Κλείνω τη χρονιά με το δεύτερο μέρος αυτής της συλλογής των Orchestre Poly-Rythmo De Cotonou από την Analog Africa. Σας εύχομαι ότι καλύτερο (ασχέτως αν αλλάζουν απλά τα ημερολόγια ή όχι), καλή ακρόαση και....του χρόνου με ηχεία. Radiodada
Υ.Γ. Το εξαιρετικό "Gbeti Madjro" που ακολουθεί σε μορφή youtube-βίντεο βρίσκεται στο Vol.3 της Analog Africa με τίτλο "African Scream Contest" που ευελπιστώ να ποστάρω στο προσεχές μέλλον.
About Orchestre Poly Rythmo De Cotonou
Orchestre Poly Rythmo de Cotonou are a band from Benin, which plays Afrobeat, Funk, Soukous and other styles, often based on Vodun ryhtmns. Active since the late 1960s, and having recorded around 500 songs, they are still touring around the world today, playing in venues such as London's Barbican Centre. Compilations of their work have recently been issued through Analog Africa, Soundway Records and Popular African Music.
Orchestre Poly Rythmo de Cotonou are a band from Benin, which plays Afrobeat, Funk, Soukous and other styles, often based on Vodun ryhtmns. Active since the late 1960s, and having recorded around 500 songs, they are still touring around the world today, playing in venues such as London's Barbican Centre. Compilations of their work have recently been issued through Analog Africa, Soundway Records and Popular African Music.
Δεν θα ξεφύγουμε και πάρα πολύ σε σχέση με τις προηγούμενες αναρτήσεις με τους "Θρύλους της Acid Jazz" καθώς ο βιμπραφωνίστας Roy Ayers ύπηρξε ένας από τους σημαντικότερους μουσικούς που έπαιξαν καθοριστικό ρόλο σ' αυτό το ιδίωμα της Jazz.
Δισκάκι κυρίως θρησκευτικού χαρακτήρα εξού άλλωστε και ο τίτλος "He's Coming" (...βέβαια δεν μας λέει πότε ακριβώς θα έρθει, άλλα όποιος έχει υπομονή ας περιμένει...) με κατ' άλλα όμως εξαιρετική ατμόσφαιρα και soul-acid/jazz ήχο. Για μία πρόγευση σας παραθέτω το εξαιρετικό "He's A Superstar" και το ομώνυμο "He's Coming".
Καλη ακρόαση!
Radiodada
He's A Superstar - Roy Ayers Ubiquity
He's Coming - Roy Ayers Ubiquity
About Roy Ayers
Roy Ayers (born September 10, 1940, Los Angeles) is a funk, soul and jazz vibraphone player. Ayers began his career as a jazz player, releasing several albums with Arista Records before his tenure at Polydor Records, during which he progressed a new R&B style, slowly molding the new Disco genre. Ayers grew up in a musical family. At the age of five, Lionel Hampton gave him his first pair of mallets, which led to the vibraphone being his trademark sound for decades. The area of Los Angeles that Ayers grew up in, now known as "South Central", but then known as "South Park", was the epicenter of the Southern California Black Music Scene. The schools Roy attended (Wadsworth Elementary, Nevins Middle School, and Thomas Jefferson High School) were all close to the famed Central Avenue, Los Angeles' equivalent of Harlem's Lenox Avenue and Chicago's State Street. On any given day, Roy would have been likely to be exposed to music as it not only emanated from the many nightclubs and bars in the area, but also poured out of many of the homes where the musicians who kept the scene alive lived in and around Central. Thomas Jefferson High School, from which Ayers graduated, gave to the music and jazz worlds some of its brightest stars, such as Dexter Gordon.Ayers was responsible for the highly regarded soundtrack to Jack Hill's 1973 blaxploitation film Coffy, which starred Pam Grier. He later moved from a jazz-funk sound to R&B, as seen on Mystic Voyage and especially the title track from his 1976 album Everybody Loves the Sunshine. Other notable songs by Ayers include "Running Away", "Searching", and "Sensitize" (co-written by Ayers protegé Wayne K. Garfield).In 1977 Ayers produced an album by the group RAMP, Come Into Knowledge, commonly and mistakenly thought to stand for "Roy Ayers Music Project".In 1980 Ayers released Music Of Many Colors with the Nigerian Afrobeat pioneer Fela Kuti.In 1981 Ayers produced an by the singer Sylvia Striplin, Give Me Your Love (Uno Melodic Records 1981).
Ένα ακόμα δισκάκι αφιέρωμα στου θρύλους της Acid Jazz εδώ με τον φακό να εστιάζει σε κορυφαίους μουσικούς του τενόρο σαξόφωνου. Sonny Stitt, Gene Ammons, Grover Washington Jr., Joe Henderson, David "Fathead" Newman κ.α. Οι περισσότεροι σαξοφωνίστες που απαρτίζουν αυτή τη συλλογή εμφανίζονται από τις συμμετοχές τους σε άλλα σχήματα και δισκους όπως ο Eugene Barr από το δισκάκι των Funk Inc. "Hangin' Out" του 1972 ή όπως ο Wilton Felder από το δίσκο του οργανίστα Charles Kynard με τίτλο "Reelin' With Feelin" από το 1969. Από τους δύο αυτούς δίσκους επέλεξα να σας ποστάρω την πανέμορφη εκτέλεση του "Give Me Your Love" (Curtis Mayfield) και το Slow Burn (Richard Fritz) αντίστοιχα, ενώ την τριάδα των προγευστικών αναπαραγωγών συμπληρώνει το εξαιρετικό "Jungle Strut" του Gene Ammons.
Συνεχίζω απ' την ίδια σειρά της Prestige, η οποία υπήρξε η κύρια δισκογραφική εταιρεία στην οποία ηχογράφησε τις περισσότερες δισκογραφικές του δουλειές ο τενόρο σαξοφωνίστας Gene Ammons ή γνωστός και με το παρατσούκλι "The Boss".
Πρόκειται για μία "συλλογή" αποτελούμενη από τρεις δισκογραφικές δουλειές του Ammons. Το "The Black Cat" από το 1970, το "You Talk That Talk" (album εξ' αδιαιρέτου με τον Sonny Stitt) ηχογραφημένο το 1971 και τέλος τα δύο μουσικά θέματα που υπάρχουν στις πλευρές ενός 45άρι δίσκου. Το τελευταίο δισκάκι (προερχόμενο λίγο παλιότερα χρονικά - Μάϊος του 1962) δεν είναι καταχωρημένο ως δίσκος του Ammons άλλα το "μοιράζεται" με τους Don Patterson, Paul Weeden, και Billy James*.
Sonny Stitt, Ron Carter, Idris Muhammad και Leon Spencer είναι μερικά ονόματα απ' τους μουσικούς που πλαισιώνουν αυτά τα album του Ammons τις συνθέσεις των οποίων παραθέτω αναλυτικότερα παρακάτω. Για μία πρόγευση του τι ακριβώς περιέχει αυτό το cdακι διαλέγω το εξαιρετικό "Jug Eyes" σε σύνθεση του Ammons από το "The Black Cat" και μία απ' τις πιο ομόρφες συνθέσεις του Harold Ousley (τενόρο σαξοφωνίστας που συμμετείχε ως sideman εκτός από albums του Ammons και σε δισκογραφικές δουλειές των George Benson, Count Basie, Brother Jack McDuff κ.α.) το "The People's Choice" από το "You Talk That Talk"
Σας φιλώ στο μόντεμ!
Radiodada
Jug Eyes - Gene Ammons
The People's Choice- Gene Ammons
*Δεν κατάφερα να βρω αρκετά στοιχεία για αυτό το δισκάκι (και αυτά που βρήκα είναι αναμφίβολα σωστά) οπότε αν κάποιος γνωρίζει κάτι περισσότερο ας αφήσει ένα σχόλιο...
The Black Cat
Gene Ammons (tenor saxophone)
Harold Mabern (piano, electric piano)
George Freeman (guitar)
Ron Carter (bass)
Idris Muhammad (drums)
You Talk That Talk
Gene Ammons (tenor saxophone)
Sonny Stitt (tenor saxophone, varitone saxophone)
Leon Spencer (organ)
George Freeman (guitar)
Idris Muhammad (drums)
The Soul Giants
Gene Ammons (tenor saxophone)
Don Patterson (organ)
Paul Weeden (guitar)
Billy James (drums)
About Gene Ammons
Eugene "Jug" Ammons (April 14, 1925 – July 23, 1974) also known as "The Boss," was an American jazz tenor saxophonist, and the son of boogie-woogie pianist Albert Ammons.
Ammons began to gain recognition when he went on the road with trumpeter King Kolax band in 1943, at the age of 18. He became a member of the Billy Eckstine and Woody Herman bands in 1944 and 1949 respectively, and then in 1950 formed a duet with Sonny Stitt. His later career was interrupted by two prison sentences for narcotics possession, the first from 1958 to 1960, the second from 1962 to 1969. He recorded as a leader for Mercury (1947-1949), Aristocrat (1948-1950) and Chess (1950-1951), Prestige (1950-1952), Decca (1952), and United (1952-1953). For the rest of his career, he was affiliated with Prestige.
Ammons and Von Freeman were the founders of the Chicago School of tenor saxophone. His style of playing showed influences from Lester Young as well as Ben Webster. These artists had helped develop the sound of the tenor saxophone to higher levels of expressiveness. Ammons, together with Dexter Gordon and Sonny Stitt, helped integrate their developments with the emerging "vernacular" of the bebop movement, and the chromaticism and rhythmic variety of Charlie Parker is evident in his playing.
While adept at the technical aspects of bebop, in particular its love of harmonic substitutions, Ammons more than Young, Webster or Parker, stayed in touch with the commercial blues and R&B of his day. The "soul Jazz" movement of the mid-1960s, often using the combination of tenor saxophone and Hammond B3 electric organ, counts him as a founder. Often using a thinner, drier tone than Stitt or Gordon, Ammons could at will exploit a vast range of textures on the instrument, vocalizing it in ways that look forward to later artists like Stanley Turrentine, Houston Person, and remarkably Archie Shepp. Ammons showed little interest, however, in the modal jazz of John Coltrane, Joe Henderson or Wayne Shorter that was emerging at the same time.
Some fine ballad performances in his oeuvre are testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular which can now be described as, in its own way, "classical."
"Answer Me, My Love" written by Fred Rauch, Carl Sigman and Gerhard Winkler, performed by Gene Ammons is featured on the soundtrack for Romance & Cigarettes (2005). Equipment: "Jug" played on a Bb Conn 10M Tenor Saxophone and a Brilhart Ebolin mouthpiece. Ammons is considered a major influence on the style of popular jazz tenor saxophonist Joshua Redman.
Ammons died in 1974, at the age of 49, after a battle with cancer.
Μία ακόμα συλλογή της Prestige από τη σειρά "Legends Of Acid Jazz" εδώ με κεντρικό άξονα τους οργανοπαίχτες του Hammond. Brother Jack McDuff, Shirley Scott, Johnny "Hammond" Smith, Richard "Groove" Holmes κ.α.
Καλή ακρόαση! Radiodada
About the Hammond Organ
The Hammond organ is an electric organ invented by Laurens Hammond in 1934 and manufactured by the Hammond Organ Company. While the Hammond organ was originally sold to churches as a lower-cost alternative to the wind-driven pipe organ, in the 1960s and 1970s it became a standard keyboard instrument for jazz, blues, rock music, church and gospel music.
The original Hammond organ used additive synthesis of waveforms from harmonic series made by mechanical tonewheels that rotate in front of electromagnetic pickups. The component waveform ratios are mixed by sliding drawbars mounted above the two keyboards. Although many different models of Hammond organs were produced, the Hammond B-3 organ is most well-known. In the late 1960s and throughout the 1970s the distinctive sound of the B-3 organ (often played through a Leslie speaker) was widely used in Blues, progressive rock bands and blues-rock groups. The last electromechanical Hammond organ came off the assembly line in the mid-1970s.
In the 1980s and 1990s, musicians began using electronic and digital devices to imitate the sound of the Hammond, because the vintage Hammond organ is heavy and hard to transport. By the 1990s and 2000s digital signal processing and sampling technologies allowed for better imitation of the original Hammond sound.
Λόγω ανειλημμένων υποχρεώσεων σας άφησα στην ξεραϊλα για αρκετές μέρες.
Ελπίζω να επανορθώσω αποζημιώνοντάς σας μ' αυτό το αγαπημένο μου και εξαιρετικό δισκάκι της Abbey Lincoln που έφυγε το περασμένο καλοκαίρι (14 Αυγούστου).
Απ' τις πιο χαρακτηριστικές δουλειές της Lincoln (το πραγματικό όνομα της οποίας είναι Anna Marie Wooldridge) που περιέχει μία απ' τις καλύτερες (vocal) εκδοχές του Afro-Blue (Mongo Santamaria), το "Brother Where Are You" (ένα απ' τα καλύτερα θέματα που έχει γράψει ο φοβερός Oscar Brown Jr.), το κλάσικ του Kurt Weil "Lost In Stars" (για την ακρίβεια Kurt Weil:Μουσική, Maxwell Anderson:Στίχοι) κ.α. Στους προγευστικούς ψηφιακούς αναπαραγωγούς θα βρείτε δύο λιγότερο "γνωστά" -τρόπος του λέγειν- (αλλά τα πιο αγαπημένα μου) θέματα του δίσκου. To "Let Up" (σύνθεση της Lincoln) και το ανατριχιαστικό "Softly, As In A Morning Sunrise" (Hammerstein, Romberg).
Σας φιλώ στο μόντεμ!
Radiodada
Let Up - Abbey Lincoln
Softly As In A Morning Sunrise - Abbey Lincoln
About Abbey Lincoln
Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), better known by her stage name Abbey Lincoln, was a jazz vocalist, songwriter, and actress. Lincoln was unusual in that she wrote and performed her own compositions, expanding the expectations of jazz audiences.
Born in Chicago, Illinois, she was one of many singers influenced by Billie Holiday. She often could be found at the Blue Note in New York City.
With Ivan Dixon, she co-starred in Nothing But a Man, an independent film written and directed by Michael Roemer. She also co-starred with Sidney Poitier and Beau Bridges in 1968's For Love of Ivy, and received a 1969 Golden Globe nomination for her appearance in the film.
Lincoln also appeared in the 1956 film The Girl Can't Help It, for which she famously wore a dress worn by Marilyn Monroe in Gentleman Prefer Blondes and interpreted the theme song, working with Benny Carter.
Lincoln sang on the 1960s landmark jazz civil rights recording, We Insist! – Freedom Now Suite (1960) by jazz musician Max Roach and was married to him from 1962 to 1970. Especially since this album, Abbey Lincoln was connected to the political fight against racism in the United States.
In the 1990 Spike Lee movie Mo' Better Blues 1990, she played young Bleek Gilliams' mother, who was very insistent that Bleek (played as an adult by Denzel Washington) come inside their house and practice his trumpet instead of playing outside with his friends.
In 2003, she received the National Endowment for the Arts NEA Jazz Masters Award.
Lincoln died on August 14, 2010 in Manhattan at the age of 80. Her death was announced by her brother, David Wooldridge, who told the New York Times that Lincoln had died in her Manhattan nursing home after suffering deteriorating health for years following open heart surgery in 2007. No cause of death was officially given. She was cremated and her ashes were scattered.
Ώτα μου καλημέρα, καλή εβδομάδα και ευτυχισμένος ο καινούργιος θρόνος.
Acid jazz, trip hop και dub από το "μακρινό" 1995 και τους Red Snapper, οι πιο απλά τους David Ayers (κιθάρα), Richard Thair (τύμπανα) και Ali Friend (κοντραμπάσο). Πρόκειται για συλλογή και remixes από τα Ep τους "The Snapper", "Swank" και "Hot Flush".
Στο "In Deep" συμμετέχει στα φωνητικά η Beth Orton.
Καλή ακρόαση! Radiodada
Swank - Red Snapper
In Deep - Red Snapper (feat. Beth Orton)
About The Red Snapper
Red Snapper are a British instrumental band founded in London in 1993 by Ali Friend (double bass), Richard Thair (drums), and David Ayers (guitar). The three core members are also joined by various guest musicians and vocalists on different records. According to music journalist, Jason Ankeny (Allmusic) "the British acid jazz trio were notable for their pioneering synthesis of acoustic instruments and electronic textures".
The band released three EPs before signing to Warp Records for their debut album, Prince Blimey (1996). The band were a somewhat unusual feature of Warp Records' 1990s roster: in contrast to the studio-oriented IDM the record label primarily dealt in, the band had a live and organic sound: a smoky mixture of dub, jazz and all tempos of breakbeat from trip hop to drum and bass. In 1997, Red Snapper (along with the Foo Fighters) supported The Prodigy on their Fat of the Land tour in the UK
For their follow-up Making Bones they were joined by jungle MC Det, Byron Wallen the jazz trumpeter and singer Alison David. The latter was replaced by Karim Kendra by their third album, Our Aim Is to Satisfy (2000).
In early 2002, Red Snapper announced its dissolution.
Also in 2002 the various artists compilation album It's All Good was released. It included a previously unreleased track, "Ultraviolet", which was also included on Red Snapper, a compilation of unreleased and rare Red Snapper tracks released by Lo Recordings in 2003.
Later in 2003, an album of remixes was released, Redone, which included tracks remixed by the Snapper themselves. Ayers and Felix Tod were credited as The Creation, Thair remixed "Ultraviolet", and the "Odd Man Out" (Odd Man remix) was done by Friend, Gavin Clark and Ted Barnes. The last track included vocals. Later the Flameboy Records (owned by Jake Williams, former RS keyboard player) released a 4-track vinyl called "RedOne", which included three tracks from Redone and a previously unreleased Red Snapper track entitled "Drill" featuring MC Det.
Red Snapper reformed in 2007 - this was posted on their MySpace page:
After 6 years apart concentrating on different projects, Red Snapper return. Ali has been working with Beth Orton and his new band Clayhill. David has been focusing on writing music for TV with his work featuring on the highly acclaimed BBC show 'The Tribe'. Rich has been working with Jakeone on their band Toob, with Rennie Pilgrem and the TCR Allstars and Bomb the Bass.
They decided to rejoin before Christmas and after a jam session are back in the recording studio working on new material for their sixth album with saxophonist, Tom Challenger. Red Snapper also appeared at the Bloc Weekend in March 2008. The band released Pale Blue Dot (Lo Recordings) on 2 October 2008.
They appeared on the Glade Stage at Glastonbury 2009.
Αυτή η συλλογή είναι μία αναδρομή/περίληψη στις εκδόσεις της δισκογραφικής G-stone από την δημιουργία της το 1993 έως και το 2000. Βέβαια οι δημιουργοί της Peter Kruder & Richard Dorfmeister εκτός από το ρόλο των παραγωγών εμπλέκονται και δημιουργικά σε όλο σχεδόν το δίσκο καθώς τα μισά και παραπάνω σχήματα που εμφανίζονται εδώ είναι επίσης δημιουργήματα τους. Συγκεκριμένα το υλικό που ακούγεται (ή καλύτερα μιξάρεται από το αυστριακό δίδυμο) προέρχεται από τις παρακάτω δισκογραφικές δουλειές:
• G-Stoned - Kruder & Dorfmeister
• Chocolate Elvis - Tosca
• Fuck Dub - Tosca
• Bluish - Walkner Moestl
• Showdown - Kieser-Velten
• Peace Orchestra - Peace Orchestra
• Suzuki - Tosca
• Stash It - Stereotyp
• Sugar B. - I & I Produkt
• Heaven Or Hell -Walkner Moest
Trip Hop, Downtempo, Dub κ.α ανακατεύονται αριστοτεχνικά σε αυτή τη συλλογή που κατ' εμε είναι ο καλύτερος μπούσουλας για να "ανακαλύψει" κανείς τον ήχο αυτό. Ο τίτλος της συλλογής μπορεί κανείς να πει ότι προέρχεται από τη λογική ενός "βιβλίου" που κλείνει μέσα του τη διαδρομή της δισκογραφικής ή ίσως από το άχρηστο και φλύαρο υλικό που ξεδιπλώνεται σε 312 σελίδες(!!!) και που φυσικά δεν μπήκα στη διαδικασία να ψηφιοποιήσω και να μοιραστώ μαζί σας. Κάποια scans βέβαια άξιζαν τον κόπο να μπουν σ' αυτό το post, όπως για παράδειγμα μία λίστα με τις εκδόσεις της G-stone για τη συγκεκριμένη περίοδο, που θα φανεί χρήσιμη σε όσους θελήσουν να ψάξουν λίγο πιο πέρα από τα γνωστά album/εκδοσεις. (κάντε κλικ εδώ)
Στους προγευστικούς ψηφιακούς αναπαραγωγούς έχω αναρτήσει κατά την άποψη μου δύο απ' τα καλύτερα θέματα όχι μόνο του δίσκου άλλα γενικότερα των Kruder & Dorfmeister. Το εκπληκτικό "High Noon" προερχόμενο από το δίσκο τους "G-Stoned" του 1996 (με εξώφυλλο αλλά Simon & Garfunkel) και το εξαιρετικό "Domination" από Peace Orchestra (δηλαδή πιο απλά Peter Kruder σε σόλο project).
Σας φιλώ στο μόντεμ
Radiodada
High Noon - Kruder & Dorfmeister
Domination - Peace Orchestra
About Kruder & Dorfmeister
Kruder & Dorfmeister, named after members Peter Kruder and Richard Dorfmeister, is an Austrian duo most known for their downtempo-dub remixes of pop, hip-hop and drum and bass songs.
Their mixes are usually flavored with sampler-processed vocals, deep bassline dub, trip-hop elements, bossa grooves and smoothly-shaped echoes to achieve their unique sound. Some of their better-known works include "High Noon," "Original Bedroom Rockers," and remixes of Madonna's "Nothing Really Matters," Depeche Mode's "Useless," Count Basic's "Speechless" and Roni Size's "Heroes". Many of their remixes are collected on the double album The K & D Sessions.
Although best known internationally for their remixing work, the duo gained their primary reputation in Europe for their live DJ performances and DJ Kicks album. Kruder and Dorfmeister have their own record studio, G Stone Recordings in Vienna, through which they release many of their own albums, as well as others by Stereotyp, DJ DSL, Rodney Hunter, Urbs, Makossa & Megablast, and Sugar B./Dub Club.
Σ' αυτό το μπλογκ έχω προσπαθήσει (δεν ξέρω αν τα έχω καταφέρει βέβαια...) να κρατάω ένα "κάποιο" επίπεδο είτε αυτό έχει να κάνει με τη μουσική είτε με αυτά που γράφω. Όταν ακούς όμως έναν δίσκο που σε ξεσηκώνει και σε συγκινεί από τις πρώτες κιόλας νότες, που μπορεί και σε ξανακάνει πιτσιρικά ηλικιακά αλλά και με τον τρόπο που (ξανα)ακούς τη μουσική και όταν αυτός ο δίσκος είναι μέσα στους καλύτερους που έχεις ακούσει (τουλάχιστον) το 2010, δεν μπορεί παρά η κριτική σου να συμπυκνώνεται σε απλές φράσεις όπως:
"...δισκάρααααααααα ρεεεεε!..."
"...και γαμωωώ τα άλμπουμ!..."
"...ψψψψψψψψψψ τα σπάει!..."
και πάει λέγοντας...
Σεβόμενος όμως τη σχέση που έχουμε χτίσει όλον αυτόν τον καιρό στο μεταξύ μας αγαπητοί μου αναγνώστες, θα επανέλθω σε ένα πιο μεστό και γνώριμο ύφος.
Αυτά τα δύο καλόπαιδα από το Αμέρικα και συγκεκριμένα από το Akron του Ohio, που φέρουν το όνομα "The Black Keys" δεν είναι και τόσο πρόσφατη ιστορία. Αυτή η μπάντα/ντουέτο δημιουργήθηκε το 2001 και αποτελείται από τον Patrick Carney (τύμπανα) και τον Dan Auerbach (κιθάρα & φωνητικά). Δεν θα μπω στη διαδικασία να μιλήσω για τη πορεία του γκρουπ καθώς υπάρχουν (πιο κατώ) οι σχετικές και κατατοπιστικές πληροφορίες και επειδή κάποια στιγμή στο μέλλον θα αναρτήθει κάποιος παλιοτερός δίσκος τους.
Θα προτιμούσα λοιπόν να εστιάσω σ' αυτό το εκπληκτικό πρόσφατο album τους (Μάϊος 2010) που όσο και βλάσφημο να ακούγεται σε κάποιους (χωρίς όμως επουδενί να μπαίνω στη σύγκριση) μου φάνηκε τόσο φρέσκο και ωραίο, όσο όταν τότε στην τρυφερή ηλικία των 13-14 πρωτοάκουγα το "D'yer Mak'er" ή το "Whole Lotta Love" των Led Zeppelin.
Δηλαδή πιο απλά σ΄αυτό το δίσκο μου ξαναθύμησαν αυτά τα "Μαύρα Κλειδιά" πως η μουσική (ιδιαίτερα η ροκ) "ξεκλειδώνεται" με απλούς τρόπους και μελωδίες. Όπως και να χει εγώ προσωπικά είχα πάρα πολύ καιρό να πάρω στα χέρια μου ένα δισκάκι που να μη χρειαστεί να προσπεράσω τα μισά κομμάτια του δίσκου για να ακούσω τα δύο-τρία αγαπημένα μου θέματα.
Αν και σ' αυτή την δισκογραφική κατσαρόλα ανακατεύονται επιρροές όπως οι Zeppelin, ο Hendrix ή είδη όπως το rock, το blues το soul, και άλλα πολλά το αποτέλεσμα είναι εξαιρετικά αρμονικό και δεμένο. Όλες οι συνθέσεις του δίσκου ανήκουν στους ίδιους τους Black Keys εκτός φυσικά απ' την καταπληκτική και φρεσκότατη διασκευή του "Never Gonna Give You Up" του Jerry Butler.
Για μία πρόγευση σας ποστάρω δυο-τρία θέματα του δίσκου που πραγματικά ξεχώρισα με δυσκολία. Αν και αυτό κρύβει ένα μικρό ψέμα γιατί ενώ το δισκάκι το έχω ήδη λιώσει, το εκπληκτικό (και σπαραξικάρδιο) "I' m Too Afraid To Love You" το έχει ακούσει αμέτρητες φορές παραπάνω. Όπως και να χει πάντως σας προτείνω ανεπιφύλακτα να ακούσετε συνολικά αυτό το εξαιρετικό album ή πιο απλά:
...δισκάρααααααααα ρεεεεε!...
...και γαμωωώ τα άλμπουμ!...
...ψψψψψψψψψψψ τα σπάει!..
Σας φιλώ στο μόντεμ Radiodada
Everlasting Light - The Black Keys
I' m Too Afraid To Love You - The Black Keys
Tighten Up - The Black Keys
About The Black Keys
The Black Keys is an American blues-rock music duo consisting of vocalist/guitarist Dan Auerbach and drummer/producer Patrick Carney. The band was formed in Akron, Ohio in 2001.
Early history and The Big Come Up (2001–2002)
The Black Keys formed in 2001 and were active in the underground scene of Akron, Ohio. Their name comes from Akron, Ohio artist Alfred McMoore, who Auerbach's father—an art dealer—supported and who Carney's father - a newspaper reporter - interviewed, who used the phrase "black key" to indicate something was 'off-center' or 'not quite right'. The band released their debut album, The Big Come Up, in early 2002. The album was very successful for a new independent rock band. Along with their second album, it was recorded entirely in drummer Patrick Carney's basement on an 8-track tape recorder from the early 1980s. The album spawned two singles released as an extended play, "Leavin' Trunk" and "She Said, She Said". Both are cover songs; "Leavin' Trunk" is a traditional blues standard and "She Said, She Said" is originally by The Beatles. "I'll Be Your Man" would later be used as the theme for the HBO series Hung. "Breaks" was featured in the 2008 film RocknRolla.
Thickfreakness era (2003)
The band released Thickfreakness in April, 2003 which along with The Big Come Up was recorded on a Tascam 388 in Carney's basement in 14 hours. The album was favored by critics and spawned three singles: "Set You Free", "Hard Row" and a cover of "Have Love, Will Travel". "Set You Free" was featured on the soundtrack for School of Rock, as well as the 2009 comedy I Love You, Man.
The band released a split-EP with The Six Parts Seven on September 16, 2003, titled The Six Parts Seven/The Black Keys EP and featured one song by The Six Parts Seven and three songs by The Black Keys.
Rubber Factory and first live album (2004–2005)
Rubber Factory, the band's third album was released in 2004. During Thickfreakness and Rubber Factory, the band gained recognition and popularity, boosting their career. Rubber Factory was recorded in an abandoned factory in early 2004. The factory was located in Akron, but according to Carney, was finally torn down in early 2010. The album featured singles 10 A.M. Automatic, 'Til I Get My Way, and Girl Is On My Mind, released as an EP. "When the Lights Go Out" was used in trailers for the film Black Snake Moan and was featured in the erotic opening sequence with co-stars Christina Ricci and Justin Timberlake. Additionally, "10 A.M. Automatic" was used in Live Free or Die, The Go Getter, the soundtrack to MLB 06: The Show and an American Express commercial. The Go Getter also featured "Keep Me". "Grown So Ugly" was featured on Cloverfield and "Girl Is On My Mind" on Sony Ericsson and Victoria's Secret commercials. Around this time, they also opened for bands such as Pearl Jam, Beck, Radiohead and Sleater-Kinney.
In 2005, the band also released their first live video album, Live, recorded at The Metro Theatre in Sydney, Australia on March 18, 2005.
The Moan was an extended play which was released on January 19, 2004, featuring Have Love Will Travel, an alternate version of "Heavy Soul," and two covers.
Magic Potion and other releases (2006–2007)
The Black Keys released Chulahoma: The Songs of Junior Kimbrough, an EP with covers of songs by Junior Kimbrough. Kimbrough was a bluesman and the founder of Fat Possum Records, whom the band had previously covered on The Big Come Up. The EP was released on May 2, 2006. Four days later, The Black Keys released their second live album, Live in Austin, TX--also known as Thickfreakness in Austin--which was recorded October 24, 2003. Soon after, their fourth album dropped; Magic Potion was their first release on Nonesuch Records. The album featured three singles; "You're the One", "Your Touch", and "Just Got To Be". The latter was featured on the soundtrack to the video game, NHL 08. "Your Touch" was featured on the 2009 film Zombieland as well as the HBO series Eastbound & Down. The Black Keys recorded a cover of "The Wicked Messenger" for the soundtrack of I'm Not There and have recorded "If You Ever Slip", a song written by Jesse Harris for The Hottest State soundtrack.
Attack & Release and the Blakroc project (2008–2009)
Attack & Release, the band's fifth album, was produced by Danger Mouse and released on April 1, 2008, having leaked onto the internet by March 4. Attack & Release debuted at number 14 on the Billboard 200. The singles from the album were "Strange Times", "I Got Mine", and "Same Old Thing". "Strange Times" was featured in the video games Grand Theft Auto IV and NASCAR 09. "I Got Mine" was named the 23rd best song by Rolling Stone in its list of the 100 Best Songs of 2008. "I Got Mine" is used as the theme song for Canadian Police Drama TV Series The Bridge. "Lies" was used in episodes of Big Love and Lie to Me, and was covered by Kelly Clarkson live on her All I Ever Wanted Tour. "So He Won't Break" was featured on an episode of One Tree Hill. According to an interview in Pitchfork Media, the band was collaborating on an album with Ike Turner, to be produced by Danger Mouse and released in 2007, but the idea was rendered impossible with Turner's death in December 2007. "Some of the stuff we ended up recording sounds like Screamin' Jay Hawkins," said Carney.
Live at the Crystal Ballroom is a live video album released on November 18, 2008. It was filmed April 4, 2008 in Portland, Oregon at the Crystal Ballroom.
On October 17, 2008, The Black Keys was an opening act for fellow Akron-area band Devo at a special benefit concert at The Akron Civic Theater for presidential candidate Barack Obama. Chrissie Hynde of the Pretenders, also an Akron native and Firestone High School graduate, followed their set. In November, they toured through Europe together with Liam Finn. On June 6, 2009, The Black Keys performed along with The Roots, TV on the Radio, Public Enemy, Antibalas, and other acts at the 2nd Annual Roots Picnic on the Festival Pier in Philadelphia. They also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
On February 10, 2009, vocalist and guitarist Dan Auerbach released his debut solo album, Keep It Hid. During this time, drummer Patrick Carney formed an indie band called Drummer, who are currently signed to Carney's Audio Eagle Records label. Drummer released their debut album Feel Good Together on September 29, 2009.
Blakroc is a collaborative album featuring The Black Keys and several hip hop artists released on Black Friday. The project was supported and brought together by Damon Dash, who is a big fan of the band. The album features rappers among the likes of Mos Def, RZA, Raekwon, Ludacris, Pharoahe Monch, Q-Tip, NOE, Jim Jones, Nicole Wray, M.O.P., and the late Ol' Dirty Bastard. The album was recorded in Brooklyn, New York. Auerbach said on the official Blakroc site, "Pat and I have been preparing for this record since we were 16.
Brothers (2010–present)
Brothers was released on May 18, 2010, featuring a 15 track listing. The song "Tighten Up" (featured on the FIFA 11 soundtrack) was released before the album as a single, along with "Howlin' for You" on the B-side. Brothers sold over 73,000 copies in its first week, giving it a #3 ranking on the Billboard Albums chart, their highest yet. The Brothers CD has a thin thermal film on the surface, which changes colors depending on the temperature of the surroundings and ranges from completely black to a creamy surface with writing when placed in a CD player. There are two cut tracks from this album that have been released as well. "Ohio" pays homage to the home of The Black Keys, and "Chop and Change" was featured on the soundtrack of The Twilight Saga: Eclipse.
The Black Keys also helped judge the 9th annual Independent Music Awards to support independent artists' careers.
Cultural references
The band is frequently compared to The White Stripes (also a blues-based musical duo of drums and vocals/guitar that started around the turn of the millennium) and the stylings and energy of The Jimi Hendrix Experience and blues artists, such as Junior Kimbrough, Muddy Waters and Elmore James. Led Zeppelin frontman Robert Plant, Josh Homme of Queens of the Stone Age, Billy Gibbons of ZZ Top, and Thom Yorke and Jonny Greenwood of Radiohead are all fans of the band. Metallica guitarist Kirk Hammett has also stated in an interview that he enjoys listening to them. Arctic Monkeys' drummer Matt Helders can be seen in a Black Keys t-shirt in an interview on MTV's RAW.
Note From Dada!
Ώτα μου καλησπέρα,
Ένα από τα κλάσικ του Horace Silver για συνέχεια. Το "Serenade To A Soul Sister" ηχογραφήθηκε το 1968 για λογαριασμό φυσικά της Blue Note με δύο διαφορετικές συνθέσεις μουσικών (τις παραθέτω αναλυτικά παρακάτω) και σε δύο διαφορετικές ημερομηνίες (Tracks 1,2,3-Φεβρουάριος '68, Tracks 4,5,6-Μάρτιος '68). Επειδή οι πληροφορίες όχι απλά είναι αρκετές αλλά περισσεύουν στο διαδίκτυο για αυτό το δισκάκι παραθέτω απλά δυο-τρία ωραία σημεία από τις σημειώσεις του δίσκου που ανήκουν στον ίδιο τον συνθέτη.
Το γνωστό "Psychedelic Sally" αναφέρει ο Silver το είχε σκεφτεί ως τίτλο αρκετό καιρό πριν γραφτεί η μουσική του και μάλλον το εμπνέυστηκε από τον τρόπο με τον οποίο ντυνόντουσαν οι κοπέλες εκείνη την εποχή. Αργότερα όπως λέει ήρθε η στιγμή να το ντύσει με μουσική και μετά την ηχογράφηση προέκυψαν και οι στίχοι του, τους οποίους υπογράφει ο ίδιος. (και υπάρχουν στο ένθετο).
Όσο για το ομώνυμο και εξαιρετικό "Serenade To A Soul Sister" γράφει:
"The term "Soul Sister" as applied here refers to no particular ethnic group but to all my sisters throughout the universe with an abundance of soul or inner depth. In particular I dedicate this tune to one who in my estimation is the greatest "Soul Sister"...My Mother.
Σημειώνω απλά (άλλωστε αναφέρεται και στο εξώφυλλο) ότι το σαξόφωνο που ακούγεται στα τρία πρώτα κομμάτια του δίσκου προέρχεται εκ στόματος του φοβερού Stanley Tarantine.
Καλή ακρόαση! Radiodada
Σύνθεση: (Tracks 01,02,03) Charles Tolliver: Trumpet Stanley Tarantine: Tenor Sax Horace Silver: Piano Bob Granshaw: Bass Mickey Roker: Drums
Σύνθεση: (Tracks 04,05,06) Charles Tolliver: Trumpet Benny Maupin: Tenor Sax Horace Silver: Piano John Williams: Bass Billy Cobham: Drums
About Horace Silver
When Horace Silver once wrote out his rules for musical composition (in the liner notes to the 1968 record, Serenade to a Soul Sister), he expounded on the importance of "meaningful simplicity." The pianist could have just as easily been describing his own life. For more than fifty years, Silver has simply written some of the most enduring tunes in jazz while performing them in a distinctively personal style. It's all been straight forward enough, while decades of incredible experiences have provided the meaning.
Silver was born in Norwalk, Connecticut on September 2, 1928. His father had immigrated to the United States from Cape Verde---and that island nation's Portuguese influences would play a big part in Silver's own music later on. When Silver was a teenager, he began playing both piano and saxophone while he listened to everything from boogie-woogie and blues to such modern musicians as Bud Powell and Thelonious Monk. As Silver's piano trio was working in Hartford, Connecticut, the group received saxophonist Stan Getz's attention in 1950. The saxophonist brought the band on the road and recorded three of Silver's compositions.
In 1951, Silver moved to New York City where he accompanied saxophonists Coleman Hawkins, Lester Young and many other legends. In the following year, he met the executives at Blue Note while working as a sideman for saxophonist Lou Donaldson. This meeting led to Silver signing with the label where he would remain until 1980. He also collaborated with Art Blakey in forming the Jazz Messengers during the early 1950s (which Blakey would continue to lead after Silver formed his own quintet in 1956).
During these years, Silver helped create the rhythmically forceful branch of jazz known as "hard bop" (chronicled in David H. Rosenthal's 1992 book, Hard Bop: Jazz and Black Music, 1955-1965). He based much of his own writing on blues and gospel---the latter is particularly prominent on one of his biggest tunes, "The Preacher." While his compositions at this time featured surprising tempo shifts and a range of melodic ideas, they immediately caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), Six Pieces of Silver (1956) and Blowin' The Blues Away (1959), which includes his famous, "Sister Sadie." He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty."
But it was a few years later when Silver would record one of his most famous songs, the title track to his 1964 album, Song For My Father. That piece combined his dad's take on Cape Verdean folk music (with a hint of Brazilian Carnival rhythms) into an enduring F-minor jazz composition. Over the years, it has become an American popular music standard, covered not only by scores of instrumentalists, but also such singers as James Brown.
As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).
After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger group of sidemen the true meaning of the music.
Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the world his life story in his own words as he just completed writing his autobiography, Let's Get To The Nitty Gritty (University of California Press, scheduled for fall 2006 release).
Αυτό το εξαιρετικό και αγαπημένο μου live δισκάκι είναι η δεύτερη φορά που το ποστάρω, καθώς αρκετοί φίλοι μου ζήτησαν να ανεβάσω ξανά (εκτός από το cd) το dvd που περιέχεται στην έκδοση αφού όλα τα προηγούμενα links έγιναν καπνός.
Για όσους αγνοούν την ύπαρξη αυτού του δίσκου ή τον ίδιο τον Renaud Garcia-Fons γράφω δύο τρία (ελπίζω) κατατοπιστικά πράγματα. Πρόκειται για live ηχογράφηση που έγινε στις 3 & 4 Ιουλίου του 2005 στο Schloss Elmau, ένα πολυτελές ξενοδοχείο που βρίσκεται στους πρόποδες του βουνού Wetterstein στη Βαβαρία της Γερμανίας, Συγκεκριμένα το πρώτο και ομώνυμο θέμα του δίσκου "Arcoluz" είναι αφιερωμένο στο Schloss Elmau το οποίο υπέστει σοβαρές ζημιές μετά από πυρκαγιά που ξέσπασε στο κτήριο, ελάχιστο χρονικό διάστημα μετά την ηχογράφηση του δίσκου.
Όσο τώρα για αυτό το εκπληκτικό μουσικό φαινόμενο που λέγεται Renaud Garcia-Fons από που να το πιάσεις και που να το αφήσεις. Αυτός ο γάλλος (αλλά με καταλανική καταγωγή) κοντραμπασίστας βγάζει σε πρωταγωνιστικό ρόλο ένα όργανο το οποίο παραδοσιακά μένει στα μετόπισθεν. Εδώ παιζοντας πεντάχορδο κοντραμπάσο (ελάχιστες φορές νομίζω ότι χρησιμοποιεί τετράχορδο), τη μία μετατρέπει το όργανο αυτό παίζοντας με το δοξάρι σε ένα "βαρύτονο" τσέλο και απ' την άλλη με χαρακτηριστική ευκολία σολάρει pizzicato λες και παίζει κιθάρα. Κι επειδή τα λόγια είναι φτώχια παρακάτω έχω αναρτήσει δύο video για να πάρετε μία πολύ γευστικότατη τζούρα.
Όσο αφορά το τρίο εκτός απ' τον Fons το απαρτίζουν ο εκπληκτικός flamengo κιθαρίστας Kiko Ruiz και ο Negrito Trasante στα κρουστά και στα τύμπανα.
Σε γενικές γραμμές ο ήχος αυτού του δίσκου θα μπορούσε να χαρακτηρισθεί ως "Flamengo Jazz" αλλά νομίζω ότι ένα καλό άκουσμα σε πείθει ότι τα κομμάτια του δίσκου (όλα σε συνθέσεις του Renaud Garcia-Fons) έχουν πολύ περισσότερα να πουν και βρίσκονται αρκετά μακρύτερα από τα στενά πλαίσια του είδους.
Καλή ακρόαση
Radiodada
Berimbass
Arcoluz
About Renaud Garcia-Fons
Renaud Garcia-Fons (* near Paris December 24, 1962 ) is a French double-bass player and composer, notable for his customised 5-stringed bass.
Garcia-Fons' father is the painter Pierre Garcia-Fons, and his family is of Catalonian origin. In the early 1980s Garcia-Fons enrolled at the Paris Conservatory; he has studied with François Rabbath who taught him his special technique of playing arco. Garcia-Fons is known for his melodic sense and his viola-like col arco sound.
Garcia-Fons is influenced by jazz and classical music and by flamenco, new musette, and "imaginary folklore" traditions. He started playing jazz in trumpet player Roger Guérin's band. From 1987 to 1993 he was part of a French all-double bass ensemble L'Orchestre de Contrebasses before he played in the Orchestre National de Jazz directed by Claude Barthélémy. He collaborated with jazz musicians like Jean-Louis Matinier, Michael Riessler, Nguyên Lê, and Michel Godard. He contributed to recordings of Gerardo Núñez and to Middle Eastern players such as Kudsi Erguner, Dhafer Youssef, and Cheb Mami.
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