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Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).
While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.
The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.
Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.
Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.
Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.
視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅 パート２（列車でミズーリ州から72時間）
視聴-Acid Trax N (All Alkalis are Bases but All Bases are not Alkalis) remix by DJ Sprinkles
視聴-Acid Trax B (Acid Dog) remix by DJ Sprinkles
視聴-Acid Trax A
視聴-Acid Trax H
視聴-Acid Trax S (w/DJ Sprinkles)
視聴-k-s.h.e spirits, lose your hold(Excerpt 1)
視聴-k-s.h.e spirits, lose your hold(Excerpt 2)
視聴-k-s.h.e spirits, lose your hold(Excerpt 3)
視聴-k-s.h.e spirits, lose your hold(Excerpt 4)
視聴-k-s.h.e spirits, lose your hold(Excerpt 5)
視聴-k-s.h.e spirits, lose your hold(Excerpt 6)
視聴-k-s.h.e spirits, lose your hold(Excerpt 7)
Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
Echoes of Impermanence sees David Granström’s previously established strict hermetic minimalist musical topography undergo a major shift with the introduction of the electric guitar, which instigates a breaking of the sealed crystal walls of the composer’s previous work within music of long duration and precise digital synthesis, bringing forth a riff-laden spirit previously lingering below the surface. The album was recorded at the world-renowned Elektronmusikstudion EMS as well as in the composer’s own studio with the help of Mats Erlandsson and features a guest appearance by long-time collaborator and XKatedral co-founder Maria W Horn performing on the Hurdy-Gurdy on the title track. David Granström is a composer and musician from Umeå in the northern part of Sweden. His hometown is a stronghold of extreme musical expression and consequently Granström grew up playing guitar in a metal band and started to compose music within that context which eventually evolved into solo projects, having access to studio facilities adjacent to the rehearsal space. Granström initially found his personal musical voice within the context of electroacoustic composition utilizing his advanced programming ability to manifest a sound and formal structure governed by algorithmic processes. The resulting musical work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of synthetic and acoustic origin in combination with strict digital synthesis techniques.
" Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago. Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections. Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering. Overleaf is about carrying what remains into what is yet to come."
Two long pieces from 2004: Etoile du Nord in two parts on the first disc, Ghyress für Ilse-Emily Kayn on the second, named for the daughter who would later reawaken her father's label. Among the last titles Kayn issued on Reiger Records Reeks himself. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Etoile du Nord / Ghyress Für Ilse-Emily Kayn consists of two CDs and includes two long pieces composed by Kayn in 2004: Disc 1 Etoile du Nord (2004) - Part 1 - Part 2 Disc 2 Ghyress für Ilse-Emily Kayn (2004)
Issued under Kayn's Multiplex Sound-Art heading: Requiem pour Patrice Lumumba (2002) and Interations (2003) on the first disc, the four-section Composizione AD (2002) and Prismes Reflectes (2002) on the second. Among the most recent pieces the composer completed. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Multiplex Sound-Art - Requiem pour Patrice Lumumba, Interations, Composizione AD, Prismes Reflectes consists of two CDs and includes some of the most recent pieces composed by Kayn in 2002-2003: Disc 1 Requiem pour Patrice Lumumba (2002) Interations (2003) Disc 2 Composizione AD (2002) - Abschnitt A - Abschnitt B - Abschnitt C - Abschnitt D Prismes Reflectes (2002)
Also under Kayn's Multiplex Sound-Art heading: Ultra (2001) and Redundancy TR (2003) on the first disc, the three-section Megaphonie (2001) on the second. Three of the last pieces Roland Kayn completed and released on his own label. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Multiplex Sound-Art - Ultra / Redundancy TR / Megaphonie consists of two CDs and includes some of the most recent pieces composed by Kayn in 2001-2003: Disc 1 Ultra (2001) Redundancy TR (2003) Disc 2 Megaphonie (2001) - Abschnitt I - Abschnitt II - Abschnitt III
Two long pieces from the turn of the millennium, Gärten Der Lüste (1999-2000) and L'Innominata (2000), each in two sections, with the early Cybernetics II (1969) set between them on the first disc. Thirty years of Kayn's electronic practice in a single pairing. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Gärten Der Lüste / Cybernetics II / L'Innominata consists of two CDs and includes two long pieces composed by Kayn in 1999-2000 and one older piece recorded in 1969: Disc 1 Gärten Der Lüste (1999-2000) - Abschnitt I - Abschnitt II Cybernetics II (1969) Disc 2 L'Innominata (2000) - Abschnitt I - Abschnitt II
The first instalment of the ten Electronic Symphonies: Symphony I (1966-96), II (1970-96) and III (1971-97), with Equivalence Sonore II and III from 1995. Pieces concreted in real time by a complex autonomous electronic system, a process Kayn documented rather than composed. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”. Electronic Symphony I / III consists of two CDs and includes the following pieces: Disc 1 Electronic Symphony I (1966-96) Electronic Symphony II (1970-96) Equivalence Sonore II (1995) Disc 2 Electronic Symphony III (1971-97) Equivalence Sonore III (1995)
The close of the cycle: Electronic Symphony VIII (1978-98) and the single-year Symphony IX (1999) on the first disc, Symphony X (1982-99) in two sections on the second. Thirty years of Kayn's generative studio work arriving at its last and largest statements. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”. Electronic Symphony VIII / X consists of two CDs and includes the following pieces: Disc 1 Electronic Symphony VIII (1978-98) Electronic Symphony IX (1999) Disc 2 Electronic Symphony X (1982-99) - Abschnitt 1 - Abschnitt 2
Electronic Symphony VI (1982-97) on the first disc, Symphony VII (1984-98) and Frottage II (1996) on the second. Two of the longest gestations in the cycle, worked over fifteen years and left to a self-regulating electronic system to concrete in real time. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”.
Electronic Symphony V (1977-97) in two sections, one per disc, each paired with one of the Emissioni Trasformati of 1996. Twenty years of revision folded into music that a complex autonomous electronic system concreted in real time, beyond any traceable authorship. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”. Electronic Symphony V / Emissioni Trasformati I-II consists of two CDs and includes the following pieces: Disc 1 Electronic Symphony V - Abschnitt 1 (1977-97) Emissioni Trasformati I (1996) Disc 2 Electronic Symphony V - Abschnitt 2 (1977-97) Emissioni Trasformati II (1996)
In Kayn's Electronic Symphony series, the past and present continually encounter each other anew, each time casting new reflections on the given moment. Kayn's autonomous studio processes remove context from what he termed (markedly in the language of synthesis) the "carrier" material, for the most part music of the orchestral tradition at its most texturally oriented – even drone-like – but alternately seething and volcanic in its drama. These pieces were of great personal significance to the composer, perhaps due to the fashion in which they bridged his initial musical inspirations with the new sound world his friend and colleague Franco Evangelisti described as "something that can no longer be named music".
All Songs Written and Produced by UNDER THE BIG BRIGHT YELLOW SUN
"Béwara" is Basajan's debut album, exploring the Sundanese philosophy of Tri Tangtu through ten instrumental compositions that blend Priangan vibes with psychedelic grooves and contemporary soundscapes.
1993 release. Bana OK present Bakitani. When the colossus of Congo, Franco Luambo, died in 1989, the great band he had led for more than 30 years, OK Jazz, was of course, devastated. But its members survived their enormous loss and lived to rock another day. Nine of the best of them carried on as Bana OK - "Children of OK" - and sustained the signature tout puissant ("all-powerful") sound of their late master's band. The leader was saxophonist and composer Rondot Kasongo Wa Kasongo, who had long been Franco's right-hand man. Three more of these "children" were veteran guitarists Fan Fan Sesengo, Papa Noel and Thierry Mantuika. And the singers included the female star of the last years of OK Jazz, Baniel Mbambou, and the heartthrob tenor Malage de Lugendo. Bakitani would have made Franco proud.
A compilation album featuring the signature songs of Pamelo Mounk'a, one of the Republic of the Congo’s leading singers. Having reached the peak of his artistry as a solo artist following his time with groups such as Les Bantous de la Capitale, his sweet, soaring high-pitched vocals beautifully intertwine with a dazzling horn section. From the graceful rumba vocals, which evoke Afro-Cuban and Latin influences, to the dynamic sevén tracks in the latter half—marked by leaping guitar refrains—this album encapsulates the elegance and passion of refined Congolese rumba.
Gregorian chant works performed by the Edmundus Novus choir—a Gregorian chant ensemble composed of novices from the Order of St. Edmund, conducted by Marie Peirick.
Includes 32 pages booklet in French, Portuguese and English. Many songs are representing the still missing style Semba.
The Novodevichy Convent, where this recording took place, was founded in 1524. It is known as one of the most famous women’s convents among the Orthodox monasteries in Moscow and was designated a UNESCO World Heritage Site in 2004. Often described as a jewel of Moscow architecture, the convent features a cluster of Moscow Baroque-style buildings arranged in the shape of a cross, giving it a beautiful yet distinctive appearance. In particular, the Cathedral of the Dormition of the Mother of God of Smolensk, composed of six columns and five domes, is renowned as a monumental structure, and its beautiful form has captivated people from all over the world. At the Uspensky Cathedral (Cathedral of the Dormition of the Mother of God), one of the main churches on the monastery grounds, the unique Russian Orthodox tradition of beautiful mixed-gender, unaccompanied polyphonic choral music is carried on. These voices are widely recognized as a precious cultural heritage that faithfully conveys to the present day both the solemn spirit of Russian Orthodox prayer and the acoustics of this World Heritage-listed architecture. This recording is a collection of solemn hymns performed a cappella by the Choir of the Church of the Dormition of the Mother of God at the Novodevichy Convent, conducted by Abbot Petr Polyakov (recorded in 1989). It was recorded to commemorate the 1,000th anniversary of the adoption of Christianity in Russia (the Baptism of Russia). In addition to traditional liturgical chants and hymns, the recording also features the bells of the Novodevichy Convent, allowing listeners to fully immerse themselves in the rich, immersive atmosphere of the cathedral. The recording includes “My soul doth magnify the Lord,” derived from the Magnificat found in Luke 1:46–55 of the New Testament, as well as the mystical hymn “Angel Cried,” sung during the Divine Liturgy of the Russian Orthodox Church’s Easter (Pascha), and the “Megalynarion for the Dormition,” sung on the Feast of the Dormition of the Theotokos, for a total of 28 tracks.
Ry-Co Jazz became pan-African heroes during the 1960s when they introduced their vital Congo/Latin rhythms to West Africa. The band was founded in Congo in 1958/59 and managed by Henri Bowane, the hit parade guitarist who first brought Franco into the recording studio. Original members Freddy N'kounkou [vocal], M'Bilia Casino [congas and vocal], and Panda Gracia [double bass], were soon joined by ace guitarist Jerry Malekani who stayed with the group until they ended their epic adventure in 1972. From 1967, with sax master Jean Serge Essous on board, they spent four years in the French Antilles, leaving their influence on the pioneers of 'zouk' music.