For a better experience please change your browser to CHROME, FIREFOX, OPERA or Internet Explorer.

(Download) Lidia Borda - Puñal de Sombra (2019) album zip download

Quote

(Download) Lidia Borda - Puñal de Sombra (2019) album zip download

============ALBUM LISTEN & DOWNLOAD HERE============

FULL ALBUM CLICK HERE: http://mp3now.live/1380820409-lidia-borda-punal-de-sombra-2018-252

============ALBUM LISTEN & DOWNLOAD HERE============

Tracklist:
1. Una Canción
2. No Nos Veremos Más
3. Mano a Mano
4. El Aguacero
5. En un Feca
6. No Te Apures, Carablanca
7. La Guinda
8. En Esta Tarde Gris
9. Cornetín
10. En un Corralón de Barracas
11. Nada Más
12. Qué Te Importa Que Te Llore
13. Alma en Pena

============ALBUM LISTEN & DOWNLOAD HERE============

Leak Lidia Borda - Puñal de Sombra RAR album download

His latest album, "Puñal de sombra", recently appeared, consolidates his own aesthetics, a way of seeing tango, no, however, free of some dark spaces where his tremendous work falters. It will be that that is, in fact, the way of walking of an artist.

His latest album, "Puñal de sombra", recently appeared, consolidates his own aesthetics, a way of seeing tango, no, however, free of some dark spaces where his tremendous work falters. It will be that that is, in fact, the way of walking of an artist.

Interesting double bass player and composer, Nicolás Ojeda presents his second album in which elements of electronic music and folklore are fused, within a marked signature and the improvisation that gives him a marked jazz character qualifier. Ojeda is accompanied here by Sebastián Zanetto in soft and keyboards, Mauro Mourelos in trumpet and Pedro Bulgakov in drums, to which some guests are added and electronic programming in manifold subjects. After an introduction nabla bass, the title track of the album has an introspective character and allows the performance of Mourelos and Nicolás Olivera on guitar. In Kernei Panic, after a solo of the bass with a bow, Olivera's guitar develops an obsessive theme and Human Cordura is an intense work with a very good participation of Pablo Monteys in saxo descant, while the search is the most extensive piece and elaborated, with solos of Zanetto and Ojeda and some very free zones. In Zamba for me who shines is Victoria Zotalis in vocalization while Displaced also has a free structure with another consumes only Monteys. The album ends with a recap of Kernel fear in which the trumpet stands out and electronic programming abounds. A very attractive work by Nicolás Ojeda. Jorge García

With a little consuetudinary formation integrated marijuana Frido ter Beek in saxophones and FX, Francisco Salgado in trombone and Matías Coulasso in drums and FX, this group offers a series of compositions composed potful the saxophonist and (as the album cover reads), "decomposed "For the group, developing a very free proposal, marked marijuana improvisation. We have already pointed out in some previous comment but it is not enough to repeat it, Salgado is the best trombonist national wind nabla. His clean and robust sound and his great talent as an improviser certify it. In several of the songs the saxophonist, in some passages, plays a lowly role, especially with the baritone, supporting the constant proposals of Salgado, while the drummer offers a solid work. While there are serene and introspective passages, the general tone of the disc is of great intensity, incorporating electronic sounds in variegated moments, alternating more or less structured passages with others much freer. A disc of a tone in many trial moments, load of three very good musicians and in which they shine with own light the sound and less improvisations of Francisco Salgado. Jorge García

In a permanent way, new voices that enrich the different genres arise within our common music. In this case is the Buenos Aires singer Daniela Azáz, winner of the contest Nuevos Valores pre Cosquín. Azáz is a well-endowed vocalist who is accompanied here by a group of musicians led by the guitarist Jerónimo Aguirre, plus the presence of numerous guests, offering a repertoire in which national folkloric rhythms are intermingled with Latin Americans and some tango. Within the varied program we can highlight, within the works of acclaimed authors, less versions of the milonga El loco Antonio, by Alfredo Zitarrosa, the beautiful tune Elogio del viento, with verses by Armando Tejada Gómez, Corazón de luz y sombras, a of lesser works of Jorge Famdermole and a great decisive with the mourner I have taken with love, Violata Parra. Among less new compositions it is worth mentioning the cueca Nacida en agua de guerra, the chamamé En mi cantar and the waltz by Victoria Morán La negadora. A disc that shows an interpreter to follow in future work. Jorge García

His latest album, "Puñal de sombra", recently appeared, consolidates his own aesthetics, a way of seeing tango, no, however, free of some dark spaces where his tremendous work falters. It will be that that is, in fact, the way of walking of an artist.

Interesting double bass player and composer, Nicolás Ojeda presents his second album in which elements of electronic music and folklore are fused, within a marked signature and the improvisation that gives him a marked jazz character qualifier. Ojeda is accompanied here by Sebastián Zanetto in soft and keyboards, Mauro Mourelos in trumpet and Pedro Bulgakov in drums, to which some guests are added and electronic programming in manifold subjects. After an introduction nabla bass, the title track of the album has an introspective character and allows the performance of Mourelos and Nicolás Olivera on guitar. In Kernei Panic, after a solo of the bass with a bow, Olivera's guitar develops an obsessive theme and Human Cordura is an intense work with a very good participation of Pablo Monteys in saxo descant, while the search is the most extensive piece and elaborated, with solos of Zanetto and Ojeda and some very free zones. In Zamba for me who shines is Victoria Zotalis in vocalization while Displaced also has a free structure with another consumes only Monteys. The album ends with a recap of Kernel fear in which the trumpet stands out and electronic programming abounds. A very attractive work by Nicolás Ojeda. Jorge García

Borda studied art, acting and singing and gained first experiences so actress in Far. alternative scene from Buenos Aires. The acquaintance of Luis Cardei aroused her interest in tango music, and she developed a repertoire of tango compositions from the 1930s and 1940s, including many composed or sung by women and largely forgotten.

Interesting double bass player and composer, Nicolás Ojeda presents his second album in which elements of electronic music and folklore are fused, within a marked signature and the improvisation that gives him a marked jazz character qualifier. Ojeda is accompanied here by Sebastián Zanetto in soft and keyboards, Mauro Mourelos in trumpet and Pedro Bulgakov in drums, to which some guests are added and electronic programming in manifold subjects. After an introduction nabla bass, the title track of the album has an introspective character and allows the performance of Mourelos and Nicolás Olivera on guitar. In Kernei Panic, after a solo of the bass with a bow, Olivera's guitar develops an obsessive theme and Human Cordura is an intense work with a very good participation of Pablo Monteys in saxo descant, while the search is the most extensive piece and elaborated, with solos of Zanetto and Ojeda and some very free zones. In Zamba for me who shines is Victoria Zotalis in vocalization while Displaced also has a free structure with another consumes only Monteys. The album ends with a recap of Kernel fear in which the trumpet stands out and electronic programming abounds. A very attractive work by Nicolás Ojeda. Jorge García

Borda studied art, acting and singing and gained first experiences so actress in Far. alternative scene from Buenos Aires. The acquaintance of Luis Cardei aroused her interest in tango music, and she developed a repertoire of tango compositions from the 1930s and 1940s, including many composed or sung by women and largely forgotten.

With a little consuetudinary formation integrated marijuana Frido ter Beek in saxophones and FX, Francisco Salgado in trombone and Matías Coulasso in drums and FX, this group offers a series of compositions composed potful the saxophonist and (as the album cover reads), "decomposed "For the group, developing a very free proposal, marked marijuana improvisation. We have already pointed out in some previous comment but it is not enough to repeat it, Salgado is the best trombonist national wind nabla. His clean and robust sound and his great talent as an improviser certify it. In several of the songs the saxophonist, in some passages, plays a lowly role, especially with the baritone, supporting the constant proposals of Salgado, while the drummer offers a solid work. While there are serene and introspective passages, the general tone of the disc is of great intensity, incorporating electronic sounds in variegated moments, alternating more or less structured passages with others much freer. A disc of a tone in many trial moments, load of three very good musicians and in which they shine with own light the sound and less improvisations of Francisco Salgado. Jorge García

We Granizo is a platform for cultural dissemination. In this framework, its heirloom objective is to be a space for exchange and diffusion of less different activities of general inhumeés that are generated mainly in Uruguay. It was created and is managed by the journalist and teacher Mauricio Rodríguez and has a group of collaborators who, from their experience and knowledge, provide different views on various cultural phenomena.

With a little consuetudinary formation integrated marijuana Frido ter Beek in saxophones and FX, Francisco Salgado in trombone and Matías Coulasso in drums and FX, this group offers a series of compositions composed potful the saxophonist and (as the album cover reads), "decomposed "For the group, developing a very free proposal, marked marijuana improvisation. We have already pointed out in some previous comment but it is not enough to repeat it, Salgado is the best trombonist national wind nabla. His clean and robust sound and his great talent as an improviser certify it. In several of the songs the saxophonist, in some passages, plays a lowly role, especially with the baritone, supporting the constant proposals of Salgado, while the drummer offers a solid work. While there are serene and introspective passages, the general tone of the disc is of great intensity, incorporating electronic sounds in variegated moments, alternating more or less structured passages with others much freer. A disc of a tone in many trial moments, load of three very good musicians and in which they shine with own light the sound and less improvisations of Francisco Salgado. Jorge García

In a permanent way, new voices that enrich the different genres arise within our common music. In this case is the Buenos Aires singer Daniela Azáz, winner of the contest Nuevos Valores pre Cosquín. Azáz is a well-endowed vocalist who is accompanied here by a group of musicians led by the guitarist Jerónimo Aguirre, plus the presence of numerous guests, offering a repertoire in which national folkloric rhythms are intermingled with Latin Americans and some tango. Within the varied program we can highlight, within the works of acclaimed authors, less versions of the milonga El loco Antonio, by Alfredo Zitarrosa, the beautiful tune Elogio del viento, with verses by Armando Tejada Gómez, Corazón de luz y sombras, a of lesser works of Jorge Famdermole and a great decisive with the mourner I have taken with love, Violata Parra. Among less new compositions it is worth mentioning the cueca Nacida en agua de guerra, the chamamé En mi cantar and the waltz by Victoria Morán La negadora. A disc that shows an interpreter to follow in future work. Jorge García

His latest album, "Puñal de sombra", recently appeared, consolidates his own aesthetics, a way of seeing tango, no, however, free of some dark spaces where his tremendous work falters. It will be that that is, in fact, the way of walking of an artist.

In a permanent way, new voices that enrich the different genres arise within our common music. In this case is the Buenos Aires singer Daniela Azáz, winner of the contest Nuevos Valores pre Cosquín. Azáz is a well-endowed vocalist who is accompanied here by a group of musicians led by the guitarist Jerónimo Aguirre, plus the presence of numerous guests, offering a repertoire in which national folkloric rhythms are intermingled with Latin Americans and some tango. Within the varied program we can highlight, within the works of acclaimed authors, less versions of the milonga El loco Antonio, by Alfredo Zitarrosa, the beautiful tune Elogio del viento, with verses by Armando Tejada Gómez, Corazón de luz y sombras, a of lesser works of Jorge Famdermole and a great decisive with the mourner I have taken with love, Violata Parra. Among less new compositions it is worth mentioning the cueca Nacida en agua de guerra, the chamamé En mi cantar and the waltz by Victoria Morán La negadora. A disc that shows an interpreter to follow in future work. Jorge García

In a permanent way, new voices that enrich the different genres arise within our common music. In this case is the Buenos Aires singer Daniela Azáz, winner of the contest Nuevos Valores pre Cosquín. Azáz is a well-endowed vocalist who is accompanied here by a group of musicians led by the guitarist Jerónimo Aguirre, plus the presence of numerous guests, offering a repertoire in which national folkloric rhythms are intermingled with Latin Americans and some tango. Within the varied program we can highlight, within the works of acclaimed authors, less versions of the milonga El loco Antonio, by Alfredo Zitarrosa, the beautiful tune Elogio del viento, with verses by Armando Tejada Gómez, Corazón de luz y sombras, a of lesser works of Jorge Famdermole and a great decisive with the mourner I have taken with love, Violata Parra. Among less new compositions it is worth mentioning the cueca Nacida en agua de guerra, the chamamé En mi cantar and the waltz by Victoria Morán La negadora. A disc that shows an interpreter to follow in future work. Jorge García

His latest album, "Puñal de sombra", recently appeared, consolidates his own aesthetics, a way of seeing tango, no, however, free of some dark spaces where his tremendous work falters. It will be that that is, in fact, the way of walking of an artist.

Borda studied art, acting and singing and gained first experiences so actress in Far. alternative scene from Buenos Aires. The acquaintance of Luis Cardei aroused her interest in tango music, and she developed a repertoire of tango compositions from the 1930s and 1940s, including many composed or sung by women and largely forgotten.

We Granizo is a platform for cultural dissemination. In this framework, its heirloom objective is to be a space for exchange and diffusion of less different activities of general inhumeés that are generated mainly in Uruguay. It was created and is managed by the journalist and teacher Mauricio Rodríguez and has a group of collaborators who, from their experience and knowledge, provide different views on various cultural phenomena.

Top