miércoles, 18 de enero de 2017
martes, 17 de enero de 2017
domingo, 15 de enero de 2017
domingo, 8 de enero de 2017
sábado, 7 de enero de 2017
Ian Powrie (1923-2011) was born at Strathardle, near Blairgowrie in Perthshire. His father, Will Powrie, was an accomplished melodeon player, and recorded several excellent sides for Beltona during the early 1930s, and some with his very young son Ian in 1933. At age twelve Ian was playing in his father's dance band, but on piano accordion! In 1949 he formed his first band, this time playing fiddle while his brother Bill played accordion.
At Home (Grassmere GRALP 27, 1988)
Ian Powrie (fiddle), Jimmy Blue (accordion), Mickie Ainsworth (accordion), Joan Blue (piano), Paul Clancy (piano), Dave Barclay (bass), Jack Cooper (drums), James Lindsay (synthesiser)
Etiquetas: Ian Powrie
viernes, 6 de enero de 2017
Not much info about this one, just about the sounds recorded in this tape. The pong lang (Thai: โปงลาง) is a log xylophone from the Isan region of northeast Thailand.
The pong lang has 12 wooden bars that, with a strong rope, are tied together in a row at each end. The instrument can be played solo or in an ensemble. The pong lang is used for all kinds of occasions, especially for festivals and ceremonies.
You'll head also some electric organs wah guitar.
Take the download and enjoy it!
The City Waites is a British early music ensemble. Formed in the early 1970s, they specialise in English music of the 16th and 17th centuries from the street, tavern, theatre and countryside — the music of ordinary people. They endeavour to appeal to a wide general audience as well as to scholars. They have toured the UK, much of Europe, the Middle East, the Far East and the USA, performing everywhere from major concert halls and universities to village squares.
Etiquetas: The city Waites
American funk, soul and jazz composer and vibraphone player born 10 September 1940 in Los Angeles.
Thanks to his trombone playing father and piano teaching mother, he became immersed in music early on.
This is a soundtrack produced, composed, and arranged by Roy Ayers. It was released in 1973 on Polydor Records and peaked at number 31 on the jazz albums chart.
In 1972 Swedish music archivist Begnt Olsson tracked down Tillis at his church in Samson, Alabama, and recorded these tracks over three sessions.
He was frail and old when Olsson found him, but he played the guitar, both electric and acoustic, with a mosquito-like fragility that is truly transcendent
miércoles, 4 de enero de 2017
Born: 3 December 1911 in Milan, Italy. Died: 10 April 1979 in Rome, Italy.
Born into a musical family in Milan, Rota studied at the conservatory there under Ildebrando Pizzetti. His first oratorio, L'infanzia di San Giovanni Battista, was performed in Milan and Paris as early as 1923 and his lyrical comedy, "Il Principe Porcaro", was composed in 1926.
Encouraged by Arturo Toscanini, Rota moved to the United States where he lived from 1930 to 1932. He won a scholarship to the Curtis Institute of Philadelphia, where he took classes in orchestra with Fritz Reiner and had Rosario Scalero as an instructor in composition. Returning to Milan, he wrote a thesis on the renaissance composer Gioseffo Zarlino.
Rota earned a degree in literature from the University of Milan. In 1937, he began a teaching career that led to the directorship of the Bari Conservatory, a title he held from 1950 until his death in 1979. During the 1940s, Rota composed scores for more than 32 films, including Renato Castellani's Zazà (1944). His association with Fellini began with "Lo sceicco bianco" (1952), followed by "I vitelloni" (1953) and "La strada" (1954).
They continued to work together for decades, and Fellini recalled: 'The most precious collaborator I have ever had, I say it straightaway and don't even have to hesitate, was Nino Rota — between us, immediately, a complete, total, harmony... He had a geometric imagination, a musical approach worthy of celestial spheres. He thus had no need to see images from my movies. When I asked him about the melodies he had in mind to comment one sequence or another, I clearly realized he was not concerned with images at all. His world was inner, inside himself, and reality had no way to enter it.'
Rota's score for Fellini's "8½" (1963) is often cited as one of the factors which makes the film cohesive. His score for Fellini's "Juliet Of The Spirits" (1965) included a collaboration with Eugene Walter on the song, "Go Milk The Moon" (cut from the final version of the film), and they teamed again for the song "What Is A Youth?", part of Rota's score for Franco Zeffirelli's "Romeo And Juliet".
In all, Rota wrote scores to more than 150 films. Rota wrote several concerti and other orchestral works as well as piano, chamber and choral music.
After his death Rota's music was the subject of the 1981 tribute album "Amarcord Nino Rota". Gus Van Sant used some of Rota's music in his 2007 film "Paranoid Park". His 1977 opera "The Italian Straw Hat", an adaptation of the play by Eugène Labiche was presented by the Santa Fe Opera.
In 2005 his opera "Aladino e la lampada magica" ("Aladdin And The Magical Lamp"), with Cosmin Ifrim in the title role, was performed in German translation at the Vienna State Opera and released on DVD.
Written for a radio production by RAI in 1950, his short opera, "I due timidi" ("The Two Timid Ones"), will be presented by the Santa Fe Opera as part of their pre-season "One-Hour Opera" program in May-June 2008
Recorded at Studio des Dames, Paris, France.
A1 Voyageur 2:50
A2 On A Voulu 2:18
A3 Ses Pieds 6:37
A4 Doute Doute 4:00
B1 Moi De La Terre 4:03
B2 Je Suis De Là-Bas Baba 2:30
B3 Your Children Are Not Your Children 4:09
B4 Si Tu Sais Et Que Je Ne Sache Pas 2:24
B5 Rendez-Vous À La Porte De Verre 5:15
Etiquetas: Catherine Le Forestier
martes, 3 de enero de 2017
Sun Ra was an American jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. He was inducted into the Alabama Jazz Hall of Fame in 1979. For much of his career, Ra led "The Arkestra", an ensemble with an ever-changing name and flexible line-up.
Born and raised in Alabama, Blount would eventually become involved in the 1940s Chicago jazz scene. He soon abandoned his birth name, taking the name Sun Ra (after Ra, the Egyptian God of the Sun) and developing a complex persona and mythology that would make him a pioneer of Afrofuturism: he claimed he was an alien from Saturn on a mission to preach peace, and throughout his life he consistently denied any ties to his prior identity. His widely eclectic and avant-garde music would eventually touch on virtually the entire history of jazz, ranging from swing music and bebop to free jazz and fusion, and his compositions ranged from keyboard solos to big bands of over 30 musicians. From the mid-1950s until his death, Ra led the musical collective The Arkestra (which featured artists such as Marshall Allen, John Gilmore, June Tyson throughout its various iterations). Its performances often included dancers and musicians dressed in elaborate, futuristic costumes inspired by ancient Egyptian attire and the space age.
Though his mainstream success was limited, Sun Ra was a prolific recording artist and frequent live performer, and remained both influential and controversial throughout his life for his music and persona. He is now widely considered an innovator; among his distinctions are his pioneering work in free improvisation and modal jazz and his early use of electronic keyboards. Over the course of his career, he recorded dozens of singles and over one hundred full-length albums, comprising well over 1000 songs, and making him one of the most prolific recording artists of the 20th century. Following Sun Ra's death in 1993, the Arkestra continues to perform.
lunes, 2 de enero de 2017
Michel Gérard Joseph Colucci (28 October 1944 – 19 June 1986), better known as Coluche (French pronunciation: [kɔˈlyʃ]), was a French comedian and actor who was famous for his irreverent sense of humour.
Colucci adopted "Coluche" as a stage name at age 26, when he began his entertainment career. He became known for his irreverent attitude towards politics and the establishment, and he incorporated this into much of his material. He was one of the first major comedians to regularly use profanities as a source of humor on French television.
In a 30 October 1980 press conference at the theatre of his one-man show, Coluche announced his candidacy for the French presidential election. He was not taken seriously until the Sunday newspaper Le Journal du Dimanche published a poll on 14 December 1980 showing Coluche supported by 16% of potential voters.
His "campaign" was supported and organized by Parisian publisher Charlie Hebdo, with slogans such as "Before me, France was divided in two; now it will be folded into fourths", and "Coluche - the only candidate who has no reason to lie". However, he withdrew after pressure from serious politicians.
viernes, 30 de diciembre de 2016
1 –Formulars Dance Band - Never Never Let Me Down
2 –The Hygrades - Keep On Moving
3 –Ify Jerry Krusade - Everybody Likes Something Good
4 –The Hygrades - In The Jungle (Instrumental)
5 –The Strangers - Onye Ije
6 –The Hykkers - Stone The Flower
7 –The Funkees - Baby I Need You
8 –Waves - Mother
9 –Ofo & The Black Company - Beautiful Daddy
10 –War-Head Constriction - Graceful Bird
11 –The Magnificient Zeinians - Ije Udo
12 –The Apostles - Never Too Late
13 –Aktion - Groove The Funk
14 –Wrinkar Experience - Ballad Of A Sad Young Woman
15 –Founders 15 - I Can't Be Satisfied
16 –Tirogo - Float
17 –Question Mark - Scram Out
18 –P.R.O. (People Rock Outfit) - Tell Me
jueves, 29 de diciembre de 2016
miércoles, 28 de diciembre de 2016
martes, 22 de noviembre de 2016
1972 album from the Chicago-based jazz sextet. While keeping alert to John Coltrane's spirituality, the group follows a no-nonsense, straight-forward jazz course with sidesteps into the freer jazz zones, quite natural for band pianist Ken Chaney and saxophonist-flautist Ari Brown given their involvement with the Afro-centric AACM (Association for the Advancement of Creative Music)
lunes, 14 de noviembre de 2016
This is Misha Alperin's exploration of fusing Bulgarian folk/traditional music with Russian jazz improvisations & the Tuvan music of Huun-Huur-Tu. What otherwise could become a clash or cacophony of cultures, melds into a unity and harmony which is very enjoyable and natural.
Angelite (The Bulgarian Voices, a female choir/chorus) starts out the first track, later a male Russian soloist sings a totally different song as a complementary counterpoint: beautiful, spiritual, transcendental!!! The qualities are enhanced by the combination of cultures. The second track, "Sunrise" is like a worship service: Angelite provides the harmonies, just like waves rushing up onto the shore, creating sculptures of sound. Track #3, "Early Morning with My Horse", starts out with the "clip - clop" of horse's hooves on a pavement, the sound for which the Tuvans are famous. It continues with their unique male vocals accompanied by ancient Mongolian instruments, combined with the harmonies of Angelite. Track #10 is the only disappointment. The liner notes explain the music is based on the composer's wife's experiences in Norway, hearing how the Norwegians called their cows. Well, it could be intriguing, if done with taste & creativity, since the Tuvans create masterful hoof beats with their instruments ... Instead, the outcome is ludicrous, adults "mooing", like kindergarten children! Please leave the cows in the pasture!! The composer is forgiven as it is only 1 track out of 10 which falls short of artistic merit. Obviously, he lost creative perspective (or had a deadline to meet). 90% of the CD is great! The ethereal voices of Angelite are without comparison! The Moscow Art Trio provides the modern instrumentation: piano, French horn, clarinet, and folk reeds. Huun-Huur-Tu provide the earthy rhythms, ancient instruments, and authentic vocalizations, such as "throat singing" from their Mongolian homeland ('Throat singing' has similarities to Buddhist chanting). If you are open to artistic exploration, try folk-jazz fusion, it is out-of-the-ordinairy and will lift your spirits.
Siren is a bit of an oddball band, having started out with a couple of strong, progressive-tinged demos in a time when prog metal was rare; later, their debut didn't exactly fail utterly, but rather failed to satisfactorily live up to the potential seen in the demos. Here, the band goes for a bit of a different sound; it's much more streamlined and polished (though not in a commercial way), but unfortunately a good chunk of the rough character of the earlier releases has been polished right out.
On Financial Suicide, Siren exhibit a mildly progressive, mildly thrashy sound, reminiscent of a less quirky version of later Mekong Delta (think Kaleidoscope with less Rush). It's little wonder then that this release was on Delta mastermind Ralph Hubert's Aaarrg label. Doug Lee takes on vocal duties on this album, and while he's no virtuoso, and no personality like Dio or Halford, his high-pitched nasal whine/rasp is actually quite pleasing. It's not surprising then that Hubert snapped him up for his band after the demise of Siren. Siren's riff style is tinged with thrash, and though generally simple, occasionally exhibits a technical flair. The problem is, it's also pretty damn generic. There aren't any really horrible riffs or blatant ripoffs, just very little that's noteworthy; and while the songs aren't incredibly repetitive, their lack of good ideas often makes them seem so. Rather than having glaring faults or being actively irritating, Financial Suicide just suffers from a deficiency of actively good qualities. It doesn't help that the songs aren't short, and that the production is decidedly bland; not horrible, but with most of the aggression polished right out (think a weaker Kaleidoscope).
sábado, 12 de noviembre de 2016
American funk group from Bronx, New York City.
First formed in 1968 as Sabu & The Survivors, renamed to GQ around 1978.
Emanuel “Rahiem” LeBlanc – lead vocals, rhythm guitar
Keith Crier – bass guitar, vocals
Kenny Banks – drums, vocals
Herb Lane – keyboards, vocals
jueves, 10 de noviembre de 2016
Ok people, I'll follow with this one for all of you!
Michigan garage band, the drummer is now a really well know vocalist.
This one consists of twenty-four cover tunes, all ultra-crude home recordings.
Googling more info if you like what you hear!
miércoles, 9 de noviembre de 2016
martes, 8 de noviembre de 2016
Don Drummond was a Jamaican ska trombonist and composer. He was one of the original members of The Skatalites, and composed many of their tunes.
Drummond was born at the Jubilee Hospital in Kingston, Jamaica, to Doris Monroe and Uriah Drummond. His musical career began in 1950 with the Eric Dean's All-Stars where he performed jazz. He continued into the 1960s with others, including Kenny Williams.
After performing jazz for a decade, Drummond began performing ska and in 1964 Don joined The Skatalites. With Drummond's politicized conversion to the Rastafari movement, other band members followed his lead. He became a household name in Jamaica, before suffering mental problems. He was rated by pianist George Shearing to be among the world's top five trombone players.
In 1965 Drummond was convicted of the murder of his longtime girlfriend, Anita "Marguerita" Mahfood, an exotic rhumba dancer and singer, on 1 January 1965. He was ruled criminally insane and imprisoned at Bellevue Asylum, Kingston, where he remained until his death four years later.
Ebenezer Obey (born 3 April 1942 as Ebenezer Remilekun Aremu Olasupo Obey-Fabiyi in Idogo, Nigeria), nicknamed the "Chief Commander", is a Nigerian jùjú musician.
He began his professional career in the mid-1950s after moving to Lagos. After tutelage under Fatai Rolling-Dollar's band, he formed a band called The International Brothers in 1964, playing highlife–jùjú fusion. The band later metamorphosed into Inter-Reformers in the early-1970s, with a long list of Juju album hits on the West African Decca musical label.
Obey began experimenting with Yoruba percussion style and expanding on the band by adding more drum kits, guitars and talking drums. Obey's musical strengths lie in weaving intricate Yoruba axioms into dance-floor compositions. As is characteristic of Nigerian Yoruba social-circle music, the Inter-Reformers band excel in praise-singing for rich Nigerian socialites and business tycoons. Obey, however, is also renowned for Christian spiritual themes in his music and has since the early-1990s retired into Nigerian gospel music ministry.
Etiquetas: Chief Commander Ebenezer Obey
The old timey dance music of the American southern mountains, New England and the Celtic isles are resurrected through the playing of multi-instrumentalist Pete Sutherland. A former member, along with hammer dulcimer player Malcolm Dalglish and guitarist Grey Larsen, of mid-1980s folk trio, Metamora, Sutherland has continued to expand string band traditions as a member of The Clayfoot Strutters and Mac Benford's Woodshed All Stars. Sutherland has also recorded as a soloist and with his wife, Karen.
Sutherland's earliest musical memories reflect the opera and musical theater albums favored by his parents. Although he played with several teenage rock bands, he most enduring musical outlet has come through traditional folk music. Inspired by Vermont-based fiddler Louie Beaudoin and Appalachian fiddlers Tommy Jarrell and Ed Haley, Sutherland began performing with the Arm & Hammer String Band in 1973. Moving to Burlington, Indiana in the early-1980s, he helped to form Metamora. Together with the band, Sutherland recorded six albums including the score of the Disney film, "Tuck Everlasting."
"Poor Man's Dream," Sutherland's debut solo album, was released in 1984 and combined traditional fiddle tunes with original material. Shortly after the disbanding of Metamora, in 1989, Sutherland returned to his home state where he currently lives.