Da série Vienna Master, algumas obras de Gounod, Smetana, Dvorak...0 1 - post by: madala - @
20071005
ANTOC - EVERGREEN (2007)
A Not Too Obvious Collection
Na América chamam “evergreens” às canções que ao longo dos tempos mantêm a sua frescura e continuam a ser gravadas como se tivessem sido acabadas de ser escritas. Para esta colectânea escolhemos dois exemplos e apresentamos versões gravadas em todas as décadas desde que foram compostas nos anos vinte. Variaram as técnicas de gravação e a forma de interpretar, mas St. Louis Blues (faixas ímpares) e It had to be you (faixas pares) continuam “evergreens”.
0 1 2 - post by: - @
01 W. C. Handy (20s)
02 Cliff Edwards
03 Cab Calloway (30s)
04 Benny Goodman
05 Billie Holliday (40s)
06 Betty Hutton
07 Louis Armstrong (50s)
08 Doris Day
09 Ida Cox (60s)
10 Tony Bennett
11 Helen Humes (70s)
12 Anita O’Day
13 Ruth Brown (80s)
14 Harry Connick Jr.
15 Teresa Brewer (90)
16 Liza Minnelli
17 Peter Cincotti (00s)
18 Rod Stewart
Na América chamam “evergreens” às canções que ao longo dos tempos mantêm a sua frescura e continuam a ser gravadas como se tivessem sido acabadas de ser escritas. Para esta colectânea escolhemos dois exemplos e apresentamos versões gravadas em todas as décadas desde que foram compostas nos anos vinte. Variaram as técnicas de gravação e a forma de interpretar, mas St. Louis Blues (faixas ímpares) e It had to be you (faixas pares) continuam “evergreens”.
0 1 2 - post by: - @
01 W. C. Handy (20s)
02 Cliff Edwards
03 Cab Calloway (30s)
04 Benny Goodman
05 Billie Holliday (40s)
06 Betty Hutton
07 Louis Armstrong (50s)
08 Doris Day
09 Ida Cox (60s)
10 Tony Bennett
11 Helen Humes (70s)
12 Anita O’Day
13 Ruth Brown (80s)
14 Harry Connick Jr.
15 Teresa Brewer (90)
16 Liza Minnelli
17 Peter Cincotti (00s)
18 Rod Stewart
20071004
VA - THE GYPSY CAMP VANISHES INTO...(1976)
Based on early stories by Maxim Gorky, this movie won the grand prize at the 1976 San Sebastian Film Festival. The flamboyant and rugged lifestyle of gypsies living in the Austro-Hungarian Empire early in the 20th century is beautifully screened in this story about the love between a young horse thief and a rebellious young gypsy girl and their tragic deaths during their marriage ceremony0 1 2 - post by: ivan - @
20071003
Carla Bley - ESCALATOR OVER THE HILL (1971)
The late '60s and early '70s played a great role in the development of youth culture and politics, but it was also a heady age for jazz, where the great changes of funk, rock, and counterculture seeped into improvised music and changed it forever. Not only were the established movers and shakers of jazz creating a stir, but also several new voices were greatly affecting what jazz could and would be. One of the most eclectic and brilliant of these was Carla Bley.
Bley in many ways can be seen as one of the few great jazz composers of the post bop era. The pianist is often regarded more for her work as a composer than for her chops. For an early example, on her then-husband Paul Bley's amazing ESP release Closer shows off some of Carla fine work as a composer. During this period, she became one of the founders of the Jazz Composer's Guild Orchestra before becoming a cult icon in the world of avant-garde jazz. In 1967 vibraphonist Gary Burton recorded her genius song cycle A Genuine Tong Funeral, where she was also featured as a pianist. This record first gave her public attention and led to her composing and arranging one of jazz's finest anti-war records, Charlie Haden's Liberation Music Orchestra. But the record that brought her into the full realm of jazz was Escalator Over the Hill.
Escalator Over the Hill is a huge, expansive, and all-encircling work that was originally released on a three-LP set. Even today, that seems a bit extreme for a debut release, but it's even more remarkable given that jazz at the time was experiencing a severe decline in popularity. But what is even more interesting is that the record works on the premise of being a conceptual opus. Though it has often been described as a jazz opera, that description fails on many levels. An opera, no matter how abstract, tells some sort of a story. Nowhere on this set are there any lyrics written by Paul Haines that really suggest a cohesive narrative.
The work by Haines, who is classified as a "jazz poet," consists of equal parts rambling beat poetry and interesting yet nonsensical lyrics that work more in the context of Captain Beefheart’s Trout Mask Replica than inside a unified story structure. Yet his bits are interesting and reflect the "far out" surrealism and dadaism that was a big part of this period. Although the lyrics are bit crazy, they appeal the free chaos of the record and even flesh out the overall ideas projected on the album. The album does work as a concept record, much in the same way as the Beatles' Sgt. Pepper’s Lonely Hearts Club Band, the Mothers of Invention's Freak Out!, or Ornette Coleman's orchestral masterpiece Skies of America. Working from track to track with bits of poetry and vocals, the record comes alive in a variety of ways.
Throughout the record Bley’s piano works in the background and allows her skills as a composer come to the forefront. As well, she shows a determination to work from traditional elements to all other extremes of music. Her combinations, ranging from bop to Kurt Weill's pre-WWII cabaret music to the sort of pure, raw aggression that could easily fit onto an early Anthony Braxton record, make this one of most interesting works in the canon of avant-garde jazz. Between the thirteen-minute cut-up opening piece "Hotel Overture" and the all-encompassing, Zappaesque 27-minute closing epic "...And it's Again," there's nothing left to the imagination.
Much like discs by the aforementioned Frank Zappa, the record utilizes rock at a variety of points that display aggression. Unlike Zappa's music, the rock doesn't really sound or grasp the conventions of rock music; here it seems merely like a tool, rather than a wholehearted expression, unlike the use of world music and jazz on the album. Unfortunately, at times the use of rock mixed with vocals sounds a bit too much like it might fit into the rock musical Hair. Being the first of its kind, Hair sounded like what New York theater composers and playwrights thought rock music and youth culture should sound like. But Hair was a product of its period as is this record. Musicians like Zappa and Steely Dan would find the perfect alchemy of rock and jazz.
Not to say that this set does not work. This opus is truly one of the most unique recordings that has ever graced modern music. Due to Bley's unrelenting fearlessness in surrounding her compositions with influences from around the world, this results are all the richer. Interestingly enough, the record features vocals from a young Linda Ronstadt on "Why," some clarion trumpet from Don Cherry, and a trio composed of John McLaughlin, Jack Bruce, and Paul Motian. As well, Carla gets started with early experimental big band pieces here. Overall this now two-CD set may seem a bit dated and grandiose, but nostalgic expanse is one of the great features of Escalator. It sounds unlike any other jazz recording ever. The genius of Carla Bley and the amazing ideas she incorporates into this record (and its followup, Tropic Appetites) make it worth searching out.
By Trevor MacLaren from All About Jazz
0 1 2 3 - post by: fabass - @
BIENVENIDO FABASS
Bley in many ways can be seen as one of the few great jazz composers of the post bop era. The pianist is often regarded more for her work as a composer than for her chops. For an early example, on her then-husband Paul Bley's amazing ESP release Closer shows off some of Carla fine work as a composer. During this period, she became one of the founders of the Jazz Composer's Guild Orchestra before becoming a cult icon in the world of avant-garde jazz. In 1967 vibraphonist Gary Burton recorded her genius song cycle A Genuine Tong Funeral, where she was also featured as a pianist. This record first gave her public attention and led to her composing and arranging one of jazz's finest anti-war records, Charlie Haden's Liberation Music Orchestra. But the record that brought her into the full realm of jazz was Escalator Over the Hill.
Escalator Over the Hill is a huge, expansive, and all-encircling work that was originally released on a three-LP set. Even today, that seems a bit extreme for a debut release, but it's even more remarkable given that jazz at the time was experiencing a severe decline in popularity. But what is even more interesting is that the record works on the premise of being a conceptual opus. Though it has often been described as a jazz opera, that description fails on many levels. An opera, no matter how abstract, tells some sort of a story. Nowhere on this set are there any lyrics written by Paul Haines that really suggest a cohesive narrative.
The work by Haines, who is classified as a "jazz poet," consists of equal parts rambling beat poetry and interesting yet nonsensical lyrics that work more in the context of Captain Beefheart’s Trout Mask Replica than inside a unified story structure. Yet his bits are interesting and reflect the "far out" surrealism and dadaism that was a big part of this period. Although the lyrics are bit crazy, they appeal the free chaos of the record and even flesh out the overall ideas projected on the album. The album does work as a concept record, much in the same way as the Beatles' Sgt. Pepper’s Lonely Hearts Club Band, the Mothers of Invention's Freak Out!, or Ornette Coleman's orchestral masterpiece Skies of America. Working from track to track with bits of poetry and vocals, the record comes alive in a variety of ways.
Throughout the record Bley’s piano works in the background and allows her skills as a composer come to the forefront. As well, she shows a determination to work from traditional elements to all other extremes of music. Her combinations, ranging from bop to Kurt Weill's pre-WWII cabaret music to the sort of pure, raw aggression that could easily fit onto an early Anthony Braxton record, make this one of most interesting works in the canon of avant-garde jazz. Between the thirteen-minute cut-up opening piece "Hotel Overture" and the all-encompassing, Zappaesque 27-minute closing epic "...And it's Again," there's nothing left to the imagination.
Much like discs by the aforementioned Frank Zappa, the record utilizes rock at a variety of points that display aggression. Unlike Zappa's music, the rock doesn't really sound or grasp the conventions of rock music; here it seems merely like a tool, rather than a wholehearted expression, unlike the use of world music and jazz on the album. Unfortunately, at times the use of rock mixed with vocals sounds a bit too much like it might fit into the rock musical Hair. Being the first of its kind, Hair sounded like what New York theater composers and playwrights thought rock music and youth culture should sound like. But Hair was a product of its period as is this record. Musicians like Zappa and Steely Dan would find the perfect alchemy of rock and jazz.
Not to say that this set does not work. This opus is truly one of the most unique recordings that has ever graced modern music. Due to Bley's unrelenting fearlessness in surrounding her compositions with influences from around the world, this results are all the richer. Interestingly enough, the record features vocals from a young Linda Ronstadt on "Why," some clarion trumpet from Don Cherry, and a trio composed of John McLaughlin, Jack Bruce, and Paul Motian. As well, Carla gets started with early experimental big band pieces here. Overall this now two-CD set may seem a bit dated and grandiose, but nostalgic expanse is one of the great features of Escalator. It sounds unlike any other jazz recording ever. The genius of Carla Bley and the amazing ideas she incorporates into this record (and its followup, Tropic Appetites) make it worth searching out.
By Trevor MacLaren from All About Jazz
0 1 2 3 - post by: fabass - @
BIENVENIDO FABASS
20071002
20071001
Rashid Taha - THE DEFINITIVE COLLECTION (2007)
Nascido em 1958, em Orão (Argélia). Aos 12 anos, Rachid mudou-se para a França, onde o seu pai já estava instalado. A sua origem argelina e a vida em França fizeram com que o arista se tornasse culturalmente "mestiço". A sua música é bastante marcada pelo Rai, Rock, techno e Punk. Rachid Taha aparece na cena musical através do seu grupo "Carte de Sejour", em 1983. A partir de 1989, o cantor seguiu a sua carreira em solo. Considerado como um artista "engagé", Rachid sempre defendeu a democracia e a tolerência contra o racismo, a discriminação e o fundamentalismo.
0 1 2 - post by: rima - @
20070928
ANTOC - BILLBOARD TOP 20 UK (1967)
A Not Too Obvious CollectionAs canções que fazem parte desta colectânea foram as 20 mais vendidas no Reino Unido em Setembro de 1967. Foi uma das melhores safras dos famosos anos 60.
0 1 2 - post by: tune smith - @
01 Scott McKenzie – San Francisco
02 Tom Jones – I’ll never fall in love again
03 Engelbert Humperdinck – The last waltz
04 Alan Price Set – The house that Jack built
05 Tremeloes – Even the bad times are good
06 Beatles – All you need is love
07 Anita Harris – Just loving you
08 Stevie Wonder – I was made to love her
09 Dave Davies – The death of a clown
10 Rolling Stones – Dandelion
11 Monkees – Pleasant valley Sunday
12 Keith West – Excerpt from a teenage opera
13 Beach Boys – Heroes and villains
14 Johnny Man Singers – Up up and away
15 Mamas & Papas – Creeque Alley
16 Amen Corner – Gin house blues
17 Vikki Carr – It must be him
18 Small Faces – Itchycoo Park
19 Nancy Sinatra – You only live twice
20 Cliff Richard – The day I met Marie
20070927
N. Kennedy, K.Band - EAST MEETS EAST (2003)
Sublime, intriguing music, the seductive & sultry voice of Natacha Atlas singing "Ajde Jano" grabbed my attention when I heard this CD for the first time. Add to this, the unique improvisations and "voice" of the violin played by Nigel Kennedy - this CD is dynamite. The whole CD is filled with traditional and gipsy music, captivating, soulful, haunting, emotional melodies & tunes from the past.0 1 2 - post by: ivan - @
20070925
20070924
Kudsi Erguner - ISLAM BLUES (2001)
Kudsi Erguner é um dos músicos de topo da "ney"Descendente de uma família de músicos também eles exímios intérpretes desse instrumento, estudou música clássica e iniciou a sua carreira de músico em 1969 como membro da Istanbul Radio Orchestra tendo-se seis anos mais tarde mudado para Paris para continuar os seus estudos musicais e estudar Arquitetura. Colaborou com Peter Brook's nos filme, Meetings With Remarkable Men e Mahabharata. Entre 1986 e 1987 passou largos períodos no Paquistão recolhendo e documentando música tradicional para a Radio France e France Musique. Em finais de 1987, dá um concerto de música Otomana no Royal Albert Hall in London.
0 1 2 - post by: rima - @
20070922
Shadows - THEMES & DREAMS (1991)
Com uma sonoridade inconfundivel, devido ao trabalho dos dois guitarristas, Hank Marvin e Bruce Welch, e com os restantes elementos da banda numa constante mudança aí está uma primeira colectânea deste grupo Britânico que tem a particularidade de ter servido como banda de suporte de Cliff Richard.0 1 2 - post by: madala - @
20070921
ANTOC - AUTUMN (2007)
A Not Too Obvious CollectionO Outono foi fonte de inspiração para muitas canções. O fim dos amores de Verão, a melancolia das cores da natureza e a queda das folhas foram espelhados em muitas composições. Esta colectânea reúne vinte interpretações não demasiado óbvias.
0 1 2 - post by: tune smith - @
01 Barbra Streisand – Autumn
02 Billy Eckstine – Early Autumn
03 Dominique Eade – Late Autumn evening
04 Freddy Cole – Autumn love
05 Gloria Lynn – ‘Tis Autumn
06 Johnny Hartman – Autumn serenade
07 Peggy Lee – Autumn in Rome
08 Tony Bennett – Autumn waltz
09 Toni Arden – Autumn in New York
10 Nat ‘King’ Cole – Autumn leaves
11 Leny Eversong – Autumn concerto
12 John Pizzarelli – The first hint of Autumn
13 Linda Eder – When Autumn comes
14 Van Morrison – Golden Autumn day
15 Denise Jannah – Autumn nocturne
16 Bobby Bare – Autumn of my life
17 Donna Summer – Autumn changes
18 Bobby Goldsboro – Blue Autumn
19 Justin Hayward – Forever Autumn
20 Kinks – Autumn almanac
20070920
KAL - TRADITIONAL GYPSY MUSIC (2002)
Kal play traditional Romani folk music and contemporary Romani music based on traditional tunes; Kal use guitar, violin, accordions, acoustic bass, percussion and vocals in the production of their music. Kal’s acoustic instrumentation reflects an older style of Romani music from before the time of electric instruments. In these songs you can find much in common with a wide variety of musical styles, such as Serbian, Vlach, Macedonian and Latin.0 1 - post by: ivan - @
20070917
VA - RAI THE BEST OF ... (2000)
A raíz do Rai é a música das antigas tribos beduinas que utilizavam somente o Guelal e a Gasba para acompanhar a voz do Cheikh e/ou da Cheikha. Foi com a Cheikha Rimitti, nos anos 20, que esse género deu o seu primeiro salto. O RAI, ao longo dos anos, sofreu várias influências instrumentais e difusões rítmicas. Entre o novo e o velho Rai e o "blues" e o "POP" Rai , este Cd apresenta uma interessante selecção das suas melhores músicas.
0 1 2 - post by: rima - @
0 1 2 - post by: rima - @
Subscribe to:
Comments (Atom)