mixtapes for weathers and moods / music for good days and bad days


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2018. június 19., kedd

BISMILLA # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Terakaft

BISMILLA # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW   Terakaft, Meridian Brothers, The Klezmatics, Duo Milla Viljamaa & Johanna Juhola, Piirpauke, Damon Albarn, Justin Adams, Kolinda, Lila Downs, Lo'Jo

M U S I C



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Terakaft is a gang of guitarists, in the same vein as Tinariwen. Nothing astonishing about that if you consider that Terakaft was founded by Kedou and Diara, two formative and historical guitarists from Tinariwen.
Terakaft
Bismilla 2:24
Rastaman Aridal 3:58
Ter Simawan 4:53
from Bismilla (The Bko Sessions) 2007
Guitar, Vocals – Diara, Kedou Ag Ossad, Liya Ag Ablil, Rhissa Ag Ogham, Sanou Ag Ahmed
Recorded at Studio Bogolan, Bamako, Mali, in January 2007.
Edited at La Fontaine du Mont, Mûrs-Erigné, France.


Bogota's the Meridian Brothers are the creation of Eblis Álvarez, who writes, arranges, produces, plays, and sings everything on their recordings, though when the band plays live he is aided by other musicians. Their music is almost unclassifiable, a bracing meld of electronic and organic instruments, influenced by Latin rock, psychedelia, Frank Zappa, the Residents, modern vanguard electronic music, and South American and Caribbean folk traditions and rhythms.
Meridian Brothers
La Industria del Deporte 4:09
El Cantinero Experimental 5:41
Jornada Nacional Contra La UtilizacióN de AntíDotos 4:14
El Enamorado 4:33
from El Advenimiento del Castillo Mujer 2006
Traditional instruments, electronics and distorted vocals are dragged through an array of influences to create a world that is as original as it is unclassifiable.
Originally released back in 2006 by Colombian label La Distritofonica, the limited CD-only album showcased a rare style of "Abstract folk music" inspired on the experiments of some Bogota collectives from the time (2005-2006).


Inimitable N.Y.C. band blends klezmer music and socially conscious lyrics with contemporary rock, funk, and avant-garde jazz. / The Klezmatics take one of the wildest approaches to klezmer, the traditional dance music of the Eastern European Jews. Although their music is heavily influenced by the recordings of Abe Ellstein and Dave Tarras in the 1940s and 1950s, their lyrics comment on a wide variety of political and social issues and have led the group to be labeled "the planet's radical Jewish roots band." The original members of the Klezmatics -- Dave Lindsay (bass), Rob Chavez (clarinet), Alicia Svigals (fiddle) -- were recruited through an ad in the Village Voice in 1985. Trumpet player Frank London of the Klezmer Conservatory Band joined the group soon afterward. Within a few weeks, the band was expanded with the addition of Lorin Sklamberg (vocals, accordion), Margot Leverett (clarinet), and David Licht (drums). Initially calling themselves "Hortzeplotz," they soon renamed themselves the Klezmatics, a play on words inspired by the rock band the Plasmatics.
The Klezmatics
Joshua Nelson
with Joshua Nelson and Kathryn Farmer
Eyliyohu Hanovi 2:38
Elijah Rock with Joshua Nelson 9:17
Ki Loy Nue with Kathryn Farmer 6:40
Didn't It Rain with Joshua Nelson and Kathryn Farmer 5:01
from Brother Moses Smote The Water 2005
Kathryn Farmer
The Klezmatics are arguably the most genre-bending performers on the klezmer scene today (and perhaps of any day). Here, they combine with an up-and-coming singer from the South. That singer just happens to be of an ancient order of Judaism and is African-American, and he attempts to fuse gospel soul with traditional Jewish works. Of course, they got along marvelously. The album focuses on the similarities and ties between Jews and blacks, particularly in the aspects of slavery, the shared songs from Passover and gospel services, and the vibrant cultures. There are notes of pure klezmer and of pure gospel, but the concert from which the album was recorded is really a masterpiece of fusion. The styles are crunched together nearly seamlessly, the languages used (alternately Hebrew, Yiddish, and English) being the only differential in some parts. Joshua Nelson (the gospel singer) tends toward a Mahalia Jackson sound, and the Klezmatics themselves do what they always do. Slapped together, it's a joyous, powerful affair. For fans of musical cross-pollination, this album is a godsend. It's cross-cultural fusion done right. For an added bonus, the CD includes a short bit of video footage from the Berlin concert.


Milla Viljamaa (born 1980) is a Finnish musician and composer known for her creative works in various fields ranging from folk, tango and chamber music to theatre, opera, and film productions.
By the time Johanna Juhola gained her master's degree in accordion from the Sibelius Academy in 2008, she was already a well-known face on the Finnish music scene as a member of the bands Troka, Las Chicas del Tango and Spontaani Vire, collaborator in duos with Timo Alakotila and Milla Viljamaa, through numerous guest appearances and her compositions for theatre, film and television productions. 
Duo Milla Viljamaa & Johanna Juhola
Fuga y Misterio 4:44
Jeanne y Paul 4:39
Balada Para un Loco 4:25
from Piazzolla Passage 2004
...Do not think for a minute that Tango music has to be played by Argentinean or Latin-American performers. It is an easy trap to fall into and I am as guilty as most in wanting my Elgar played by an English orchestra and conductor and my Ravel played by a French Orchestra… etc. etc. Winners of the 2002, International Astor Piazzolla competition in Castelfidardo in Italy the duo Milla Viljamaa and Johanna Juhola are described rather pretentiously in the booklet notes as ‘urban-fusion folk musicians of the young generation’. Never fear, the gifted duo are absolutely magnificent and their exceptional playing fired my imagination in transporting me to the bustling and vibrant atmosphere and often visceral pictures of life on sultry Buenos Aires streets. Not an easy thing to do on a very wet and extremely blustery day in a small seaside town near Blackpool...

Piirpauke, led by Sakari Kukko, has been a pioneer of world music for many years. Sakari Kukko is a visionary, world traveler and multi-instrumentalist from Finland. When he formed the first line-up of Piirpauke he was immediately awarded with a hit. Since that first success with a poignant Karelian folk tune, Sakari has guided his ever-improving line-ups on musical journeys through the Balkans, Turkey, Africa, Latin America and points in between.
Piirpauke
Laulu laineilla = Auf dem Wasser zu singen / o Be Sung Upon the Water (Franz Schubert) 2:21
Serenadi = Ständchen / Serenade (Schubert) 3:55
Matka tuonpuoleiseen = Reise ins Jenseits / Journey To The Otherworld (Kukko, Sane, Ahonen) 8:30
from Laulu laineilla (Auf Dem Wasser Zu Singen - To Be Sung Upon the Water) 2003
Piirpauke is a Finnish musical group combining folk music, world music, jazz and progressive rock. It was founded in 1974 by the keyboardist-saxophonist Sakari Kukko, who is the only original member left in the band today. In addition to large number of Finnish musicians, several musicians from various countries have also played in Piirpauke (WikipediA)


Distinctive vocalist who fronted indie stalwarts Blur before diversifying with a host of projects ranging from trip-hop to opera. As the frontman for Blur and Gorillaz, Damon Albarn helped shape the British mainstream during the '90s and beyond, first establishing himself as a Brit-pop icon before expanding into hip-hop, opera, electronica, and world music.
Damon Albarn
Afel Bocoum / Toumani Diabaté
An essential member of Ali Farka Toure's band for more than three decades, Afel Bocoum took his first steps into the limelight with his debut solo album, Alkibar: Messenger of the Great River, in 1999.
Accomplished Malian kora player blends influences from his homeland with world styles like jazz and flamenco. A master of the kora (21-string West African harp), Toumani Diabaté has brought the traditional music of his native Mali to the attention of an international audience with a series of well-received solo albums and some unlikely, but acclaimed, collaborations
Spoons (Damon Albarn) 5:19
Le Relax (Damon Albarn) 3:51
Makelekele (Damon Albarn / Afel Bocoum) 4:24
Le Mogon (Damon Albarn) 3:51
from Mali Music 2002
Following in the footsteps of his pop elders Paul Simon, Peter Gabriel, and David Byrne, Blur and Gorillaz leader Damon Albarn acts as a world music ringleader with Mali Music. Serving as a benefit to the Oxfam charity, this first release from Albarn's own Honest Jon's label sees Albarn jamming on a haunted melodica alongside Malian musicians. Albarn traveled throughout Mali and recorded the source material at various venues, from small bars to village streets. Primary players include guitarists Afel Bocoum and Lobi Traore, kora player Toumani Diabate, and ngoni player Ko Kan Ko Sata Doumbia. Albarn brought the recordings into a professional studio, adding guitars, keyboards, percussion, and effects to a majority of the tracks, and the result is a thoroughly chilled album. Layered and rich musical tones emerge from pianos, samplers, xylophones, and chanting choirs. Beats and keyboards mingle effortlessly with the exotic instruments. It's often quite difficult to decipher what sonic flourishes were recorded live and which ones were crafted afterwards via computer. It's obvious that Albarn has conceived the album with an enormous respect for the musicians and culture at the heart of the project...


Guitarist/producer and composer Justin Adams is both one of Britain's great bluesmen and African crossover music's leading proponents. First coming to prominence in 1990 with Jah Wobble's Invaders of the Heart, Adams laid the foundations of his career through working as a respected sideman. His list of credits grew to include internationally known artists such as Sinéad O'Connor, Damien Dempsey, and more. His love affair with the music of North Africa first became evident with the release of his debut solo record in 2001.
Justin Adams
Blue Man (Justin Adams) 4:07
Desert Road (Justin Adams) 4:28
Majonoun and Leila (Justin Adams / Salah Dawson Miller) 6:08
from Desert Road  2001
Justin Adams has a fascination with the space of the desert, and on his solo debut, he recreates the feel, openness, and rhythms of the Western Sahara, where it bleeds into Mali, Morocco, and Mauritania. A proponent of the less-is-more school of playing, he inhabits a place where North African, West African, and blues music intertwine and notes bend, hang, and ultimately mix with a late 20th century recording studio, where samples and beats co-exist. The percussion, from longtime collaborator Salah Dawson Miller, fleshes out the bones. Although Adams is very much a player's player, he lets the rawness of style show through, never flashy, always to the point, whether plucking lead lines or fingerpicking, letting his left hand dictate the melodies and rhythms. The overall effect is soothingly hypnotic, as mesmerizing as shifting waves of desert sand. It's beautiful, often eerily bluesy (a nod to Blind Willie Johnson, one of his idols), and evokes the mystery of one of the earth's last great places. A tiny masterpiece.


Kolinda plays complex folk music with diverse instrumentation and with medieval and Eastern influences. They lived in France for a time, and were produced by Hughes de Courson of the French folk group Malicorne. Kolinda disbanded in 1979, only to reform five years later.
After playing as a group for 11 out of the past 16 years, with 7 albums under their belts, Kolinda is still relatively unknown in their native Hungary and virtually unheard of in North America.
"They're one of the most interesting European groups that I've heard," says Gary Cristall, organizer of the Vancouver Folkfestival, "but they do it in a different way. Even though they were doing traditional stuff, it had a different edge to it. They've never been looked on very favorably in Hungary. They were always a little too far outside."...
Kolinda
Napforduló / Solstice 4:48
Elfelejtett Istenek / Forgotten Gods 6:10
Rohanás 9-ben / Rush in 9 3:38
from Forgotten Gods 2000
Double Bass – Péter Kôszegi
Oboe – Endre Juhász
Percussion – Csaba Gyulai, Tibor Pongrácz
Violin – Lilla Várhelyi
Vocals – Kriszta Kováts
Vocals, Flute, Violin – Dóra Kováts
Vocals, Mandocello, Gadulka, Synthesizer – Péter Dabasi


A Mexican-American Laurie Anderson or if Frida Kahlo were a musician instead of a visual artist. Singer Lila Downs grew up with the culture of her father, a professor from the United States, but eventually turned her back on it to explore the tradition of her mother, a Mixteca Indian from Mexico. In doing so, she has created a very individual strain of song that has indigenous Mexican roots and North American sonorities. Born in 1968, she spent her early years in Mexico, but after her parents split up, she was shuffled off to live with a relative in California. She grew to love music, specifically classical and opera, and began studying those in college. After two years, however, she experienced a crisis, questioning why she was singing and dropping out to become a Deadhead, following the Grateful Dead around the country in a VW bus, earning money by making and selling jewelry, and not singing at all.
Lila Downs
La Sandunga (Máximo Ramón Ortíz) 4:13
Naila (Chuy Rasgado) 3:14
Ofrenda (Lila Downs) 3:10
Bésame Mucho (Consuelo Velasquez) 5:24
from La Sandunga 1999
Downs weaves a numinous tapestry of indigenous Mexican and Latin American traditions with Tex-Mex, North American folk, blues, jazz, rock, funk, and hip-hop inflections. Hers is an astonishing voice whose mimetic brilliance, affecting coloration and soaring range (in Spanish, English, and indigenous Mexican idioms) reflect a mesmerizing creative tension that razes all categories. Listeners unfamiliar with her work may recall her riveting appearance in the 2002 film Frida, wherein she played a Vargas-like singer, a one-woman Greek chorus to the protagonist's unrelieved suffering (even against a powerful cameo by Vargas herself, Downs more than holds her own). The ensemble (piano, clarinet, tenor and baritone sax, guitar, bass, Latin percussion) commands a variety of idioms, in brilliant complement to the singer. For Downs, music entails a sacred quest, one not without risk; but laying personal claim to some untouchable Latin classics...


Long-tenured eclectic world music ensemble formed in Angers, France in 1982. Lo'Jo are as much about an idea as they are about the music they make. Founded in 1982 in the small French town of Angers by singer/keyboardist Denis Péan, they've been involved in multimedia shows, circuses, politics, and even hosted a festival in the Malian desert; not your basic group by any means. Lo'Jo Triban -- their full title -- had been in existence for a year when Richard Bourreau (violin/kora) joined and the music began to gel. For several years, they played events locally with a rotating cast of members, working with dancers and film as part of their overall presentation. 
Lo'Jo
Sin Acabar (Lo'Jo / Denis Péan) 3:58
Mojo Radio (Lo'Jo / Denis Péan) 4:28
Kourchbene Bellissimo (Lo'Jo / Denis Péan) 3:32
from Mojo Radio 1997
With instrumentation including melodica, accordion, violin, kora, djembé, and bendir, "Lo'Jo has made the trip from Angers, France to Bamako, Mali in barely a minute" (Washington Post). Title track Mojo Radio is ripe for radio airplay with tiers slowly building to its catchy, reggae-backed chorus. A classic in the Bohmemian musical world of France, now reissued and as relevant as ever. The Lo'Jo triban are as close as world music gets to the ethos of the Grateful Dead: a travelling circus of influences and ideas, and big band of core members and hangers on who have forged a unique identity. French chanson, reggae, Arabic dance and Paris trance are inextricably woven together by a band of singers, melodica, accordion, violin, kora, djembé, bendir and other instruments expected and surprising from all over the musical world.


2018. június 14., csütörtök

MiSTÉRIOS JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m

Wallace Roney
MiSTÉRIOS JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m # Wallace Roney, Joe Henderson, Ron Carter / Cedar Walton Duo, Steve Coleman and Five Elements, Allan Holdsworth, Anderson Ray, Abdullah Ibrahim, Joe Zawinul,  Willem Breuker Kollektief, Mark King, David Friesen, Claus Ogerman / Michael Brecker

J A Z Z   M U S I C



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JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1994-1982


Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw.
Wallace Roney
Mistérios (Joyce Maestro / Mauricio Maestro) 4:52
Meu Menino (Danilo Caymmi / Ana Terra) 6:17
from Misterios 1994
Trumpeter Wallace Roney avoids the standard repertoire altogether on this CD, playing pieces by Pat Metheny, the Beatles, Egberto Gismonti, Jaco Pastorius and even Dolly Parton among others but, try as hard as he may, he still sounds like Miles Davis every time he hits a long tone or plays a doubletime passage. Backed by a small orchestra that mostly interprets Gil Goldstein arrangements, Roney is the main soloist throughout this interesting ballad-dominated set.


A remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. / Joe Henderson is proof that jazz can sell without watering down the music; it just takes creative marketing. Although his sound and style were virtually unchanged from the mid-'60s, Joe Henderson's signing with Verve in 1992 was treated as a major news event by the label (even though he had already recorded many memorable sessions for other companies).
Joe Henderson
Isfahan feat: Christian McBride (Duke Ellington / Billy Strayhorn) 5:58
Lotus Blossom (Billy Strayhorn) 4:30
Drawing Room Blues feat: Christian McBride (Billy Strayhorn) 7:32
from Lush Life: The Music of Billy Strayhorn 1992
With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended.


The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets.
Ron Carter / Cedar Walton Duo
One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes...
Heart and Soul (Hoagy Carmichael / Frank Loesser) 3:02
Back to Bologna (Cedar Walton) 4:12
from Heart & Soul 1991
Bassist Ron Carter and pianist Cedar Walton both became active on the New York jazz scene around 1960. Walton was soon to gain popularity working with Art Blakey's Jazz Messengers; meanwhile, Carter would become an important anchor in what is arguably Miles Davis' most influential ensemble. In 1981, Timeless Records documented the great rapport between these two giants of post-bop jazz. Heart & Soul is certainly not a loose "blowing session"; it's clear that the duo's repertoire had carefully developed during a year of gigging together in Manhattan. At the same time, the music never feels overarranged and stiff; there is always room for spontaneity. The piano and bass duo is a challenging setting, and there are relatively few successful recordings in the jazz literature...


M-Base founder, composer, and alto saxophonist Steve Coleman hails from Chicago. His earliest years were spent playing in R&B and funk bands in emulation of his first hero, Maceo Parker. Coleman had heard all the greats in his hometown and changed his focus from R&B to jazz, precipitating his move to New York. He gigged with the Thad Jones-Mel Lewis big band, followed by Sam Rivers' All-Star Orchestra and, eventually, Cecil Taylor's big-band project. He began working with other leaders as well: David Murray, Abbey Lincoln, Michael Brecker. But Coleman was restless; he began listening to other music, particularly that of West Africa (he later traveled to Ghana to study). His music evolved and he continued to play side gigs, honing his sound and compositions -- he has a totally original alto tone -- by playing in the street.
Steve Coleman and Five Elements
Rhythm People 7:13
No Conscience 5:31
Dangerous 4:58
The Posse 4:34
from Rhythm People (The Resurrection of Creative Black Civilization) 1990
The music on this "M-Base" recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman's harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile. Two tunes include angry raps that lower the quality of the record. Steve Coleman's CD is obviously not "The Resurrection of Creative Black Civilization" (its immodest subtitle) for how can one resurrect something that has never died? However it does contain plenty of creative (if disturbing) improvisations.

British guitarist Allan Holdsworth was widely considered one of the finest instrumentalists in all of jazz fusion, yet never truly received the recognition that he so rightfully deserved.  / With a liquid sound and a two-handed attack that influenced future tapping specialists from Stanley Jordan to Eddie Van Halen. 
Allan Holdsworth ‎
City Nights (Gary Husband) 2:33
Secrets perf. by Rowanne Mark (Allan Holdsworth / Rowanne Mark) 4:22
Spokes (Allan Holdsworth) 3:32
Peril Premonition (Chad Wackerman) 4:45
from Secrets 1989
A true masterpiece, Secrets is the massive culmination of Allan Holdsworth's years-long legato technique and SynthAxe development. Conceptually inspired by but significantly different from the electric guitar, the SynthAxe is not a guitar-controlled synthesizer; it's a completely unique instrument of its own, making the guitarist's gripping performances all the more impressive. Holdsworth actually plays both instruments at a world-class level, setting an almost unreachable technical standard for aspiring rock, jazz, and fusion players. In addition to Secrets' technical accomplishments, Holdsworth contributes some of the most inspired songwriting of his career...


Jazz trombonist known for exploring the furthest outreaches of free improvisation.  Ray Anderson is a living embodiment of the uninhibited and at times rambunctious approach to individualized expression that is a vital element dating back to the beginnings of jazz through Lester Bowie, Charles Mingus, Dizzy Gillespie, and Roy Eldridge to Fats Waller, Louis Armstrong, Jelly Roll Morton, and Bessie Smith. In addition to his trailblazing exploration of the tonal and textural possibilities of the trombone, Anderson has the singular distinction of having transferred Dick Griffin's multiphonic technique on that instrument to his own singing voice, enabling him to simultaneously blend several pitches to the point where he sounds like a blues-inflected Tuvan throat singer. With more than 20 albums to his name and many dozens of collaborations with musicians linked to multiple genres, Anderson's professional history is dizzyingly diverse and rich in opportunities for exciting and predictably unpredictable listening. A phenomenal résumé underlines his lifelong devotion to substantial and creative music regardless of genre specifications or stylistic category; Ray Anderson cannot and will not be pigeonholed.
Anderson Ray
Blues Bred in the Bone (Ray Anderson) 7:58
Mona Lisa (Ray Evans / Jay Livingston) 4:46
I Don't Want to Set the World on Fire (Bennie Benjamin / Eddie Durham / Sol Marcus / Eddie Seiler) 5:11
from Blues Bred In The Bone 1988
Unlike on his previous Old Bottles, New Wine recording, trombonist Ray Anderson's high-note technique gets the better of him on this set... Even with a supporting cast that includes guitarist John Scofield and pianist Anthony Davis, this has to be considered one of Anderson's lesser efforts.


A prolific South African jazz pianist who has tried to blend African roots music with contemporary American jazz.  The melodic sounds of South Africa are fused with the improvisation of jazz and the technical proficiency of classical music by South Africa-born pianist Dollar Brand or, as he's called himself since converting to Islam in 1968, Abdullah Ibrahim. 
Abdullah Ibrahim
Blues for a Hip King (Abdullah Ibrahim) 5:43
African Dawn (Abdullah Ibrahim) 6:27
Blue Monk (Thelonious Monk) 4:17
from African Dawn 1987
On this solo piano set, Abdullah Ibrahim pays tributes to some of his musical heroes: Thelonious Monk ("'Round Midnight," "Just You, Just Me," "Blue Monk," and "For Monk"), John Coltrane ("For Coltrane"), and Billy Strayhorn ("A Flower Is a Lovesome Thing"), although surprisingly not Duke Ellington this time. But even on the direct tributes (which are sometimes a bit abstract), Ibrahim sounds very much like himself. The pianist, who also contributed five other colorful originals, displays his South African heritage and his optimistic view of the future in his unique brand of jazz. African Dawn is a fine example of his solo piano talents.


An outstanding jazz pianist/keyboardist who worked with artists such as Cannonball Adderley and Miles Davis.  Joe Zawinul belonged in a category unto himself -- a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He was one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul's example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he preferred to improvise compositions spontaneously onto tape rather than write them out on paper.
Joe Zawinul 
The Harvest (Joe Zawinul) 6:02
Zeebop (Joe Zawinul) 4:52
Carnavalito (Joe Zawinul) 6:19
from  Dialects 1986
If Joe Zawinul was out to prove that he didn't need Weather Report anymore, he succeeded spectacularly in this virtual one-man show. Zawinul recorded many of the vocals (assisted now and then by Bobby McFerrin and a vocal trio) and all of the synthesizer and rhythm machine tracks himself in his Pasadena home studio, yet the results are anything but mechanical. Zawinul in fact achieves a rare thing: He manages to get his stacks of electronics to swing like mad in these pan-global grooves that pick up where WR was about to leave off... This is an important, overlooked album because it proves that electronic instruments can reach your emotions and shake your body when played by someone who has bothered to learn how to master them.


The Willem Breuker Kollektief is a jazz group formed in 1974 by 10 musicians leaded by Dutch bandleader Willem Breuker. The band plays unconventional jazz mixed with different styles, from latin to (contemporary) classical to theater and vaudeville.
Willem Breuker Kollektief
Like Other People Say 1:43
Hap Sap (But Not From Jaffa) 5:59
Driebergen-Zeist 10:00
from To Remain 1985
...There's a sense of wonder combined with the glee of a kid in a candy shop that he exploits with passion and humor, going so far to have composed sections with some band members "misplaying" their parts while others exasperatedly wait for them to get it right...


Virtuoso bass player and singer of English pop band Level 42 known for his bass-slapping technique. 
Mark King
Essential (Mark King) 18:36
I Feel Free (Pete Brown / Jack Bruce) 4:50
from Influences 1984
EXCLUSIVE! Level 42’s Mark King speaks to movingtheriver.com about his classic solo album Influences, released by Polydor in July 1984.


Talented and prolific jazz bassist who has continually experimented yet remained decidedly accessible.  A technically adept, immensely intuitive bassist and pianist, David Friesen is a forward-thinking performer whose albums touch upon spiritually minded contemporary jazz, folk, world traditions, and acoustic post-bop.
David Friesen
Amber Skies 8:16
Voices 7:17
from Amber Skies 1983
One of bassist David Friesen's better jazz sessions as a leader, this set (which has been reissued by other labels on CD) has some excellent playing by tenor saxophonist Joe Henderson on "Amber Skies" and "Underlying," a rare opportunity for flutist Paul Horn to take a solo in a straight-ahead setting ("Blue and Green"), and was the first opportunity that pianist Chick Corea and drummer Paul Motian had to work together; percussionist Airto completes the sextet. The diverse originals, all by Friesen, feature each of the players quite favorably, and the overall results are stimulating.


The prolific arranger and orchestrator, Claus Ogerman moved from Europe to the United States in 1959 and began an association with the Verve label, where his arrangements were featured on albums by Frank Sinatra and Antonio Carlos Jobim (1967's Francis Albert Sinatra & Antonio Carlos Jobim -- the first of two collaborative albums by the pair), Astrud Gilberto, Bill Evans, Wes Montgomery, Stan Getz, Cal Tjader, and other leading artists
Claus Ogerman / Michael Brecker
A remarkable technician and a highly influential tenor saxophonist (the biggest influence on other tenors since Wayne Shorter), Michael Brecker took a long time before getting around to recording his first solo album. He spent much of his career as a top-notch studio player who often appeared backing pop singers, leading some jazz listeners to overlook his very strong improvising skills.
Cityscape (Claus Ogerman) 8:46
Nightwings (Claus Ogerman) 7:45
from Cityscape 1982
...This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably -- his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight....




2018. június 11., hétfő

GOOD LiQUOR BLUES:MiX # 33 blues songs from the BLUES circle 2002-1991


Guy Davis


GOOD LiQUOR BLUES:MiX # 33 blues songs from the BLUES circle 2002-1991 # Guy Davis, Michael Coleman, John Mayall And The Bluesbreakers, Joanna Connor, Taj Mahal, Steve James, Tommy Castro, Phillip Walker and Otis Grand, The Jon Spencer Blues Explosion, Luther 'Guitar Junior' Johnson, Johnny Winter


B L U E S   M U S I C


LISTEN THE PLAYLIST ON DEEZER.COM
http://www.deezer.com/playlist/1681171971

BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 


2002-1991



Acclaimed American blues singer, songwriter, actor, and teacher. / Updating the rural blues tradition for the modern era, Guy Davis was among the most prominent ambassadors of African-American art and culture of his generation, additionally winning great acclaim for his work in the theater. 
Guy Davis
Good Liquor 3:06
Lay Down by My Side 5:26
Watch Over Me (Guy Davis) 5:05
from Give In Kind 2002
Guy Davis has developed into a consummate bluesman. He's listened hard to classic Delta blues and based his style on it, without ever becoming a carbon copy of the greats... This is the tradition reborn and revitalized. Davis' support is wonderfully sympathetic, but he's completely at the center of things, the motivator and mover of this music, and a purveyor of the real blues. His lineage is obvious, and he's the new generation, doing it right and keeping it real.


Before becoming one of Chicago's hottest electric blues guitarists, Michael Coleman began his career playing alongside James Cotton for nearly a decade. The guitarist joined Cotton's band in 1979 at the age of 23...
Michael Coleman
The Train (Michael Coleman) 4:38
Do Your Thing! (Isaac Hayes) 7:25
You Don't Have to Go (Jimmy Reed) 7:36
from Do Your Thing! 2000
Do Your Thing! demonstrates that a bluesman doesn't have to be a fantastic vocalist to provide a meaningful album. Best known in Chicago blues circles for his ten years as James Cotton's guitarist, Michael Coleman isn't a singer's singer. He is an adequate singer with a relaxed, laid-back vocal style that owes a lot to Jimmy Reed, but as a guitarist, Coleman obviously has sizable chops. And thankfully, he takes a lot of guitar solos on Do Your Thing!, which has as much to do with pre-1980 soul and funk as it does with electric Chicago blues...


Major British blues bandleader who, starting in London in 1963, featured some of the most successful rock musicians of the '60s and '70s. 
John Mayall And The Bluesbreakers
Don't Turn Your Back (John Mayall) 5:13
Padlock on the Blues (John Mayall) 6:59
Always a Brand New Road (Buddy Whittington / Joe Yuele) 4:07
from Padlock On the Blues 1999
John Mayall's career may be distinguished but it's also been checkered, as he's swung from a celebrated talent scout to a journeyman bandleader. At times, he's in fashion, at others he's not. The late '90s was one of the times when he wasn't in fashion. Because of this, he was one of the first artists who Cleopatra signed when they began to move into high-profile new releases. Padlock on Blues, his first effort for the label and his first album in four years, finds Mayall pulling out all the stops, contributing 11 new tunes and lining up an impressive array of guest stars, including John Lee Hooker, Coco Montoya, and Ernie Watts...


What sets Joanna Connor apart from the rest of the pack of guitar-playing female blues singers is her skill on the instrument. Even though Connor has become an accomplished singer over time, her first love was guitar playing, and it shows in her live shows and on her recordings.
Joanna Connor
Nothin' But the Blues (Joanna Connor) 4:03
Slide on In (Joanna Connor) 5:11
Pea Vine Blues (Joanna Connor / Ron Johnson / Charley Patton) 4:05
from Slidetime 1998
Joanna Connor's fourth album for Blind Pig finds her still working solidly in blues-rock territory with plenty of her blistering slide guitar work well to the fore. Connor penned all 11 of the tunes here, co-writing one of them with guitarist Ron Johnson and the other with drummer Boyd Martin; her songwriting chops show considerable added depth and improvement on this go round. Still keeping her sound in the time-honored road-band format of two guitars, bass and drums...


A guitarist and singer/songwriter who took an interest in reviving the rural blues tradition, later extending to reggae and ragtime influences. One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world -- reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian.
Taj Mahal
Queen Bee (Taj Mahal) 4:40
Irresistable You (Luther Dixon / Al Kasha) 3:13
Señor Blues (Horace Silver) 6:43
21st Century Gypsy Singin' Lover Man (Jon Cleary / Taj Mahal) 5:44
from Señor Blues 1997
Señor Blues is one of Taj Mahal's best latter-day albums, a rollicking journey through classic blues styles performed with contemporary energy and flair. There's everything from country-blues to jazzy uptown blues on Señor Blues, and Taj hits all of areas in between, including R&B and soul. Stylistically, it's similar to most of his albums, but he's rarely been as effortlessly fun and infectious as he is here.


Multi-instrumentalist, vocalist, and songwriter Steve James has carved a niche for himself in the acoustic and folk-blues scene through a lot of touring. He's built his fan base the old-fashioned way, without the support of an international record company marketing machine. James, who plays National steel guitar, mandolin, and banjo, got hooked on blues as a 12-year-old...
Steve James
Ooze It to Me, Mama 3:03
Hot Time in the Old Town Tonight (Paul Mertz) 3:41
Downbound Train (Chuck Berry) 4:54
from Art and Grit 1996
James' first album was a solo effort; his second added a small combo. Art and Grit, his third, is a virtual celebration of acoustic string instruments. The Austin "jug band" of American Primitive -- James, Danny Barnes, Mark Rubin, and Gary Primich -- reunites on three cuts and forms the nucleus of three others. Guitar virtuoso Rob Brozman and Asleep at the Wheel's Cindy Cashdollar make guest appearances, and all told there are no fewer than eleven different instrument lineups on the disc, with guitars of many types (standard, slide, Hawaiian, and tenor), banjos (6- and 4-string), and mandolins presented solo and in various combinations... Recording quality is exceptionally vivid, capturing the distinctive timbre of each instrument and making Art and Grit an old-timey blues lovers' delight.


One of the brightest contemporary blues musicians, combining passionate, fiery guitar playing with powerful vocals. According to all the press and hype and hoopla for a time during the 1990s, Tommy Castro was pegged as the next big star of the blues. Long a favorite among Bay Area music fans, Castro -- in the space of two album releases -- took his music around the world and back again with a sheaf of praise from critics and old-time blues musicians alike. His music was a combination of soul-inflected rockers with the occasional slow blues or shuffle thrown into the mix to keep it honest. His vocals were laid-back and always a hair behind the beat, while his scorching guitar tone was Stevie Ray Stratocaster-approved. Crossover success did not seem out of the question.
Tommy Castro
Had Enough (Tommy Castro) 4:55
Exception to the Rule (Tommy Castro / Shad Harris) 3:28
Sho' Enough (Tommy Castro) 4:00
from Exception To The Rule 1995
EXCEPTION TO THE RULE by TOMMY CASTRO just rocks. It has a good blend of blues, soul and rock that is totally lacking from most of the music that is popular today. (Martin Lemos)


Despite recording somewhat sparingly since debuting as a leader in 1959 on Elko Records with the storming rocker "Hello My Darling," Louisiana-born guitarist Phillip Walker enjoys a sterling reputation as a contemporary blues guitarist with a distinctive sound honed along the Gulf Coast during the '50s...
b. Fred Bishti, 14 February 1950, Beirut, Lebanon. Grand has spent most of his life in the USA, although he lived in France for a few years. He began playing guitar at the age of 13, citing his influences as B.B. King, T-Bone Walker, Otis Rush and Johnny Otis, and he has played with many San Francisco Bay area blues artists. Otis Grand And The Dance Kings created a sensation when they burst onto the British blues scene in the late 80s...
Dressin' Trashy (Nathaniel Dove / Phillip Walker) 3:51
She's Gone (Phillip Walker) 7:02
Play Me Some Blues (Jimmy Johnson / Phillip Walker) 8:54
Nice comeback set after a lengthy absence from the recording scene that was cut in London under the direction of guitarist Otis Grand (who shares axe duties throughout). Why this Louisiana-born guitarist hasn't been recorded more heavily is a mystery; he seldom fails to connect, and this import is no exception to the rule.


Indie '90 trio that bent the rules of rock while demonstrating a devotion to the music’s R&B roots. After a long and semi-successful tenure as leader of scuzz-rock heroes Pussy Galore, Jon Spencer shook up his anti-rock vision and hooked up with guitarist Judah Bauer and drummer Russell Simins to create the scuzz-blues trio the Jon Spencer Blues Explosion. Postmodern to the core, there was a genuine irony in the band's name; little of what they play resembles standard blues.
Afro (The Jon Spencer Blues Explosion) 2:55
Train #2 (The Jon Spencer Blues Explosion) 2:25
from Extra Width 1993
On their self-titled debut album, the Jon Spencer Blues Explosion had worked out the basic framework of their sound -- lots of guitar clatter, booming drums, and wild vocal gesticulations from Spencer -- but it took a while for the pieces to really come together, and 1993's Extra Width was the first album where they revealed their true potential...


Of the three blues guitarists answering to the name of Luther Johnson, this West Side-styled veteran is probably the best known. Adding to the general confusion surrounding the triumvirate, like Luther "Snake Boy" Johnson, Luther "Guitar Junior" Johnson spent a lengthy stint in the top-seeded band of Muddy Waters (1972-1979).
Feel So Bad (Lightnin' Hopkins) 5:12
If You Love Me Like You Say (Little Johnny Taylor) 2:47
It's Good to Me (Luther "Guitar Junior" Johnson) 3:31
from It's Good To Me 1992
Another barn-burner mixing the guitarist's West-side roots with soul and blues shadings to present some of the fieriest contemporary blues on the market. Saxist Gordon Beadle and keyboardist Joe Krown distinguish themselves behind Johnson.


An exceptionally talented blues and slide guitarist, beginning in the 1960s and stretching into the 21st century. When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition.
Illustrated Man (Mary-Ann Brandon / Fred James) 3:40
Life Is Hard (Fred James) 6:19
Blue Mood (Jessie Mae Robinson) 3:04
from Let Me In 1991
Let Me In is a star-studded all-blues set from Johnny Winter, featuring cameos from Dr. John, Albert Collins, and several others. Though the set focuses on blues material, Winters can never leave his rock roots behind -- the sheer volume and pile-driving energy of his performances ensures that. For most of the record, his enthusiasm is contagious, but there are a couple of bland, generic exercises that fail to work up a head of steam...