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From mainstream to free, visitors get a wide range of jazz on any given night. Storyville Museokatu 8 Helsinki 50 storyville.
Upstairs houses a tin-roof piano bar. After-hours jam sessions are offered on weekends. Sunset-Sunside 60 Rue des Lombards Paris 33 0 1 40 26 46 60 sunset-sunside.
EEUnterfahrt Berlin 49 25 50 a-trane. The Andreas Varady Trio is booked for Jan. A-Trane is one of the venues that presents shows during the Berlin Jazz Festival.
The dazzling saxophonist Silke Eberhard performs here frequently. B-Flat Rosenthaler Ste. During the rest of the year, the venue books local jazz including longtime Monday performers the Swinging Cats.
The venue hosts Italian jazz artists and the occasional international musician. Body And Soul Minamiaoyama Tokyo 81 3 bodyandsoul.
Jz Brat Sakuragaokach Shibuya Tokyo 81 03 jzbrat. B1 Shinjuku shinjuku-ku Tokyo 81 3 pit-inn. The venue books mostly Japanese jazz musicians, with the occasional touring act.
John Medeski brought his Love Electric concept here recently. Petersburg 7 jfc-club. No stanbul 90 nardisjazz.
Often open until 3 a. Cape Town 27 76 straightnochaserclub. Glenn Miller Cafe Brunnsgatan 21 Stockholm 46 8 10 03 22 glennmillercafe.
At once Room is totally Nels Cline and also very un-Cline. The wunderkind Julian Lage, at 26, is a formidable sparring partner on these 10 super-intimate duets.
Most notable here is the unadorned sound. Whether played on acoustic or electric, these conversational pieces are all about the box, the inte- rior space of guitar sound.
Across the relaxed and expansive program, the drawing-room duets touch on these and other moods. Ordering Info: mackavenue. In their music, the head-solo-head design of freewheeling improv is subbed out for something more contained: verse-chorus-verse dynamics with judiciously scripted areas of extrapolation.
How much so? Rather, this is modern instrumental music that leaves room for jazz-centric solos. Each piece is a discrete world, bent on establishing a palpable mood that might be deemed theatrical.
Ordering info: nonesuch. The quintet here functions as a highly integrated ensemble, with Postma and Osby entwining soprano and alto saxophone lines around each other like vines climbing a wall.
As with some other Osby projects, it sometimes feels as if the process itself is the subject rather than a means to an end.
Ordering info: challengerecords. At the same time, it galvanized a tiny sect of loyalists who stood by its most untamed impulses and inspired a large-ensemble genre that Carla Bley, Charlie Haden and others would further explore.
The orchestra is the main voice here, not the soloists. Ordering info: ecmrecords. No one-upsmanship here. Each listens to the other, responding with supportive subtlety and tact for the larger good.
Structure seems to rule spontaneity in these fragile, contrapuntal ensembles, which are a low-key pleasure. What follows is more eclectic, but seldom stops stirring.
Osby and Postma flit, flirt and occasionally converge with a light, fluctuating dash. Who plays what is a guessing game.
Mitchell continues to impress, and Oh is so commanding. Their squirrely exchanges are full of questions that are ultimately answers.
An obsessive and painstaking reworking, the painter returning to the canvas nearly 50 years later, brush in hand.
Dissonant, severe and bristling with bold gestures, the composer wastes no time moving from one idea to the next. Just listen to the second solo coda on the title track: a roller coaster of slithery asides, roaring exclamations and raucous squawks, all delivered with authority and wit.
The risk with high-concept projects like this is that not every player will be equally engaged, or that the idea of dipping into the deep past will come off sounding stale or ironic.
Those dangers are never realized here. The frugal consumer might flinch at the subminute timing of Tiddy Boom, but with a package that sounds this perfectly executed, that seems banal.
Ordering info: sunnysiderecords. A generation of six-string skronkers, including Nels Cline, Elliott Sharp and Marc Ribot, were profoundly affected by that improvising manifesto.
Nearly 70 albums later, the iconoclastic guitarist is still at it, creating otherworldly sounds with his table-top guitar approach and a remarkably fertile imagination.
On this adventurous outing, Frith goes head-to-head for the first time with avant-garde saxophonist John Butcher. The 10 distinctive tracks they cut in a single stretch in were done live in the studio and appear here in the order they were created.
But these two kindred spirits do share a similar sense of exploration and discovery that is strictly in the moment, just as those jazz giants do.
Even if it is musically on a different planet. Ordering info: northernspyrecords. Also quite significant is the sensitivity of drummer Peter Erskine, who often plays quietly in a supportive role yet gives the group a strong forward momentum when it is needed.
Dann Zinn is generally the lead voice, displaying a large tone on tenor. Ordering info: dannzinn. Accompanied by keyboardist Xantone Blacq and drummer Tony Match, Jackson does indeed groove in his own inimitable fashion while offering nimble, funky bass solos.
And Blacq does his best Hancock impersonation on Fender Rhodes and clavinet throughout while offering some sparkle on talkbox along the way.
Ordering info: whirlwindrecordings. Ordering info: willholshouser. Ordering info: connieevingson. Others, following the example of Cassandra Wilson, are mixing post-Elvis pop standards in with pre-Elvis jazz standards.
Each singer has a different recipe for the right mix, as if jazz vocals had suddenly become a cooking contest. The proof, as they say, is in the pudding.
Felton has a bigger, more piercing voice than her hero, but that becomes a liability rather than an asset. Ordering info: cynthiafelton.
She divides the disc in two. The distinction is not as sharp as she may have thought. Ordering info: annawilson.
This works better than you might think, because the music from Saharan Mali echoes both the drones of South Asian classical music and the rhythmic vamps of hard-bop.
Ordering info: kiranmusic. In exhaustive liners, ethnomusicologist Dr. Charles D. Where can we go from here? Amid the sonic puzzle emerges, eventually, a lovely melody.
The latter evocatively deploys subtle detuning of what appears to be a number of individual, overdubbed sopranos, melding with an improvisation based on a specific maqam, the melodic modes used in Arabic music.
Personnel: Sam Newsome, soprano saxophones. Ordering info: samnewsome. His Spokfrevo Orquestra takes a typical big band approach, putting new material in the hands of as many as 22 musicians.
The rapid tempo of solos by other guests like accordionist Beto Hortis and Hamilton de Holanda on mandolin illustrates just how far this music has moved from anonymous street party fare.
Most impressive of all are drummers Adelson and Augusto Silva, who mix a feathery touch with superb articulation.
Spok himself maintains a relatively low profile, contributing just one composition and soloing only four times. Ordering info: motema.
It also marks the return of the stellar rhythm section of pianist David Hazeltine, bassist Peter Washington and drummer Lewis Nash in their third go-round with Elf.
Ordering info: jenbayjazz. New Beginnings, their first recording together since , has the sound of a smooth-running machine. Ordering info: mosax.
The grooves never stop, and there are few solos to interrupt the flow. If, however, you are looking for ripe, ripping trumpet from Payton, you need to go elsewhere; he picks his horn up only once.
Recorded live in the studio with the band Butcher Brown, a quartet based in Virginia, these 12 tracks were originally intended as beds for Payton to solo over, but he came to regard them as strong enough to stand on their own.
Where they succeed is in illuminating how an exceptional rhythm section connects relatively simple phrases into a compelling whole. Ordering info: nicholaspayton.
It seems like a gag, but the music on this album is no joke. Though some of the selections need to be taken with a grain of camp, organist Charette is delivering the goods without irony.
That relaxed intensity is a hallmark of the album. Ordering info: posi-tone. Highly structured, its playing airtight and gripping, this song effort was recorded in various locales, then stitched together in the home studio of guitarist Jerry De Villiers Jr.
Recorded in Los Angeles and produced by veteran bassist Jimmy Haslip in a short time frame, bassist Fafard was pressured to write these tunes fast.
He has delivered a cohesive recording that shows no sign of strain. Fafard, Colaiuta and De Villiers play on all tracks.
This is an album of many moving parts, a strategically crafted project that nevertheless feels spontaneous.
Ordering info: antoinefafard. Over the course of 26 albums and numerous personnel changes, their focus shifted as their overall sound became more personal.
And yet, there is still a hint of Mr. Ordering info: jfjo. One of the key players is Anat Cohen, who doubles on clarinet and tenor saxophone.
Wedding gamely gives it her all with an especially fine lift, but the language itself sounds stilted. Ordering info: zohomusic. Steady, not sensational, guitarist George Naha serves the memory of Bloomfield well.
The real glory goes to the jet-propelled man horn section led by jazz alto saxophonist Palermo, whose arrangements are consistently excellent.
Ordering info: palermobigband. Outfitted with a pleasing tenor voice and significant skills playing acoustic guitar, this Briton, mostly accompanied by a rhythm section, shows casual confidence and quiet passion.
Ordering info: acoustic-music. He and his electrifying sidekicks pull it off. He flashes a fervid imagination playing ukulele and threestring cigar box guitar and making over songs by Gil Scott-Heron, Bill Withers and the Beatles.
Ordering info: stacymitchhart. The exception is his vocal on B. DB Ordering info: stonyplainrecords. A youngish, classic rhythm section if there ever was one, pianist Brad Mehldau, guitarist Julian Lage, bassist Larry Grenadier and drummer Eric Harland all play it straight, with almost no flash.
That seems to be the game plan as the focus tilts to Stephens, a talent who combines different strains of the saxophone legacy. Unlike most saxophonists, however, he offers the listener a sampling of tenor, baritone and soprano.
More than anything else, this has the overall effect of making this listener pay more attention to the program.
Anything but musty, this is far more than a legacy for Petrucciani, a prodigy who died in of pneumonia after years of battling a degenerative bone disease.
Petrucciani was only 36, but, judging by the sophistication of his work, an old continental soul. Bracketed by the robust, selectively pyrotechnic trumpet of Fabrizio Bosso and the resonant bass of Marc Peillon, the group also features eclectic pianist Alessandro Collina and drummer Rodolfo Cervetto, a master of brush and rim shot.
Ordering info: warrantmusic. The bonus track here features the drummer engaged in an interactive dance with soprano sax and string quartet in a kind of chamber jazz triumph.
Ordering info: doublemoon. Drummer Wilson, in particular, is an ideal partner for Stylianou. As he has demonstrated previously with Dena DeRose, Amy Cervini and others, he provides vocalists incredible support: creative fills, subtle propulsion and inventive sonic coloration.
Along with Barth and Oh, he is the perfect choice if you are going for an old-fashioned, direct-to-two-track, no-overdubs sound, as Stylianou seeks.
Ordering info: anzicrecords. As Allen sing-speaks a stream of album titles like No Discrimination, Progress and No Accommodation For Lagos over layers of sunny horn lines and syncopated rhythms, he builds a bridge from his past to his present, creating a sonic vision of a career defined by groundbreaking music and political outspokenness.
Ordering info: jazzvillagemusic. The third disc was recorded at the Moers Festival. Overall, the variety of moods, tempos, structures and ideas makes for a fascinating listening experience for anyone willing to go below the surface.
Finally, this collective success could not have been achieved without outstanding individual contributions.
He has previously done solo works and been part of countless duos, trios and other collectives, but he never got an opportunity to write music for a band.
Tunes based on simple but addictive riffs, textural explorations and collective blasts alternate on this sprawling collection.
It would be easy to describe the performances as chaotic ramblings. But this would be unfair and deceptive, since actual planning takes place.
The LP version contains even more tracks. On three separate occasions, alto saxophonist Klaus Ellerhusen Holm, bass player Christian Meaas Svendsen and drummer Andreas Wildhagen each gets a chance to elicit the participation of other band members and shape a bleak and stark soundscape.
Indeed, the inclusion of two bona fide working trios within the group allows him to break the music down into several smaller units as well as to focus on his bandleader duties.
What this says for the future of creative jazz in Norway is that the well shows no sign of getting dry.
Ordering info: catalyticsound. Released as a comprehensive six-disc box set, these mythologized sessions are all about spontaneity and experimentation.
And guess what? In some ways, that gives them a jazz demeanor. Their approach had a manic tilt, and when it ended, a major exhale was needed.
The beleaguered pop star left his Manhattan digs for a Catskills artist enclave two hours above town with privacy and composure on his mind.
The band was summoned north, and afternoon gatherings commenced. DB Ordering info: legacyrecordings. Though he usually chooses to weave rich textures of harmony instead of turning the spotlight on any one player, Coffin does occasionally take a solo or two.
During the tune, Coffin, on soprano, slowly builds on short phrases, ascending the horn as the phrases get longer and more complex.
There, his soprano is much more of an acrobatic instrument, as the saxophonist pliantly leaps and dives throughout the range of the horn.
Coffin starts the recording with a plodding, mysterious solo piano composition, a delicate piece that belies the party atmosphere of the rest of the album.
Scott Bryan, congas; Herlin Riley, tambourine. Ordering info: jeffcoffin. Each track on Still Out To Lunch! Less known is that vibraphonist Karl Berger invited Dolphy to play at the Tangent club the night Dolphy succumbed to diabetic coma.
The colossal collective talent of this piece band was captured live by Kulturradio vom Rundfunk Berlin Brandenberg in June Marching basses drive the cacophony home, which includes trademark Schlippenbach scampers, Ayler-esque textures and send-off stick-in-mouth clicks from Bennink.
Music is rarely this richly festooned with brilliance and hyper-real personality. Ordering info: intaktrec.
Ordering info: allegro-music. The prolific tenor saxophonist rattled off this newest release in a single day last summer.
His mission on this release is to deliver the melody of 10 tunes of varying levels of recognition with respect and charm.
Person never fails on those fronts. His solos are graceful and in constant homage to the melody. Person is joined by a quartet of tasteful veterans that could perform these mostly medium-tempo tunes in their sleep.
Vibraphonist Steve Nelson provides a warm pad for Person to float on, while pianist Lafayette Harris supplies tasteful soul and bossa grooves.
Ordering info: jazzdepot. Organist Jared Gold has a blocky sense of abstract sonic architecture reflective of Larry Young, and the regulated hum of his bass lines pervades this session.
He provides a spongy springboard for coruscating forays from the leader. Lake could be a trifle hotter in the mix; he sounds somewhat distant.
Hendrix is fiery, Lake resolutely scribbly. Beck gets excited, then we are suddenly done. Ordering info: passinthru. The music was inspired by a Frank Herbert science fiction novel, and one can certainly imagine these performances being utilized as part of the soundtrack for a movie set in outer space.
The performances are very much about setting moods rather than conventional melodic development or playing over chord changes.
Its theme sounds a bit like something Anthony Braxton might have composed, although this piece is dedicated to Evan Parker.
After the theme, Evans plays the same repeated figure while the other musicians improvise with pianist Ron Stabinsky, sometimes hinting at both Cecil Taylor and Don Pullen.
Unfortunately, relatively little occurs. Both get to stretch out a bit and interact with each other passionately before the electronics eventually take over.
While the album has its colorful moments, the extreme length of these performances plus many stretches where space dominates over sound makes this listener feel that the music is incomplete without visual content.
Ordering info: moreismorerecords. The latter plays a pivotal role in the group, acting as a pace regulator and signaling shifts.
In addition to Hart, Enders has found in Brodbeck and Nikolic two musicians who are committed to his ideas. As a composer, the saxophonist has a knack for writing solid and memorable compositions, although none of them bears a singular stamp.
While his faster pieces are sunny, his ballads, imbued with winning moodieness, impress most. As a result, Mellowtonin is likely to be remembered as a well-conceived and attractive program rather than a major statement.
Ordering info: jazzrecords. A standout soloist with the power, tone and flexibility to rival Freddie Hubbard and Woody Shaw, his reputation has been built on his appearances as a guest artist and clinician.
Blue Shift, one of two new jazz recordings he has released, has enough first-rate material to make people notice his work as a group leader.
Richardson is exceptionally well matched with alto saxophonist Steve Wilson and guitarist Trey Pollard. The remaining four pieces offer less interesting material.
Ordering info: summitrecords. Madsen, bassist Herwig Hammerl and percussionist Alfred Vogel get knee-deep in it and yield great results.
Hammerl maintains a nice, lyrical backbone and unwinds well in his solos. Ordering info: playscape-recordings.
In June , Russell documented L. Instead, he chose tunes that form a complete picture of the pianist, culling his collection from less-heard sources and transferring these small-ensemble recordings into big band charts.
The noted San Francisco-based sideman assembled some of the best Bay Area musicians for the tribute, players who excel at ensemble work.
Each musician is a strong player in his or her own right, and they turn in capable, energetic solos, but the instrumentalists excel as a unit.
Norton takes the maddeningly tricky tune, consisting of thorny interlocking melodic lines presented in a quasi fugue, and deconstructs it.
With a loping bass solo at the beginning and the slow addition of harmonic voices, each part sings out.
Norton avoids what could easily turn into musical mush. Worley Jr. Ordering info: origin-records. Opening so strong out the gate and leaving the rest of the album without the same energy does leave the tone rather lacking, yet Dixon compensates with smart arrangements and with deft solos from Regina Carter and the late John Blake Jr.
In fact, this string ensemble really leans into it at moments. Ordering info: akuadixon. Of course, pruriency is in the ear of the beholder, but it might be good to skip a few tracks if the listener looks anything like the toddler on the cover.
Bellowing below him is baritone saxophonist Charlie Gurke. While the twin saxophone ensemble is the focus of this album, it is the guests who make it meaty, exotic and even a little bit dirty.
The band reclines nicely into its troubadour-punk vibes but also digs into straight, wailing swing. Gurke wrote the former while Weiss penned the latter.
Their similar sensibilities are on constant display as the two interact seamlessly and with deep understanding. The record loses its PG rating with some guest vocal spots.
When vocalist Eunjin Park returns at the end of the tune with the same poem in accented English, things get a little more confusing.
Ordering info: alexweissmusic. Author Dennis McNally explores this idea as it ties together folk, blues, jazz and rock with a culmination in Bob Dylan through his new book, On Highway 61 Counterpoint Press.
McNally, who has previously written in depth about such quintessential national figures as Jack Kerouac and the Grateful Dead, takes into account 19thand 20th-century literature along with major historical movements to illuminate how much the music drew from the broader culture.
As McNally describes it, this American longing for freedom is rooted in the writings and speeches of authors Henry Thoreau and Mark Twain.
While both commendably called for an end to slavery, their ideas about race in America were more complex. At its best, the music and writing of this period offered a glimmer of ways in which it may have been possible to break down barriers that blocked any racial mixing.
Jim Crow segregation alone proved to be a more formidable force than this form of entertainment, and McNally provides a historical description of its impact, as well as the early blues musicians who offered a cultural resistance.
In , that was a political statement. Decades later, different kinds of performers defied other constraints to create challenging, more artistically liberating music.
Other writers have taken a similar culturally inclusive perspective on describing American music, especially Greil Marcus.
But while Marcus blends the literary, historic and musical with academic theory and his own imagination, McNally tends to be more direct and compartmentalized.
In keeping with the bold spirit that fueled several American artists, McNally also writes with emphatic tones. Occasionally, though, this style feels like overstatement.
And while it was already notable that a group of young white musicians would follow Louis Armstrong and King Oliver in segregated Chicago, their background was more working class than wealthy.
Still, On Highway 61 remains a solid primer that could introduce American studies students to musicians they should know, while encouraging them to dig deeper on their own.
DB Ordering info: counterpointpress. So why is the rating not higher? It comes down to musical ingenuity. David Friesen, whose music typically combines elements jazz, folk, classical and Jewish music, composed all 19 of the songs, but even with their mostly original chord progressions, the tunes themselves are not particularly memorable.
Writing songs is a completely different skill than being a virtuoso jazz improviser. The solos and the playing in general are on a much higher level than the compositions.
Disc 2: 2, 4, 6, 9. Fifty years later an older, wiser Don Was is the president of the label that once weaned him on jazz.
From the coffee table book Blue Note: Uncompromising Expression to a series of Blue Note Select historic collections, president and label are riding a blue streak.
Long before Was took the Blue Note crown, he was regarded as one of the savviest record producers and bass players in show business.
Blue Note has really gone back to its origins: supporting the voices of the artists, first and foremost. You want to create an environment where people feel comfortable and confident taking chances.
And where self-consciousness is held to a minimum for the artist. You want them to feel safe to push the threshold, and to risk falling off a cliff.
How do you get the artist to trust you? Just being relaxed. Another take? I suppose being a musician helps.
And I know how exhilarating it is to get completely outside of yourself and be totally present in the music.
That is where the good stuff happens. How do help musicians become calm so they can create their best work?
You should be nervous. You start over every day. Jazz musicians are a little more used to doing that. They work in a noisy club with people talking and drinks being served and cellphones.
But they get to that place with great regularity. There used to be this brainwave reader. It would show when you were going from Alpha to Delta, and eventually you learned [how to get there] by listening to the sound being emitted by the device.
It would tell you when you were entering a deeper state of consciousness. People who meditate know how to do that. And people who play improvisational music with regularity know how to do that.
You have to find your own way into them. That requires forgetting what Billie Holiday did. These guys mentally cleaned the slate and played.
We did the whole album in five hours. Before anyone took a break we cut half the record, all live, no overdubs, at Sear Sound.
Sometimes less is more. My job is to help them get to a point where they give their best performances. In some cases that may be quite involved, and in other cases I have to stay out of the way.
What are your favorite Blue Note records? It sounds like an MC5 record. It really captures the vibe of those turbulent times.
With the reissues, all we tried to do was capture the feel of the initial pressings. Those are the ones that everyone loves.
Early on, we experimented a lot with the philosophical approach to remixes. Whatever came out is what everybody loves and we should stay true to that.
When we put it up we discovered, and this is not an RVG [Rudy Van Gelder recording], that the left and right channels were out of phase. So we put them in phase, and all of a sudden we could hear the bass and everything.
One of the things I like about it is that the out-of-phase-ness gives the record this quirky thing that is more noticeable on the cymbals.
The cymbals sound like they are upside down. So, we put the bass back in phase, and did some EQ to get the cymbals back to that out-of-phase sound.
That is the only time we editorialized. Did mastering engineers Alan Yoshida and Bernie Grundman go straight from the analog tape to the cutting lathe?
We did straight transfers from tape to the cutting lathe, and in some cases, it was digital transfers; it was different for each record.
He does analog-to-digital transfers, so all of those are from digital sources. I was never trying to replace those, but we had requests for hi-res digital files from HDtracks for 96K and K digital downloads.
So we began doing them to conform to their highest quality standards. We were able to get back the feel of the original pressings, but what you pick up at K is more depth to the mixes.
What happens on vinyl is the back wall comes forward a little bit; the room gets smaller. So we got the feel of the vinyl but the transparency that K allows.
We used that same EQ to do the reissue vinyl, and we held to that sound. Some of the LPs were taken from analog sources, some from digital sources.
Why not all from analog sources? But we really compared the files. We tried every different machine at Capitol studios to do the digital transfers.
When Bernie Grundman did the transfers, he had different transformers that changed the sound. And once everything is done, we do a blindfold test.
One will be a straight-across version and one that has a little EQ on it. You held yourself to a rigorous standard. I will sit down at the board.
You can hear the scratches. If you boost the highs just 1db, it alters everything. What is it about the Blue Note LPs that makes them so special?
First of all, the musicianship is just stellar. Those guys never lose their cool, but the proceedings heat up a lot. The common thing they had: The horns transcended notes.
They play with this intensity that suggests the adversity we face in life, but the playing is always cool. Stay cool in the face of adversity.
And they captured that more on Blue Note than anywhere else. But this is only the first With all the records, we tried to emulate the feel of the original pressings.
What has been the general response to the reissues? We are just trying to bring sound and quality to people at a decent price.
We wanted to get the artwork right, the colors right, we wanted a cool look. I wanted the printed inner sleeve similar to the old blue-and-white sleeves.
I wanted people to feel that they were getting something of value but not paying a fortune for it. This is going to sound like horse shit, but I am proud to be the custodian of not only the legacy, but the esthetic of Blue Note.
Over the course of her professional career, which began in the s after attending Berklee College of Music, she has evolved into an artist of many skills who fills multiple roles within the music industry.
Carrington is held in particularly high regard as a producer of her own albums as well as studio recordings by other artists.
Daddy Yankee — Nota de Amor Edu. Diaz Remixer Yandel Ft. Diaz Remixer Diaz Remixer Latin Fresh Ft. Aitor Cruz — Moviendo Caderas Edu.
Diaz Remixer San Luis Ft. Aventura — Mi Corazoncito Edu. Diaz Salsa Remixer Diaz Cumbia Remixer Adonay Ft. Diaz Remixer] Angeles Ft.
Diaz Remixer Jack Deivid Ft. Tu papa — Esta soltera Edu.
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