Hello, F1 is playing ball in Sotchi this weekend at Putin's personal race track this weekend, that means not much rubber on the track, which limits cornering speed and general grip. Best slider was Vettel, just in front of Raikonen en Bottas and on a relatively considerable distance Hamilton 4th, looks like an exiting race coming up..
Today's Artist was an enigmatic multi-instrumentalist draws from the diverse culture and history of his Mexican homeland, Reyes combines flute, pre-Columbian instruments, and percussion with synthesizers and voice to cast a spell of ritualistic intensity. Like shadows from Mexico's sultry and savage past, his music has a dark quality to it that sometimes scares off the unprepared, but adventurous listeners will find plenty to admire in his evocation of jungles, jaguars, and Aztec rites. ....N'Joy
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Reyes was born on September 24, 1952, in Uruapan, Michoacán, Mexico with the name Jorge Valencia. He was not a Native Mexican, but played many Prehispanic instruments to which he was exposed from an early age in his village. Reyes attended the National School of Music, Mexico (Escuela Nacional de Musica de la Universidad Nacional Autónoma de México, or UNAM) 1970–1975, studying the flute. During this time, he formed two seminal Mexican rock bands, Al Universo and Nuevo México, influenced by Jethro Tull and Pink Floyd but incorporating native musical instruments. In 1976, his growing interest in jazz led to spending a year in Hamburg, Germany, where he studied improvisation with Herb Geller. As part of this training, he traveled through Turkey, Pakistan, Afghanistan, and Sri Lanka. In 1978, he attended a Hindu music course in the Himalayas, in which he studied traditional Indian flute and percussion techniques. On these overseas trips, he began collecting many native instruments.
After returning to Mexico, Reyes founded the band Chac Mool with drummer Armando Suárez and keyboardist Carlos Alvarado, which was one of the first Mexican progressive rock bands. The band recorded four well-received albums, on which Reyes played flute and guitar, before disbanding.
In 1985, Reyes began a prolific solo career. He collaborated with several other new-age and electronic musicians, including American synthesist Steve Roach, Mexican singer and multi-instrumentalist Arturo Meza (of the band Decibel), Spanish guitarist Suso Saiz, Mexican percussionist Juan Carlos López, German synthesist Elmar Schulte (of the band Solitaire), Deep Forest, and others.
His music was used frequently in Mexican radio and television programs. He performed many concerts at famous Mexican archeological sites such as Malinalco, Teotihuacan, Templo Mayor, Chichen Itza, and Tenango del Valle. His annual Día de los Muertos concerts at UNAM were popular events. He also gave many concerts at the Espacio Escultórico de Ciudad Universitaria, where he collaborated with dancer and choreographer Regina Quintero.
Reyes died from a heart attack at his recording studio in Mexico City on Saturday February 7, 2009. He was 56 years old. He had three children—Citlalli, Ridwan (with Ursula Kipp), and Erendira (with Ariane Pellicer).
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Ek-Tunkel is a set of deep Mexican Native American music from Jorge Reyes. Deep listening is required to capture the feelings of this album. The tunkul is a Mayan percussion instrument, a hollow trunk lying with two tabs at the top, one shorter than the other, that the percussed emit different sounds. it is also known as teponaztle between Nahuas .. Reyes combines traditional acoustic ethnicity with electric and electronic instruments to create this homage to his ancestry and heritage. He adds nature samples and field recordings for atmospheric effect. The simple melodies and gentle percussion allow listeners to float in and out of the psycho-acoustic sound worlds. The deep spirituality of these native cultures is a soft and warm destination.
Jorge Reyes - Ek-Tunkul (flac 148mb)
01 Agua Quemada 8:22
02 Sazilakab 4:43
03 Nadie Supo De Donde Venia... 5:22
04 Ek-Tunkul 7:06
05 La Casa Obscura 4:44
06 En El Dondo Del Barranco Hay Un Cangrejo... (Part 1) 2:29
07 En El Dondo Del Barranco Hay Un Cangrejo... (Part 2) 4:15
08 Corazon De Venado 3:20
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A meeting of two friends and two worlds are reflected in this unforgettable drive. Contemporary music with the supposed pre-Hispanic music come together in the persons of Jorge Reyes and Antonio Zepeda, highly recognized in their respective careers in the dissemination of pre-Columbian music. Zepeda and Reyes manage to amalgamate sounds emulating other times, bringing the presence of the jungle , played from their whistles, ocarinas and water - sticks or battery using bases developed in modern drum machines. Insistent percussion played on logs and drums and melodies that emerge from the flutes or from keyboards, creating a uniform music where no matter what you run, but a last way that conveys emotion and the feeling of participating in some ancient ritual Magic .
The titletrack, A La Izquierda Del Colibri (To the left of Hummingbird) is the only one in that album with texts sung and recited. It's is the best composition Reyes when it comes to music with texts or poems included. The sound of the voice has an effect that allows you to be clear and mysterious at once, without seeming "overreacted", the rest is purely instrumental.
I'm so used to being alive
that even notice I noticed when I turned buzzard.
When I fly I'm not afraid,
no one could reach me.
Hummingbird in the house has not heard
the last word.
Jorge Reyes and Antonio Zepeda - A La Izquierda Del Colibri (flac 168mb)
01 I Caña 7:10
02 A La Izquierda Del Colibrí 2:52
03 A La Izquierda Del Colibrí 6:11
04 El Hacedor De Lluvia 4:59
05 Wawaki 6:39
06 Lejos Te Llevas El Espejo De Tu Rostro 2:39
07 Managua 5:24
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Comala is one of Jorge Reyes' most important albums. It is, as usual, deep shamanic Mexican Native American music. He augments his ethnic acoustics with synthesizers, processors, and other electronic accoutrements. Those modern implements enhance the spirituality and deepen it. They also give the ancient ritualistic music a contemporary feel and aura that invite and allow more listeners to participate. Overall, the extras enhance the total experience. There are some dark overtones to these proceedings. Reyes uses a deep drone to accentuate those textures. The eerie field recordings and samples take it over the edge. This hard to find classic will appeal to fans of Harald Grosskopf, Robert Rich, Steve Roach, and Suso Saiz. For serious collectors, it is essential.
Jorge Reyes - Comala (flac 238mb)
01 Comala 11:33
02 Adios Mi Acompañamiento 2:39
03 Hekura 1:58
04 Nadie Se Libra En Tamohuanchan 6:05
05 La Diosa De Las Águilas 3:06
06 El Ánima Sola 6:35
Añadidura
07 Mi Sombra Empolvada 3:46
08 Nadie Supo De Dónde Venía 5:10
09 El Hechicero De La Dicha Tranquila 4:10
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Nierika is a set of electro-tribal ambience from Jorge Reyes. This release also includes two pieces from Ek-Tunkel. Reyes performs on acoustic ethnic instruments as he has on his pre-Columbian releases. He augments those sounds with guitars, synthesizers, atmospheres, and processors. The soundscapes are still deeply inspirational. Reyes is the shaman's shaman and he constantly incorporates his personal spirituality into his sound world. Deep listeners will become deep meditators; deep meditators will enter the zone with Reyes. He has been flirting with the perpendicular universe for years.
Jorge Reyes - Nierika - Ek-Tunkul (flac 223mb)
01 El Vuelo De Los Niños Pajaro 6:09
02 Venado De Cinco Puntas 4:57
03 El Contador De Historias 4:46
04 Tejido De Sueños (Cola De Venado) 3:22
05 Los Que Se Pintaron La Cara 2:09
06 Danza De Los Peyoteros 4:22
07 Donde Nadie Lamenta Lo Que Somos 3:06
08 El Rostro De Los Abuelos 4:30
Ek-Tunkul
09 Aguaquemada 8:40
10 La Casa Obscura 3:55
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's Artist was an enigmatic multi-instrumentalist draws from the diverse culture and history of his Mexican homeland, Reyes combines flute, pre-Columbian instruments, and percussion with synthesizers and voice to cast a spell of ritualistic intensity. Like shadows from Mexico's sultry and savage past, his music has a dark quality to it that sometimes scares off the unprepared, but adventurous listeners will find plenty to admire in his evocation of jungles, jaguars, and Aztec rites. ....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Reyes was born on September 24, 1952, in Uruapan, Michoacán, Mexico with the name Jorge Valencia. He was not a Native Mexican, but played many Prehispanic instruments to which he was exposed from an early age in his village. Reyes attended the National School of Music, Mexico (Escuela Nacional de Musica de la Universidad Nacional Autónoma de México, or UNAM) 1970–1975, studying the flute. During this time, he formed two seminal Mexican rock bands, Al Universo and Nuevo México, influenced by Jethro Tull and Pink Floyd but incorporating native musical instruments. In 1976, his growing interest in jazz led to spending a year in Hamburg, Germany, where he studied improvisation with Herb Geller. As part of this training, he traveled through Turkey, Pakistan, Afghanistan, and Sri Lanka. In 1978, he attended a Hindu music course in the Himalayas, in which he studied traditional Indian flute and percussion techniques. On these overseas trips, he began collecting many native instruments.
After returning to Mexico, Reyes founded the band Chac Mool with drummer Armando Suárez and keyboardist Carlos Alvarado, which was one of the first Mexican progressive rock bands. The band recorded four well-received albums, on which Reyes played flute and guitar, before disbanding.
In 1985, Reyes began a prolific solo career. He collaborated with several other new-age and electronic musicians, including American synthesist Steve Roach, Mexican singer and multi-instrumentalist Arturo Meza (of the band Decibel), Spanish guitarist Suso Saiz, Mexican percussionist Juan Carlos López, German synthesist Elmar Schulte (of the band Solitaire), Deep Forest, and others.
His music was used frequently in Mexican radio and television programs. He performed many concerts at famous Mexican archeological sites such as Malinalco, Teotihuacan, Templo Mayor, Chichen Itza, and Tenango del Valle. His annual Día de los Muertos concerts at UNAM were popular events. He also gave many concerts at the Espacio Escultórico de Ciudad Universitaria, where he collaborated with dancer and choreographer Regina Quintero.
Reyes died from a heart attack at his recording studio in Mexico City on Saturday February 7, 2009. He was 56 years old. He had three children—Citlalli, Ridwan (with Ursula Kipp), and Erendira (with Ariane Pellicer).
xxxxx xxxxx xxxxx xxxxx xxxxx
Ek-Tunkel is a set of deep Mexican Native American music from Jorge Reyes. Deep listening is required to capture the feelings of this album. The tunkul is a Mayan percussion instrument, a hollow trunk lying with two tabs at the top, one shorter than the other, that the percussed emit different sounds. it is also known as teponaztle between Nahuas .. Reyes combines traditional acoustic ethnicity with electric and electronic instruments to create this homage to his ancestry and heritage. He adds nature samples and field recordings for atmospheric effect. The simple melodies and gentle percussion allow listeners to float in and out of the psycho-acoustic sound worlds. The deep spirituality of these native cultures is a soft and warm destination.
Jorge Reyes - Ek-Tunkul (flac 148mb)
01 Agua Quemada 8:22
02 Sazilakab 4:43
03 Nadie Supo De Donde Venia... 5:22
04 Ek-Tunkul 7:06
05 La Casa Obscura 4:44
06 En El Dondo Del Barranco Hay Un Cangrejo... (Part 1) 2:29
07 En El Dondo Del Barranco Hay Un Cangrejo... (Part 2) 4:15
08 Corazon De Venado 3:20
xxxxx xxxxx xxxxx xxxxx xxxxx
A meeting of two friends and two worlds are reflected in this unforgettable drive. Contemporary music with the supposed pre-Hispanic music come together in the persons of Jorge Reyes and Antonio Zepeda, highly recognized in their respective careers in the dissemination of pre-Columbian music. Zepeda and Reyes manage to amalgamate sounds emulating other times, bringing the presence of the jungle , played from their whistles, ocarinas and water - sticks or battery using bases developed in modern drum machines. Insistent percussion played on logs and drums and melodies that emerge from the flutes or from keyboards, creating a uniform music where no matter what you run, but a last way that conveys emotion and the feeling of participating in some ancient ritual Magic .
The titletrack, A La Izquierda Del Colibri (To the left of Hummingbird) is the only one in that album with texts sung and recited. It's is the best composition Reyes when it comes to music with texts or poems included. The sound of the voice has an effect that allows you to be clear and mysterious at once, without seeming "overreacted", the rest is purely instrumental.
I'm so used to being alive
that even notice I noticed when I turned buzzard.
When I fly I'm not afraid,
no one could reach me.
Hummingbird in the house has not heard
the last word.
Jorge Reyes and Antonio Zepeda - A La Izquierda Del Colibri (flac 168mb)
01 I Caña 7:10
02 A La Izquierda Del Colibrí 2:52
03 A La Izquierda Del Colibrí 6:11
04 El Hacedor De Lluvia 4:59
05 Wawaki 6:39
06 Lejos Te Llevas El Espejo De Tu Rostro 2:39
07 Managua 5:24
xxxxx xxxxx xxxxx xxxxx xxxxx
Comala is one of Jorge Reyes' most important albums. It is, as usual, deep shamanic Mexican Native American music. He augments his ethnic acoustics with synthesizers, processors, and other electronic accoutrements. Those modern implements enhance the spirituality and deepen it. They also give the ancient ritualistic music a contemporary feel and aura that invite and allow more listeners to participate. Overall, the extras enhance the total experience. There are some dark overtones to these proceedings. Reyes uses a deep drone to accentuate those textures. The eerie field recordings and samples take it over the edge. This hard to find classic will appeal to fans of Harald Grosskopf, Robert Rich, Steve Roach, and Suso Saiz. For serious collectors, it is essential.
Jorge Reyes - Comala (flac 238mb)
01 Comala 11:33
02 Adios Mi Acompañamiento 2:39
03 Hekura 1:58
04 Nadie Se Libra En Tamohuanchan 6:05
05 La Diosa De Las Águilas 3:06
06 El Ánima Sola 6:35
Añadidura
07 Mi Sombra Empolvada 3:46
08 Nadie Supo De Dónde Venía 5:10
09 El Hechicero De La Dicha Tranquila 4:10
xxxxx xxxxx xxxxx xxxxx xxxxx
Nierika is a set of electro-tribal ambience from Jorge Reyes. This release also includes two pieces from Ek-Tunkel. Reyes performs on acoustic ethnic instruments as he has on his pre-Columbian releases. He augments those sounds with guitars, synthesizers, atmospheres, and processors. The soundscapes are still deeply inspirational. Reyes is the shaman's shaman and he constantly incorporates his personal spirituality into his sound world. Deep listeners will become deep meditators; deep meditators will enter the zone with Reyes. He has been flirting with the perpendicular universe for years.
Jorge Reyes - Nierika - Ek-Tunkul (flac 223mb)
01 El Vuelo De Los Niños Pajaro 6:09
02 Venado De Cinco Puntas 4:57
03 El Contador De Historias 4:46
04 Tejido De Sueños (Cola De Venado) 3:22
05 Los Que Se Pintaron La Cara 2:09
06 Danza De Los Peyoteros 4:22
07 Donde Nadie Lamenta Lo Que Somos 3:06
08 El Rostro De Los Abuelos 4:30
Ek-Tunkul
09 Aguaquemada 8:40
10 La Casa Obscura 3:55
xxxxx xxxxx xxxxx xxxxx xxxxx
3 comments:
Magnificent! :D Many thanks, Rho.
These albums by Jorge Reyes could use a reupload; I would be thankful for this!
As always, thank you very much, Rho.
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