Circadian Cycle

Music by J.Miyake
arranged and produced by Davide Mastropaolo

Charles Ferris - trombone, trumpet
Antonio Fraioli - percussions
Ron Grieco - double bass, guimbri
Davide Mastropaolo - programming, upright piano
Ernesto Nobili - electric guitar

mixed and mastered by Max Carola at Maxsound Vibes Studio (Castel Volturno - IT)

(C) 2011 Wenders Music GMBH
(P) 2013 Agualoca Records

www.agualocarecords.com
www.facebook.com/pages/Agualoca-Records/386848464700261
https://www.facebook.com/sullerivedeltango?ref=hl

Tango in Vilnius - Lilies Of The Valley

Lars Danielsson, Leszek Możdżer & Zohar Fresco - Suffering

Ficci - Breathe You In (feat. Laura Hahn)

www.facebook.com/ficciofficial
www.twitter.com/ficciofficial
ficci.bandcamp.com

Laura Hahn:

https://www.facebook.com/pages/Laura-Hahn/160363780837295
soundcloud.com/laurahahnvocals

Purchase the EP: ficci.bandcamp.com

Breathe You In EP released 7th May 2014.
Available on all digital outlet stores soon.

Lyrics: 

The city knows 
The street lights cast a florescent glow 
On your sinful tendencies you try to hide

I want to just breathe you in,
from the pain and the heartache, the mind and the skin and your 
truth's guilt underneath all the lies and the walls that you built.

Just leave,
your troubles behind you,
all that’s left of your sanity,
is hanging by a string.

And I,
Fell into your darkness as my escape,
Do you want me to stay.





Breathe You In (feat. Laura Hahn)

Bob Moses, First To Cry
Domino Records, 2014

A1: I Ain't Gonna Be The First To Cry
A2: Grace

Buy "First To Cry" on iTunes: po.st/FTCiTunes
Pre-order on 12" Vinyl: po.st/FirstToCryDM
Watch the official video: po.st/BMGrace

www.facebook.com/bobmosesmusic
www.twitter.com/bobmosesmusic
www.youtube.com/bobmosesmusic

First To Cry

Grace

René AUBRY- Seduction

Lars Danielsson - Liberetto II - I Tima

Lars Danielsson - Tarantella - The Madonna

Lars Danielsson - Liberetto - Orange Market

“All or Nothing at All,” with music by Arthur Altman and lyrics by Jack Lawrence from around 1940, is a classic standard built on a single, uncompromising idea: love must be total, or it is not worth having. There is no middle ground in this song’s emotional world; its very title states the ultimatum, and every musical and lyrical detail reinforces that stance. It is a song about risk, about staking everything on a single relationship, with the awareness that such a bet can hurt as much as it can fulfill.

The melody is one of the most striking features. It opens with a bold, upward leap, immediately conveying determination and intensity. This is not a tentative tune; it does not creep in by small steps. Instead, it stretches out in long, sweeping phrases that demand breath and commitment from the singer. These lines often climb toward a high point on key words—“all,” “nothing,” “fall”—so that the very shape of the melody dramatizes the lyric’s extremes. Between these peaks, the melody relaxes into more stepwise motion, giving the impression of someone thinking aloud between declarations.

Harmonically, “All or Nothing at All” is rich, dark, and distinctly jazz‑oriented for its time. It leans heavily on minor tonalities and chromatic movement, which add a sense of tension and sophistication. The chord changes feature classic jazz progressions—ii–V motions, altered dominants, and brief tonicizations—that invite improvisation while maintaining a strong emotional arc. The harmony often seems to circle around the tonic rather than settling comfortably, mirroring the unsettled, all‑or‑nothing emotional state described in the text.

Lawrence’s lyric is direct but not blunt. It uses simple language to express a complex emotional posture: “There ain’t no in‑between” is almost colloquial, while lines like “Please don’t bring your lips so close to my cheek” reveal the vulnerability underneath the tough surface. The singer appears to be setting rules for self‑protection—demanding total devotion to avoid the pain of half‑measures—but the very need to say this suggests a history of disappointment. The lyric walks a fine line between resolve and pleading, making the song feel both strong and slightly fragile.

Culturally, the song is inseparable from its early association with Frank Sinatra, whose 1939 recording with Harry James became a major hit when reissued in 1943. That version helped define the piece as a vehicle for expressive, elastic phrasing and subtle rhythmic play. Since then, “All or Nothing at All” has become a staple of the Great American Songbook and a favorite among jazz musicians, precisely because its structure supports both emotional storytelling and harmonic exploration.

On solo or felt piano, an especially intimate and reflective side of the song can emerge. Stripped of big‑band accompaniment, the tune turns into a kind of interior monologue: a late‑night confession rather than a nightclub performance. The pianist can emphasize the tension in the harmony with close‑voiced chords and gentle dissonances, letting the minor colors linger before resolving. Slight rubato—pulling back on the phrases that contain the ultimatum, then flowing forward on the more vulnerable lines—can mirror the push and pull between firmness and fear. In the softened, muted timbre of felt piano, “All or Nothing at All” feels less like a threat and more like a plea for honesty: if love is to be given, let it be given fully, because anything less will not survive.

All or nothing at all  1940

2015 will see German techno mainstay Stephan Bodzin ready to unleash his next full-length musical vision on the world. Entitled “Powers of Ten”, the 10-track album will land in June 2015 on his own Herzblut Recordings and provides another great insight into the melodically rich muscle mind of this modern great.
Says Stephan Bodzin of the LP: “Powers of Ten has been with me all my life and is named after a book that has been my background hiss, its confusing truth is my only real faith and its infinity shows me its finiteness. The album is about harmonies, melodies, rhythms. It is an homage to Bob Moog, full of techno beats and sounds and space and party and ecstasy and dancing and listening, and crying and feeling. It is a journey, a philosophy of life, a view of the world, a vague perception. It is my wife, my children, my family, my friends, my passion, my enemy, my greatest fulfillment, my fear, my deepest peace, my power, all my love.”
As such, this album is hugely personal and is filled with cerebral messages and well thought out concepts. All this shines through and makes it an all the more engaging listen from start to finish. Kicking off with the spine tingling chords and louche beats of ‘Singularity’ cuts like ‘Lila’ then continue to confirm that Stephan Bodzin has a classical understanding of melody that is way beyond your average.
‘Blue Giant’, ‘Wir’ and ‘Ix’ all manage to be uplifting and thoughtful at the same time as driven and groovy, whilst ‘Birth’ comes on with a hymnal high note, long tailed pads and subtly shifting beats. The ghostly grooves of ‘Zulu’ mark a majestic mid point to the album, which then continues to seduce with spiritual synths and more beautiful melodies on cuts like ‘Odyssee’ as well as the album’s standout title track.
Unfolding coherently and in soothing fashion, this album once again proves that few producers in the modern world have a knack for melody and an ear for sonic ingenuity quite like Stephan Bodzin.


Zulu

Free Jazz Cosmique avec forte composante Spiritual Jazz et Modal Improvisation Fibonacci

Lars Danielsson - Liberetto II - I Tima

autre Rivage

Recent comments

Soheil Rezakhani

C4J4D

✨

Sina Nosrati

Related tracks