lunes, 24 de julio de 2017

Ron Carter • Blues Farm [correct link]

Review by Nathan Bush
In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album.

Don Patterson • These Are Soulful Days

Willis Jackson • Star Bag

Alan Hawkshaw • Mo'Hawk

Like many an active British session player in the 1960s and 1970s, Alan Hawkshaw, in addition to playing on many records by stars, did some recording as part of studio-only bands and for music library albums. Mo'Hawk selects 20 such tracks from 1967-1975, emphasizing ones that put his soul-rock-jazz Hammond organ to the fore. Some were credited to bands when first released -- four to the Mohawks, one to the Salon Band, and one to Rumplestiltskin. But the rest evidently come from music library albums for Keith Prowse Music (though the liner notes don't give precise details on the origination of some tracks), which were heard by few back when they were recorded, and not always even used in TV or cinema. Hawkshaw is a very good organist, but this material does betray its origins as pieces that were, after all, often hastily composed for cheap budget albums or as incidental background music to be considered for movies and television. As a consequence, it's largely generic party music from various phases of Swinging London, albeit gutsier and more soulful than much other such music that made its way into period films. And while Hawkshaw plays his parts with some aplomb, when you have this sort of material (mostly written by Hawkshaw, alas), it isn't going to give Georgie Fame sleepless nights. Various shades of easy listening, soul, funk, jazz, and pop-psychedelia make their way into the tracks, none of the songs standing out as work that transcends the background context for which they were originally crafted.

Johnny Lytle • Happy Ground

Review by Craig Lytle
The spirited vibes player unarguably demonstrates his versatility on an instrument that few have been able to master. The gritty side of Johnny Lytle is manifested on the title track, "Happy Ground," a bluesy jump that swings with a classic big-band jazz sound and arrangement and reminiscent of the jam sessions of yesteryear. Lytle settles down on "A Child Is Born," a smoothly blended arrangement in which one solo complements the next. "Little Sunflower" has a serious Latin rhythm with the palpitative feel of Sam Figueroa's congas. Lytle has no problem finding his groove. As peppy as "Love for Sale" may be, it has its calming moments without sacrificing the tempo. All selections offer excellent solo exhibitions by all the musicians.

Ingfried Hoffmann [feat René Thomas] • Hammond Tales

Hip Hammond from Ingfried Hoffmann -- one of the coolest musicians to ever play organ on the European scene, and one with a resume that includes loads of great soundtrack and easy sessions, plus key work with reedman Klaus Doldinger ! This early session has Hoffmann working in surprisingly soulful territory -- hitting the Hammond with a feel that's a mixture of US soul jazz and some of the groovier styles he was working out in the Doldinger combo -- all with a really cool tone on the instrument, one that's unlike anyone else we can think of! Ingfried goes for a really clear, clean touch on the keys -- but there's also a bit of echo at the back too -- a way of holding onto the notes that makes things almost sound a bit spacey at points, even when there's a punch to his playing. There's also a bit of piano on the session -- and other players include Rene Thomas on guitar, Helmut Kandlberger on bass, and the mighty Klaus Weiss on drums -- always a treat on a date like this! Titles include the killer "Midnight Bossa Nova", plus "Ingfried's Blues", "Jada", "TV Swing", "Soul Twist", "Au Clair De La Lune", and "Love For Sale".

Sonny Stitt • Soul Electricity!

Captain Hammond • The Origin of Captain Hammond

Editorial Reviews
More than a group, Captain Hammond is an audio-visual concept featuring the Hammond Organ Power Trio's rocking instrumental Hammond sounds accompanied by the cosmic comic book exploits of half man - half organ, and all hero, Captain Hammond! Heavy, blistering, organic rock; gospel; 60's rhythm and blues; a hint of down-home funk and a cosmos worth of soul!

domingo, 23 de julio de 2017

Wilson Chance - The Sound of Danger • A Soundtrack From The World Of Wilson Chance

The CD is a sampler for the Hammondbeat roster of artists and it is an amazing blend of Vic Flick’s score (yes, guitarist of "The James Bond Theme"!!) with the hottest SPY-FI, MOD, and ORGAN bands around to today. An international affair including The Link Quartet (Italy), The Special Agents (England), The Men From S.P.E.C.T.R.E. (Switzerland), The Yards (USA) and Mike Painter & The Family Shakers (Italy). Also included, as a bonus is the never-before-released Wilson Chance title song "Take A Chance", breathtakingly sung by Linda Jackson and performed by Vic Flick and Les Hurdle. Good stuff through out.

Hypnomen • Trip With Satan

Yusef Lateef • Eastern Sounds

Yusef Lateef, recorded in 1961. The album features Lateef's continued exploration of Middle Eastern music, which were incorporated into his version of hard bop with a quartet featuring Barry Harris on piano. The opening track features Lateef on Chinese globular flute, generally called the xun. The fusing of musical genres was not a new thing in jazz or for Lateef as his 1957 album Prayer to the East incorporated the shehnai and Middle Eastern influences in playing jazz standards. Aside from Lateef's original compositions, there are covers of themes from the films Spartacus and The Robe, the last one being used as samples by Blockhead and Nujabes.

Monk Higgins • Extra Soul Perception

Artist Biography by Ed Hogan
Monk Higgins is best known for the R&B hit instrumentals "Who Dun It" and "Gotta Be Funky." The prolific Higgins also wrote a slew of songs for others including Bobby Bland and one of the Chi-Lites' first singles, "Go Go Gorilla." A mainstay of the Chicago R&B/soul music scene, he was a producer/arranger/session player at Chess Records during the '60s.
Higgins also worked with Three Sounds, Blue Mitchell, Junior Wells, Gene Harris, Muddy Waters, Freddy Robinson, and Etta James, among others.
The saxman was born Milton Bland in Menifee, AR, on October 17, 1936. After moving to Chicago, Higgins started doing sides for George Lerner's One-Derful Records. Later, he began recording for St. Lawrence Records. One of his instrumentals for the label, the cool, funky "Who Dun It," hit number 30 R&B during the summer of 1966. The flip side was the melancholy past-midnight ballad "These Days Are Filled With You."
While at St. Lawrence, he hired his cousin Barbara Acklin as a secretary. Higgins recorded a single on her under the name Barbara Allen for his Special Agent label. Later, Higgins used Acklin as a background singer on his Chess Records sessions. Acklin later hit as a recording artist in the summer of 1968 with "Love Makes a Woman."
In 1969, Higgins moved to Los Angeles. He arranged and produced acts for United Artists Records, Imperial, and Minit. The multi-talented sax player recorded a few albums for United Artists. The LP Heavyweight (August 1972) included his biggest hit, "Gotta Be Funky" (number 22 R&B). Another UA LP, Monk Higgins (January 1973), includes "Little Mama." On Buddah Records, Higgins recorded "Dance to the Disco Sax of Monk Higgins" (December 1974). He's featured on the movie soundtrack and Buddah LP release from the 1975 Pam Grier/American International film Sheba, Baby. Higgins collaborated with former Stax Records executive Al Bell on hits for Bobby Bland during the '70s and '80s.
In 1983, blues artist Keb Mo joined his Higgins' Whodunit Band, contributing vocals and guitar as the group performed at Los Angeles-area clubs like Marla's Memory Lane. Keb Mo credits his time with Higgins as the most important element in developing his understanding of the blues. During the '90s, Higgins' music has been sampled by numerous rap artists and is included on various breakbeat compilation CDs.
MCA Records bought the Chess catalog in the mid-'80s from Joe and Sylvia Robinson of Sugarhill Records, reissuing many sides that feature Higgins' contributions. Monk Higgins died July 3, 1986, in Los Angeles, CA.

Shirley Scott & Kenny Burrell • Travelin' Light

Kenny Burrell joins the trio of organist Shirley Scott for this sweet little album – a set that seems to burn a bit more than usual for Shirley, probably because of the cool-toned guitar lines from Kenny! The album's got the same laid back feel as other Scott albums of the time, but Burrell really digs in during his solos - adding a bit more bite, and inspiring Shirley to do the same on her own Hammond lines. Bass is by Eddie Khan and drums are by Otis Finch – and titles include "Solar", "The Kerry Dance", "They Call It Stormy Monday", "Nice N Easy", and "Baby It's Cold Outside". © 1996-2014, Dusty Groove, Inc.

In February 1964—sandwiched between two recording sessions with then husband and tenor saxophonist Stanley Turrentine—organist Shirley Scott recorded with guitarist Kenny Burrell. She had just wrapped Hustlin' with Turrentine at the end of January and would be back in the studio for Blue Flames at the end of March. Backing Scott and Burrell on this Ozzie Cadena-produced album for Prestige were bassist Eddie Khan and drummer Otis "Candy" Finch. What makes this album so exciting is what's missing—a boss. Turrentine's appeal on Scott dates was his soulful command and searing reed statements before and after Scott solos. Here, Scott and Burrell play off each other in tender ways. It's a hip rhythm-section date—with all the swinging, playful interchanges you find when the sax on an organ date sits out. After Scott's solos, instead of the Turrentine train roaring out of the tunnel, you get Burrell's ringing, single-note lines. The ear likes what it hears. The session's song choices also are perfect in every way. The track list features Travelin' Light, Solar, Nice 'n' Easy, They Call It Stormy Monday, Baby It's Cold Out There and The Kerry Dance. What's interesting is how Scott plays behind Burrrell. Fully aware of the guitar's sonic limitations, she offers huge support to fill the space—offering both texture and a frame for Burrell. Scott and Burrell played well together. For me, the title tune, Solar and Nice 'n' Easy say it all—a glorious pace, groovy ideas and earthy camaraderie. ~ Marc Myers,

Jackie Ivory • Soul Discovery

Artist Biography by Johnny Loftus
Pianist and organ player Jackie Ivory was born on February 27, 1937, in Blytheville, AR. As a young boy, Ivory moved with his family to South Bend, IN, where he started to teach himself piano. Private lessons fleshed out his own forays into the instrument, and by high school Ivory was playing and singing in pickup vocal groups throughout South Bend. After a stint in the Army, the pianist collaborated with jazz guitarist Don Davis before starting a trio featuring saxophone, drums, and his own Hammond B-3 organ. In 1965, the 24-year-old Ivory issued his first LP, Soul Discovery, for the Atco label. Extensive touring as a sideman followed, with Ivory supporting tenor sax greats like Junior Walker and Willis "Gator" Jackson. Ivory moved to Oakland, CA, in 1974, and the city became his base of operations for the rest of his career. In 1983, he formed the Jackie Ivory Quartet, and performed regularly on the B-3 with the combo throughout the '80s, '90s, and '00s. Jackie Ivory Live at Jack's Bar (Orchard) was released in 2001; two years later, Honeycomb dropped Laying in the Cut, a loose, effortlessly funky set from Ivory and his quartet, which featured brother and drummer Henry Lawrence Avery, vocalist Harriet E. Davis, tenor saxophonist Nancy Wright, and guitarist Yoshinobu "Takezo" Takeda.

sábado, 22 de julio de 2017

Billy Larkin & The Delegates • Pigmy

Stanley Turrentine • Plays The Pop Hits - Easy!

Big John Patton • Oh Baby

Pucho & The Latin Soul Brothers • Saffron And Soul

Review by Richie Unterberger
As he did on his other '66 session (Tough!), Pucho mixed pop and soul hits with the stronger stuff. That means the best and funkiest pieces--"Aye Ma Ma," "Soul Yamie," and a typically irreverent cover of "Caravan"--are mixed with the likes of "Reach Out I'll Be There" and "Alfie."

Sam Paglia • Electric Happiness

Godfather of the Italian Lounge with his Hammond Organ and a feel for soul, jazz, lounge and funk. Sam Paglia mixes his passion for American musicians with a jazzy feel such as Jimmy Smith, Richard groove Holmes, Brother Jack McDuff and his influences from Italian soundtracks of the 60's.

Don Wilkerson • Elder Don

Review by Stephen Thomas Erlewine
Don Wilkerson's first Blue Note session, Elder Don (it was recorded before Preach, Brother! but released afterward), is a highly enjoyable set of hard-swinging, bluesy soul-jazz and hard bop. It's hardly a one-note collection -- "Senorita Eula" swings with a Latin lilt, "Scrappy" is a hard-hitting R&B number, the lightly Cuban recasting of Bob Wills' Western swing classic "San Antonio Rose" is fluid and infectious, "Lone Star Shuffle" and "Drawin' a Tip" are wonderful blues shuffles, and the ballad "Poor Butterfly" has a graceful, lyrical quality -- which is part of the reason why it's so impressive. Still, all of the credit for Elder Don's success has to go to Wilkerson, whose vibrant, robust tone dominates the session, and since he's playing with exceptional guitarist Grant Green and excellent drummer Willie Bobo, as well as pianist Johnny Acean and bassist Lloyd Trotman, that's no small accomplishment. In fact, records like this go a long way in proving that Wilkerson was one of the great underrated saxophonists of his time.

The Three Sounds • Vibrations

Se me ocurre éste un disco atípico de jazz, donde Gene Harris alterna de grato modo entre piano y órgano.

It occurs to me this atypical jazz record where Gene Harris pleasing alternating between piano and organ mode.

Sonny Stitt with Jack McDuff • Stitt Meets Brother Jack

Rob Franken • Fender Rhodes

1941 born Rob Franken was one of the key figures of all European organ players in the 1960s and 1970s. He was the first European to master the Fender Rhodes electric piano and among the first to handle the Hammond B3 organ. Although he was mostly obsessed with the Fender Rhodes throughout the late 1960s, the Hammond was the instrument he was best remembered for. Rob Franken started his career with the folk duo Esther & Abi Ofarim, then he moved to play with Klaus Weiss Trio in the mid 1960s. Soon after he formed his legendary own small combo, The Rob Franken Organization. The Organization released two albums - ‘Pon my soul in 1967 and Ob-la-di ob-la-da in 1969. He also played as a pianist of Toots Thielemans and a permanent organist / keyboard played for Peter Herbolzheimer Rhythm Combination and Brass. During his relatively short career, Franken played in over 400 records and was a very much liked person among session musicians. His sudden and unexpected death due to an internal hemorrhage at the age of 42 in 1983 ended his glorious career - only three days after his last recording session with the Rhythm Combination and Brass.

Stephane Grappelli • Planet Jazz

The Sugarman Three • Soul Donkey

Review by Steve Huey
The Sugarman Three's second album for Desco Records, Soul Donkey isn't markedly different from its predecessor, delivering catchy, infectious, funky soul-jazz instrumentals driven by leader Neal Sugarman's alto sax and Adam Scone's Hammond organ. The group positively revels in their late-'60s sound, and their sincere appreciation for the somewhat maligned groove style communicates itself very effectively.

Description Related Products: Originally released in 1999, on the Desco label, this is Sugarman 3 second soulful offering. This album illustrates the beginning of the groups movment towards a more traditional funk sound. Stripped down arrangements and a departure from solos, finds the Sugarman 3 focusing more on the strength of Scon'es percolating basslines and organ grooves.

Johnny Lytle • Close Enough For Jazz

Roger Ram • Fine And Mellow

The Retroliners ‎• Lucifer's Lounge

Wild Bill Davis ‎• Live at Count Basie's

Weather Report • Night Passage

Christian Mcbride • Kind Of Brown

Review by Michael G. Nastos
One might assume that bassist Christian McBride's CD Kind of Brown would be a tribute to Ray Brown. Au contraire -- in fact, it would be appropriate for this recording to own up to the title Kind of Blue Note, because this music bears a strong resemblance to the late-'60s to mid-'70s recordings of the legendary Bobby Hutcherson-Harold Land quintet. That seminal post-bop ensemble defined the mid-period Blue Note label sound, and created resonant sonic signposts that remained unequaled, until now. A new discovery in vibraphonist Warren Wolf, Jr., teamed with veteran saxophonist Steve Wilson, the wonderful pianist Eric Reed, and drummer Carl Allen makes McBride's quintet dubbed Inside Straight into one of the more melodically tuneful and harmonically focused contemporary ensembles combining past tradition with a fresh new approach to this potent style of jazz. McBride is almost an equal in this company, putting aside his furious note playing for a more democratic role in this extraordinarily balanced small combo. The similarities to the Hutcherson-Land group are unmistakable, from the tick-tock rhythm and melodic line similar to Hutch and Herbie Hancock's classic composition "Blow Up" on "Brother Mister" to the steady swinger "Rainbow Wheel" and "Pursuit of Peace," with its probing basslines via McBride and perfectly fitted hand-in-glove melody and unison approach. The athletic and quirky "Stick and Move" is hard-charging bop at its best with Reed leading; soul-jazz is adopted during the waltz "Used 'ta Could" in parallel to the standard "Better Than Anything"; while "The Shade of the Cedar Tree" (for Cedar Walton) is again similar to what Walton and Hutcherson did with the Timeless All Stars, and close to Walton's tune "Hindsight." McBride's role as a leader is more pronounced on "Theme for Kareem," an ultra-tight, very hip tune that has potential standard written all over it. Wilson concentrates on alto sax, but plays a bit of soprano on the recording for the waltz-to-samba "Starbeam"; McBride restrains his inclination to play a multiplicity of notes; and Wolf proves to be a new artist to keep a close watch on in the next decade. While Christian McBride has been involved with many amazing recordings during his brief but substantive career, this might be his best batch yet.

Willie Bobo ‎• Bobo Motion

Review by Thom Jurek
Recorded and released in 1967, Bobo Motion is one of percussionist Willie Bobo's best-known recordings of the 1960s. The album is best-known for its version of the Sonny Henry nugget "Evil Ways" that Carlos Santana and his band made their own a couple of years later, but there's more to it than that. Since Bobo signed with Verve in 1965, he'd been releasing wily blends of hot Latin tunes, and soul-jazz interpretations of pop tunes of the day. His five previous albums for the label had all been variations on this theme. On the earlier ones, safer pop and easy tunes played with Bobo's trademark hand drum grooves won out over original material. Indeed, 1965's Spanish Grease and 1966's Uno, Dos,Tres 1-2-3 had featured one tune apiece that featured the cooking Afro-Cuban flavored jams he'd become known for, and the rest were either soul-jazz arrangements of Latin standards or "with it" pop tunes of the day (Afro-Cuban versions of the organ trio records that Blue Note was shoveling out by the truckload at the time). Bobo Motion, however, is a different animal. While there are no originals on the Bert Keyes/Sonny Henry-arranged set, the grooves are tighter and more sophisticated, and the drumming is mixed way up above an uncredited smaller combo playing horns, electric bass, and Henry' electric guitar. The tune selection is also weirder and reflects the range of Bobo' eclectic tastes, and turns more firmly toward jazz (unlike Juicy, the 1967 precursor to this set, which was pregnant with workouts of soul hits of the day). There are trad standards like "Tuxedo Junction," Neal Hefti's swinging "Cute," -- which was almost a Count Basie evergreen of the early '60s -- and a smoking blues-out read of Sonny Burke' "Black Coffee." That's not to say there are no pop tunes here, Henry's "Evil Ways" features Bobo's less than hip vocals but the tune itself is so steamy and strange in its minor-key articulations, and the groove is such a monster, it doesn't matter. The same goes for Arthur Sterling's "Ain't That Right," that becomes a whomping boogaloo with the triple-time congas, gourd shaker, and timbales atop a fluid electric guitar groove. The transformation of Joe Tex's "Show Me," into a Latin jazz tune is remarkable to say the least -- even if it keeps its funky soul feel (the horns are the melody line here, and Bobo plays all around them setting up a monster conguero groove). Bobo Motion ends with a brief but burning version of "La Bamba." Its traditional roots are all on display here as Bobo's congas drive the rhythms into overdrive. Forget the quaint version by Trini Lopez, this one gets it. Recommended.

viernes, 21 de julio de 2017

Jimmy McGriff • At The Apollo

Review by Jim Todd
There's no question; organist Jimmy McGriff and company cook up some steaming blues grooves on this live date. Beyond that, though, there is little that distinguishes this set from countless others in the same mold. McGriff and his band are a dynamo when they unite in churning, bluesy bluster. As individual players, however, no one here generates much in the way of a memorable performance. Next to the roar of the leader's Hammond, guitarist Larry Frazier's fills and rhythm work sound slight. He's better when he steps forward to solo in a frenetic Chicago blues style. Saxophonist Rudolph Johnson honks and barks with a spirited, but limited, vocabulary of licks. Drummer Willie Jenkins clatters away with vigorous abandon, but never at the expense of the groove. To McGriff's credit, he pulls these talents together so they total something more than the sum of the parts. The band shines brightest on the McGriff originals "The Deacon" and "A Thing for Jug." This is where Frazier, Johnson, and Jenkins most effectively combine forces with the leader's meat-and-potatoes music and groove-bound B-3 to do what they do best -- play the blues. Amen.

Old School Band • King Of The Zulus

Henry Cain • The Funky Organ-ization Of Henry Cain

Review by Jason Ankeny
Henry Cain's lone Capitol LP is most notable for its credits. Produced by the great David Axelrod and arranged by H.B. Barnum and Oliver Nelson, The Funky Organ-ization of Henry Cain is a funky if slight set of soul-jazz instrumentals crafted with uncommon attention to detail. Cain is a soulful keyboardist with an appealing approach to the Hammond, and even if he lacks the vision and virtuosity of some of his better-known contemporaries, there's no denying the infectiousness of this record. Barnum and Nelson's arrangements deserve significant credit for keeping the music on message while also creating panoramic pockets of space for the musicians to move freely.

Don Wilkerson • The Complete Blue Note Sessions

One of the paragons of the "Texas tenor" style, Don Wilkerson gained his greatest notoriety as a soloist with Ray Charles throughout much of the 50s and 60s. Less known is Wilkerson’s limited work as a leader, the majority of which is collected on this two-disc package from Blue Note. Wilkerson made three albums for the label during the fruitful years of 1962 and 1963: Preach Brother!, Elder Don, and Shoutin’! All three records feature guitarist Grant Green, who certainly knows how to cook in such a setting. The first also boasts a classic Blue Note rhythm section: Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums, with Jual Curtis sitting in on tambourine on "Dem Tambourines" and "Camp Meetin’." On the second album, Johnny Acea takes over on piano, with Lloyd Trotman on bass and Willie Bobo on drums. The last of the three sessions is particularly down and dirty, with Green, John Patton on organ and Ben Dixon on drums.

The prevailing ethos of Preach Brother! is simply summarized: blues, blues, and more blues. And not the fancied-up bebop variety, but straight-up shuffle and boogie and soul. Every track is a blues except for the closer, "Pigeon Peas," a funky thing in AABA form. The two later albums are a bit more compositionally varied. Wilkerson begins Elder Don with exquisitely singing tenor work on "Senorita Eula" and then salutes his fellow Texan Bob Wills with "San Antonio Rose." (Grant Green’s solo on the latter has to be heard to be believed.) From this point on there’s still plenty of blues, but Wilkerson breaks it up with originals like "Scrappy" and "Drawin’ a Tip." He also showcases a totally different aspect of his talent on the ballads "Poor Butterfly" and "Easy Living."

Ron Levy's Wild Kingdom • Mo' Jazzy Grooves

Orazio & Artemisia Gentileschi, pdf


pdf / Language: English / 498 pages / 88MB

pdf / Idioma: inglés / 498 págs / 88MB