Tuesday, February 27, 2007
Monday, February 26, 2007
Paul Semana : guitars, vocals
Luc Bertin : piano, moog, melotron, vocals
Doudou Weiss (who played in Magma): drums, percussions, vocals
Ian Jelfs : guitars, vocals - Alain Suzan : bass, guitars, flute, vocals
moog's programmation : Dominique Blanc-Francard
03/ Arrêtez le Monde (part I)
05/ Il est
06/ Arrêtez le Monde (part II)
08/ Le Roseau
09/ Quelqu'un qui t'aime
10/ Franky l'oiseau
11/ Le cercle
Track 8 - Le roseau:
Sunday, February 25, 2007
Led by the excellent guitarist Christian Beya, Atoll proposes very beautiful melodies, a high stamp of voice perched, and very interesting compositions.
Titles such as L'Océan", "Quelque Part" or "Coup de Coeur", if they've a little aged about sounds, they remain not less very delicious in the listening there. We can also find of very beautiful instrumental as "Sahara", splendidly interpreted in the classic guitar, or "Odyssée", more rock in the spirit, but always making the beautiful part for guitars.
We'll underline the excellent quality of the vocals, it is clear, just, well mixed. Tracks follow each other while showing the same degree of quality. The last song perfectly ends this album An excellent band, highly recommanded.
02/ Quelque Part
03/ Coup de Coeur
04/ Tu sais
07/ Hymne à Laiah
09/ Lune noire
10/ L'amour n'a pas de drapeau
Link in comments
Thursday, February 22, 2007
And the rest of side two is just kick-ass. I can’t go wrong if I’m deciding what to throw on and I choose this side. I can listen to a fantastic single and then jam the rest of the way through the record, djembes and everything. Psychedelic Afro-funk! Which is so good and I go to flip the record, but, strangely, side 1 is dissapointing. Because I expect it to be better than side 2, cuz it’s side 1 of this awesome record.
But it’s more subdued, less exciting, and the first song completely stops the pulse of the record so far (if listened to from side 2 first). It’s like an introduction to who they are, with a lame slow drum intro and then some music to kind of show us what we’re about to hear. And then the songs sound choppy and mixed up. They can’t decide if they want to make more songs like, Yesterday, or jam out like they do so well. The first two songs with vocals suck, and then they start jamming for a song, which sounds sweet. And then the next song goes to a half jam/half Yesterday, which sucks again. And the last song of side 1 is a chant, and kinda sucks too.
So I think if this album was contructed better and the actual concept was re-evaluated the album would be a classic in 70s Afro-funk. As it stands, side 2 is so good that the album is definitely still worth checking out."
The result is a difficult album, with large use of horn and string instruments that won't probably meet the taste of traditional prog fans.
The band was only active between 1972 and 1973 and disappeared without trace as a group, while some of the members, such as Mosconi and Vismara, continued their music research as performers in contemporary art galleries."
Oriental Wind have performed for concerts and at major festivals in such cities as Athens, Amsterdam, Balver Höhle, Bangalore, Barcelona, Basel, Berlin, Bern, Bombay, Brussells, Calcutta, Copenhagen, Edinburgh, Frankfurt, Glasgow, Hannover, Hamburg, Helsinki, Istanbul, London, Luxemburg, Madras, Montreaux, Munich, Nimes, North Sea Festival, Oslo, Paris, Rotterdam, Stockholm and others." some more info here
Irrespective of how genuine the band actually are, this album is part meditative, part ambient and heavily Indian influenced. All in all an Aussie oddity. Full artwork included."
(After uploaded the album, i take a look for a review, and i noticed this album previously sent to MIdastouch-Aussie60-70s blog, so take this beautiful album as a re-up :) )
Invitation to dance..
Kamisama nante iru no kai..
Wednesday, February 21, 2007
01. Gongmaison - Flying Teacup
02. Normil Hawaiians - Eddie Wareing
03. Charles Daniel - Is This What You Want
04. Daevid Allen - Gaia
05. Oroonies - Wdjawiek Babka
06. Rabbit's Hat - Hippy Anthem
07. Amon Duul & Robert Calvert - Adrenalin Rush
08. Mother Gong - We Women
09. Mr. Quimby's Beard - Travelling
10. Ullulators - Feel It
11. Groundhogs - Ain't No Slaver
12. Tangle Edge - The Cryptic Empire
13. The Is - Sleeping
14. Dean Carter - Until The New Year
links in comments
Sunday, February 18, 2007
Tuesday, February 13, 2007
Saturday, February 10, 2007
Thursday, February 08, 2007
01. Put On Your Nightcap ...
Wednesday, February 07, 2007
This is a soundboard and is very good quality, but I could not find a better bit rate, so apologies.
I took the photo at Womadelaide from the same tour. Its shaky for one good reason, you cannot listen to Tinariwen live and remain still. It is hypnotic, rhythmic and above all the sound of 3 Fender guitars and one Fender Bass with singing, chanting underpinned by a single drum.
This is a very different show to the ones I saw here in Adelaide and very different again from their second last album "Amassakoul " This really is an essential purchase, this show only a taster.
None of the tracks are listed and I have not tried to identify them, that would be too much effort, so apologies in advance.
Link in comments
Tuesday, February 06, 2007
Iasis are : Kostas Baltazanis - guitars, Petros Kourtis - percussion with George Palamiotis on bass
Special Guests :
Binka Ivanova Koteterova - voice,Galina Krasteva Durmuchliyska - voice,Nina Bojanova Petrova - voice,David Lynch - sax,flute,Socratis Sinopoulos - lyre,Dimitris Tsopanelis - vocals,Andreas Pappas - percussion,Vangelis Karypis - percussion
link in comments
Monday, February 05, 2007
El Jardin De La Presencia Divina..
Friday, February 02, 2007
Except for the last track the album is comparable in mediative mood / concept with the Yatha Siddra's Meditation Mass. The last track is more free jazz inspired, loosing it structure a bit at the end. Also two other tracks are more progressive with a free jazz fusion touch. Very good.."
History of the world..
"Na verdade o nome original do conjunto era LuzAzul. Entretanto por motivos comerciais da gravadora resolveram mudar o nome. Não foi a única nem a mais importante mudança. Ainda éramos inexperientes e ávidos para realizar nossa primeiro disco , entrar no mercado fonográfico. Fizemos muitas concessões e o som original do grupo foi bastante adulterado, muito em função de se enquadrar no som da moda da época. Apesar de tudo ninguem conseguiu encobrir o que havia de mais importante naquele trabalho, os timbres perfeitamente casados dos irmãos. Acostumados a cantar entre si, não havia necessidade alguma de ensaio. A coisa fluia naturalmente e direcionava os arranjos do maestro Luiz Roberto de Oliveira. A grande novidade do trabalho era o repertório agreste, com cheiro de mato e toques psicodélicos, natural da região central do Brasil, um lugar pouco explorado e conhecido musicalmente. A apresentação do visual era bastante incomum. Com roupas de malha pintadas pelo artista plástico matogrossense João Sebastião, as cores e a exuberância da paisagem pantaneira já dava prenúncios de uma preocupação ecológica na formação cultural do nosso trabalho, muito tempo antes de sequer se ouvir a palavra ecologia
Mostram fundamentalmente a valorização dos sons da região, as alegrias, as belezas, os dizeres matogrossenses, e a preocupação pela destruição da mata e o equilíbrio com a natureza, atitude que lhes valeu as mais variadas definições por parte dos críticos especializados. Com "Tetê e Lírio Selvagem", já começa a falar-se do movimento musical matogrossense que na fusão de compositores, cantores, poetas, mostra uma força nova como exemplo da esperança humana, seja qual for sua região, e a cor da sua linguagem. (O Estado de Mato Grosso / Cuiabá, 21 de Março de 1979)"
thanks to progdog ;)
Quando Você Tá Por Perto..
soy ave de paso...
Alongside with that he started playing traditional jazz with double-bass player Mikhail Karetnikov and avant-garde jazz in Three O project with saxophonist Sergei Letov and tuba player Arkady Kirichenko (1985-1990).
Since the collapse of the former Soviet Union Shilkloper has worked independently both as a solo performer and, since 1988, in a duo with piano player Misha Alperin (since 1991, with Alperin and Starostin in the Moscow Art Trio) and in other formations.
He played with Lionel Hampton, Elvin Jones, Lew Soloff and Herb Ellis. He also has worked with Pierre Favre, Louis Sclavis, Rabih Abou-Khalil, Jon Christensen, Bob Stewart.
Since 1997, he also plays in two Russian trios: one with St. Petersburg's best jazzmen - acoustic bassist Vladimir Volkov and piano player Andrei Kondakov and read more here
thanks to yarro :)
New Jerusalem way..
If we wanted to describe "CARGO" in a few words, we would say that it is the new Greek sound. It all began by a group of new musicians from Kavala (a beautiful city of North Greece) who love and also teache traditional music. From this group emerged four composers and three singers. The aroma of tradition is intense, both in the orchestration and in the musical paths in which many of the tracks move. But further to this, the sound is of today, direct, and most importantly, alive. In a succession of their songs and music, KONTRABANDO make us accomplices to their illegal transaction from our first hearing. The "CARGO" is simply the "cargo" of good music, which might not be "illegal", but it is certainly difficult to find. read more here
months before when i first meet with manelis, i requested a folky album from him from new scene of Greece. He sent this album to me, Till i have the album; i like to listen it with pleasure, so my thanks go to manelis :)
Si Bheag Si Mhor..
Gjallarhorn features world music that is firmly rooted in the Swedish folk music of Finland, as well as the Norwegian and the Swedish traditions. Its talented performers offer the listener a personal, punchy, and yet nuanced, sound-world which rings to the echoes of the ancient Scandinavian folk traditions.
Through their intense and witty interpretations, allied to an innovative combination of instruments, the group creates a fascinating landscape around their mythical medieval ballads, hymns and whirling minuets.
Gjallarhorn's dynamic and expressive arrangements of world music have brought the old Nordic tonalities to modern audiences within fields as diverse as jazz, rock and world music.
As one of the leading exports within the field of Nordic music, the group also frequently tours the international arena, appearing in leading world music festivals.
Gjallarhorn has been fêted in many countries. Honours received include the coveted French "LaMonde de la Musique CHOC" and "Trad Magazine Bravos!!!" awards.
thanks to Claude & Yann :)
Warsaw Village Band was intended to be a response to this trend by exploring Poland's musical traditions and making them relevant to its new capitalist economy. Member Wojciech Krzak has stated that "after the nightmare of Communism, we still have to fight for our identity, and we know that beauty and identity are still in our roots." Krzak has further stated that the band are "trying to create a new cultural proposition for the youth in an alternative way to contemporary show-biz." The band's very name appears to evoke what troubles Krzak about Poland's new capitalism: many large Polish cities do not have suburbs in the traditional sense, leading to unsettling transitions directly from city to field. To this end, in their most recent release, Wykorzenienie (Uprooting), the band traveled throughout Poland to find and record older musicians who still played almost-forgotten styles of music, thereafter incorporating those melodies into new songs and expounding upon them.
The band also incorporate socially-conscious folk lyrics in their songs. The song "Kto się żeni" ("Who is Getting Married") on their second album, Wiosna Ludu (People's Spring), discusses a young country girl who refuses to be married off, opting instead to "sing, dance, and be free rather than being dependent on someone."
Warsaw Village Band have appeared at several international music festivals, including the 2005 Roskilde Festival in Denmark, the 2004 Masala Festival in Hanover, Germany, and the 2000 International Ethnic Music Fest in Germany.
more info here: http://en.wikipedia.org/wiki/Warsaw_Village_Band
Polka z Sieradzkiego..
Vlatko Stefanovski (1957 - ) is a virtuoso ethno-rock jazz fusion guitar player from the Republic of Macedonia.
Born in Prilep, he started playing guitar at the age of 13. Stefanovski was one of the founding members of Leb i sol with whom he recorded 13 albums between 1978 and 1991. He currently splits his time playing with his VS Trio, in an acoustic partnership with Miroslav Tadić or composing for film and theatre. He is the brother of dramatist Goran Stefanovski.
Stefanovski has played a wide variety of guitars, including a Gibson SG, a Fender Stratocaster - heavily modified with Schecter and Radulović parts, a Telecaster, a Radulović super-strat and a Pensa-Suhr super-strat. The influence of ethnic and folk music of Southeastern Europe and more specifically of the music of the Republic of Macedonia are recognizable in his occasional use of odd meters (5/4, 7/8) and non-traditional scales (e.g. the Phrygian dominant scale).
more info here: http://en.wikipedia.org/wiki/Vlatko_Stefanovski
Ne si go prodavaj Koljo..