |
| 11. | Iceflowers - Asheni/York |
| 12. | I Know Jayne - David Lowe's Dreamcatcher |
| 13. | Sunday - Nikonn |
| 14. | Fragment Two... the First Picture - Julee Cruise/Kenneth Bager |
| 15. | Bugu Jazz - Burhan Ocal |
| | Buddha Bar IX Songs DISC 2: |
| 1. | Mrs Daisy May - Sunset Boulevard |
| 2. | Pila, La - Cosmic Orient |
| 3. | Djinns, Les - Djuma Soundsystem (Trentemoller Remix, Trentemoller remix) |
| 4. | As the Day Breaks - Grant Lee Phillips/Carmen Rizzo (Montreal Remix) |
| 5. | Daydream - Massivan |
| 6. | Africa - Cirque du Soleil (Quicksound/Alain Vinet Remix, Quicjsound/Alain Vinet remix) |
| 7. | Roots 4 Acid - Rocco |
| 8. | Last Chance - Passion of Percussion |
| 9. | Machete - Novalima |
| 10. | Chambermaid Swing - Parov Stelar |
| 11. | Choban in Space - O.M.F.O. |
| 12. | Amor Que Se Baila - Otros Aires |
| 13. | Gypsy Majik - Naked Rhythm (Gypsy Lounge Vocal Remix, Gypsy Lounge Vocal remix) |
| 14. | Loneliness - Blank & Jones (Chill House Mix) |
| 15. | Indusufi - Mashti/Bahramji |
| 16. | Karma Busta Rhythm - Karma Sound Collective/DJ Ravin |
|
Buddha Bar IX Review
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Purchase Buddha Bar IX CD To buy, Click on price to add to cart | Mark Knopfler Golden Heart CD (1996)
Buddha Bar IX album
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All tracks have been digitally mastered using HDCD technology.
The Dire Straits' mastermind's first non-soundtrack solo album is a refreshingly diverse outing. Mellower overall than his previous fare, there's still plenty of stunning guitar work and solid songcrafting to be had here. The songs cover a lot of stylistic bases, from rock to folk, Celtic, blues and somber balladeering. The disc is full, yet its diversity never becomes superfluous. A well-planned and pleasing slice of craftsmanship from one of rock's reigning originals.
Recorded in Nashville, Tennessee; London, England; Dublin, Ireland.
Personnel: Mark Knopfler (guitar); Paul Brady (whistling); Richard Bennett (guitar, acoustic guitar, tiple); Don Potter (acoustic guitar); Sonny Landreth ...
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Karunesh's second album is a pleasant mix of easy-listening pop and smooth jazz. If from that description you suspect this album of synthesizer ballads is laid-back, you'd be right, but there is enough melodic intrigue to keep things interesting. ...
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While they may not be everyone's cup of herbal tea, the pioneering New Age label Windham Hill could never be accused of being anything less than tasteful. Accordingly, A WINDHAM HILL CHRISTMAS is far from the crass, mass-market commerciality of so many hastily assembled pop-crossover holiday collections. For this outing, Windham Hill gathered together some of their finest artists to create ...
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Released in 1994, Rhino's Scary Sound Effects was designed by Dr. Demento for use on Halloween as children dress up strangely and roam their neighborhoods loudly demanding free candy. The album begins with 15 brief spoken phrases like "Welcome," "Go Home," "Get Away from Here" and "We're Digging for Your Treats." What follows are the usual mix of evil laughs, growling wolf men, haunted house and sci-fi noises. Robert C. Wayne is listed as "composer," George Emerson as "conductor," Gary Hoffman plays the Theremin, and screams are credited to Houston Emerson, Jeffery Freeman, Josh Miller, and Dione Wren. It's interesting to note how what in many cultures is a traditional Holy Day for ancestor reverence (Samhain, pronounced "Sowen," also known as All Hallows Eve prior to the Day of the Dead) has become such a vulgar, kitschy occasion with its thematic roots in Hollywood's cheesiest monster movies. This being said, sound effects records (and scary sound effects records, in particular) come in a full range of qualities, from the sleazy, cheap, and badly produced to the creative, well-conceived, and even artistically rewarding. Rhino's Scary Sound Effects lands more or less betwixt and between the two extremes. Its weakest moments occur during cheap theatrical stunts like "Witch Casts a Spell" and "Voodoo Chant," the latter being a throwback to the Universal film company's xenophobic ignorance regarding traditional Afro-Caribbean religious ...
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It's all there at the very beginning, thanks to Kidd Jordan, New Orleans' septuagenarian saxophonist, teacher, and leader; drummer Hamid Drake, who, despite leaving the Crescent City decades ago, still understands second-line rhythms; and William Parker, bassist extraordinaire, who plays a startling array of singing bowls, gongs, and even the talking drum on this session. In the 56 seconds that are "Peppermint Falls," the album's opener, all the elements are there, up front, and waiting to peel the layers off the onion of sound. Jordan swings in everything he does, whether it's the lonesome blues singing at the commencement of "Forever" or the startling intensity of "Unity Call." It's about song and sound, the notion of singing through the horn, expressing what the Indian, North African, and Congo shamans have been singing about for centuries. Certainly this is jazz; it lives in a post-Coltrane aesthetic -- the one of discovery, not imitation. The bowed bass beginnings of "Living Peace" suggest, from the relative calm and quiet of the first two tracks, that the edges will become a noticeable present tense in this music. But there are no edges, despite the moan-song of the horn, the bowing and the skeletal inverted notion of time that Drake stretches to its breaking point. What breaks are the defined notions of the pianoless jazz trio. This is a triangle where texture, balance, and color become the points at which sound itself can be expressed without distraction or notional individual identity struggles. This is music that just is, as jazz, as blues, as folk music. The culmination of the trio's art is in the album's final cut, "Last of the Chicken Wings." Never has out jazz sounded so recreational. The percussion work by both sidemen is stunning, carrying a series of Yoruba rhythmic inventions into the joy of ...
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