Left Ear return to Jesús Mª Catalán’s orchard of fruity synth jazz-funk with a harvest of previously unreleased charms that recently turned up in a shoebox of tapes .
The seven pieces on ‘Del Silence’ herald Jesús at an early crest of his powers between 1987-1990, when he was transiting from guitar-based work to sampler and synth-built figments of imagination that loosely fall into the Balearic category, but are distinguished by his Asturian character and breeziness, rather than sun-baked island sexiness.
Recorded in his home city, Oveido, near the Atlantic coast, the music can be heard to reflect the region’s play of weather in the transition from warm, lilting organ-freckled groove on ‘Old Bass’, thru to post-rainfall lushness in ‘Precipia L’alba’, taking in its stride the effervescent, swingeing radiance of ‘Del Silencio (Playa De Gavieiro)’, and trilling, in-the-pocket strut of its ’Chintofono’ vignette, alongside the keyboard expressionism of ‘Asturtxal’, and soothing downstroke of ‘De Puntillas’.
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Left Ear return to Jesús Mª Catalán’s orchard of fruity synth jazz-funk with a harvest of previously unreleased charms that recently turned up in a shoebox of tapes .
The seven pieces on ‘Del Silence’ herald Jesús at an early crest of his powers between 1987-1990, when he was transiting from guitar-based work to sampler and synth-built figments of imagination that loosely fall into the Balearic category, but are distinguished by his Asturian character and breeziness, rather than sun-baked island sexiness.
Recorded in his home city, Oveido, near the Atlantic coast, the music can be heard to reflect the region’s play of weather in the transition from warm, lilting organ-freckled groove on ‘Old Bass’, thru to post-rainfall lushness in ‘Precipia L’alba’, taking in its stride the effervescent, swingeing radiance of ‘Del Silencio (Playa De Gavieiro)’, and trilling, in-the-pocket strut of its ’Chintofono’ vignette, alongside the keyboard expressionism of ‘Asturtxal’, and soothing downstroke of ‘De Puntillas’.
Left Ear return to Jesús Mª Catalán’s orchard of fruity synth jazz-funk with a harvest of previously unreleased charms that recently turned up in a shoebox of tapes .
The seven pieces on ‘Del Silence’ herald Jesús at an early crest of his powers between 1987-1990, when he was transiting from guitar-based work to sampler and synth-built figments of imagination that loosely fall into the Balearic category, but are distinguished by his Asturian character and breeziness, rather than sun-baked island sexiness.
Recorded in his home city, Oveido, near the Atlantic coast, the music can be heard to reflect the region’s play of weather in the transition from warm, lilting organ-freckled groove on ‘Old Bass’, thru to post-rainfall lushness in ‘Precipia L’alba’, taking in its stride the effervescent, swingeing radiance of ‘Del Silencio (Playa De Gavieiro)’, and trilling, in-the-pocket strut of its ’Chintofono’ vignette, alongside the keyboard expressionism of ‘Asturtxal’, and soothing downstroke of ‘De Puntillas’.
Left Ear return to Jesús Mª Catalán’s orchard of fruity synth jazz-funk with a harvest of previously unreleased charms that recently turned up in a shoebox of tapes .
The seven pieces on ‘Del Silence’ herald Jesús at an early crest of his powers between 1987-1990, when he was transiting from guitar-based work to sampler and synth-built figments of imagination that loosely fall into the Balearic category, but are distinguished by his Asturian character and breeziness, rather than sun-baked island sexiness.
Recorded in his home city, Oveido, near the Atlantic coast, the music can be heard to reflect the region’s play of weather in the transition from warm, lilting organ-freckled groove on ‘Old Bass’, thru to post-rainfall lushness in ‘Precipia L’alba’, taking in its stride the effervescent, swingeing radiance of ‘Del Silencio (Playa De Gavieiro)’, and trilling, in-the-pocket strut of its ’Chintofono’ vignette, alongside the keyboard expressionism of ‘Asturtxal’, and soothing downstroke of ‘De Puntillas’.
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Left Ear return to Jesús Mª Catalán’s orchard of fruity synth jazz-funk with a harvest of previously unreleased charms that recently turned up in a shoebox of tapes .
The seven pieces on ‘Del Silence’ herald Jesús at an early crest of his powers between 1987-1990, when he was transiting from guitar-based work to sampler and synth-built figments of imagination that loosely fall into the Balearic category, but are distinguished by his Asturian character and breeziness, rather than sun-baked island sexiness.
Recorded in his home city, Oveido, near the Atlantic coast, the music can be heard to reflect the region’s play of weather in the transition from warm, lilting organ-freckled groove on ‘Old Bass’, thru to post-rainfall lushness in ‘Precipia L’alba’, taking in its stride the effervescent, swingeing radiance of ‘Del Silencio (Playa De Gavieiro)’, and trilling, in-the-pocket strut of its ’Chintofono’ vignette, alongside the keyboard expressionism of ‘Asturtxal’, and soothing downstroke of ‘De Puntillas’.