sexta-feira, 19 de outubro de 2018

Jacques Siroul - Dance, Jazz, Funk & Harmonica (Belgium)


Jacques Siroul has been played on NTS shows including Acid Memories w/ Astral Vibes, with Escupo first played on 13 July 2014. Pianist and harmonica, fascinated by synthesizers, Jacques Siroul was born on June 3, 1952 in Brussels and has composed over 350 works for media, advertising, animation, corporate films and musicals. Today, he focuses mainly on the composition of music on demand. He was one of the first to arouse the attention of artists on the digital wave in the field of music publishing. It is now considered an expert in the field.


quinta-feira, 18 de outubro de 2018

Julian Fauth - Blues Harmonica (USA)


The love child of Mississippi John Hurt and Billy Childish, Julian Fauth is an interesting mix of the old, the very old, and the merely retro. "Cobalt," the opening track on Songs of Vice and Sorrow, is a punky, five-minute blues for heavily distorted electric guitar and ghostly harmonica that trades in the post-punk atmospherics of Nick Cave as much as it does the old Delta blues. (Fauth also bears a strong vocal resemblance to Richard Thompson at times, but never more so than on this particular song.) Other songs find Fauth pounding a rollicking Texas-style piano blues, assaying a handful of traditional blues and folk tunes, kicking it boogie-woogie style and throwing in a Mose Allison-styled, strangely tuned, soul-jazz piano pounder called "Spadina Avenue Stomp" in honor of one of his adopted hometown's major thoroughfares. That sense of local color is important: if Fauth was a middle-aged, balding Canadian dude trying to be "Mister Authentic Blues," that would be exceedingly lame. But from the Victorian ragamuffin cover photo to the weird mix of influences all over this double-album-length CD, Songs of Vice and Sorrow is a unique, idiosyncratic, and often fascinating statement.


Stephane Grappelli & Toots Thielemans - Jazz (Violin and Harmonica)


This 1984 studio session finally appeared commercially on the Cymekob label in 1995, featuring violinist Stéphane Grappelli in a rare meeting with harmonica player Toots Thielemans; the rest of the group included guitarists Martin Taylor and Marc Fosset with bassist Brian Torff. Though producer Andy Kulberg claims in his notes that neither musician had recorded any of the songs, this is a bit of a stretch. Things get off to a good start with a swinging "Bye Bye Blackbird" and are only weighed down slightly by the tedious "Just the Two of Us" and Paul Simon's lightweight "Fifty Ways to Leave Your Lover." The rich ballad "Georgia on My Mind" rekindles the fire within the session and "You'd Be So Nice to Come Home To" is highlighted by Thielemans' matchless whistling. While this release could have been stronger with better chosen songs, it will be an essential acquisition for fans of either Grappelli or Thielemans.








quarta-feira, 17 de outubro de 2018

Los Villanos Blues Band - Blues (Mexico)



Got The Blues? is a film featuring a live performance by Los Villanos Blues Band at Cafe Breton downtown Guadalajara. Watch and listen to the story of four young musicians and their friends introduce the blues to a whole new generation. The group evolved from the Naranjito Blues Band and features brothers Javier and Abraham Villaseñor on their dueling guitars.

Personnel:
Javier Villaseñor- Guitarra
Abraham Villaseñor- Guitarra
Victor Romero- Bajo
Ivan Ramirez- Batería
Valeria Vivanco – Voz





Blues Traveler - Blues Rock (Harmonica)


Blues Traveler is an American rock band formed in Princeton, New Jersey in 1987. The band's music spans a variety of genres, including blues rock, psychedelic rock, folk rock, soul, and Southern rock. It is known for extensive use of segues in live performances, and was considered a key part of the re-emerging jam band scene of the 1990s, spearheading the H.O.R.D.E. touring music festival.

Currently, the group comprises singer and harmonica player John Popper, guitarist Chan Kinchla, drummer Brendan Hill, bassist Tad Kinchla, and keyboardist Ben Wilson. Tad Kinchla and Ben Wilson joined the band following the death of original bassist Bobby Sheehan in 1999.

While Blues Traveler is best known among fans for their improvisational live shows, the general public is most familiar with the group from their Top 40 singles "Run-Around", "Hook", and "But Anyway". They gained mainstream popularity after their fourth studio album, four, released in 1994 and became a sleeper hit almost a year later. Sheehan's death and Popper's struggle with obesity put a damper on the group's success, and A&M dropped the band in 2002. In the years following, the band has bounced around through a succession of independent labels and record producers, and gotten increasingly experimental with their recorded output.


terça-feira, 16 de outubro de 2018

Jack Bruce - Blues Rock


Willpower was really designed to be Jack Bruce's Crossroads -- it followed Clapton's monumental box by a year, had similar artwork, a similar approach that blended selections from throughout his various projects, and the same remastering/production team. Thing is, Bruce didn't have the commercial success of Clapton, nor did he have the same sizable following (although his fans were indeed devoted), and critics just sorta gave up paying attention around 1970, so there wasn't much of an audience for Willpower upon its release in 1989. Nevertheless, it's a pretty terrific summary of Bruce's career, never staying too long in one particular period (even the selections from Cream lack such heavy hitters as "Sunshine of Your Love" or "I Feel Free"), and encapsulating how unpredictable and adventurous Bruce's career has been. This is not heavy on hits, even if it has such signature songs as "White Room," "Theme for an Imaginary Western," "Never Tell Your Mother She's Out of Tune," "How's Tricks," and "As You Said," because Bruce never had that many hits, even radio hits. But it does provide a through, representative introduction.





Big Al Calhoun - Blues (Harmonica)


Big Al Calhoun picked up the harmonica when he was a small boy living on a large sharecropper plantation in Mississippi. When he heard Sonny Boy Williamson on the radio, he started to play the blues. On the plantation he heard many of the great blues musicians of that time, both live and on records, and he played with some of them, notably Eddie Cusik. This session features Big Al on amplified harmonica and vocals. He's joined by long-time collaborators Henry Townsend on electric guitar and vocals, and Vernell Townsend on vocals. The music was recorded in August, 1979 in St. Louis.


segunda-feira, 15 de outubro de 2018

MEDEA - Heavy Prog • Netherlands


MEDEA is the solo project of guitarist/keyboardist Henry Meeuws (CASUAL SILENCE). His musical roots go back to 1989 when he was guitarist of melodic metal band YARRETH, with whom he recorded three demos. A decade or so later, he went solo and recorded a couple of albums of classical pieces on acoustic guitar, and then in 2000 he joined Dutch art rock band CASUAL SILENCE as keyboard player. In 2002, he self-produced a solo cd, "Individual Unique", a very decent concept album for which he wrote almost all the music, played all instruments and which features nine vocalists, among whom figure CASUAL SILENCE's own Rob Laarhoven, Eric Smits and Ernst Le Cocq d'Armandville.

"Individual Unique" is a rock opera, not quite prog metal but definitely more beefy than traditional symphonic prog, with a cast of male and female singers personifying the various characters. The concept is about a young ambitious artist in 18th Century Florence who is visited by the spirit of Michelangelo. Musically, many passages as well as several guitar riffs will remind the listener of Meeuws' love of DREAM THEATER - he admits his main influence being John Petrucci although his technique is far less complex. The album features nine tracks that vary in length from 2 to almost 10 minutes, from prog metal pieces to emotional ballads to an adaptation of a J.S. Bach fugue. All in all, it attains a nice balance between prog metal and symphonic prog.

A 'rock opera', Northern Light is similar in style and tone to a good many Dutch symphonic metal acts and more specifically the ambitious concepts of Arjen Lucassen and the musicals of Clive Nolan. Meeuws is responsible for all lead instruments including guitars, keyboards, piano and orchestrations, assisted by Igor Koopmans on drums and Frank de Groot on bass.




Essential Blues Harmonica


Essential Blues Harmonica is an excellent look at some of the genre's chart-toppers and innovators. Most importantly, it is a healthy dose of harmonica ringing with vocalic beauty from those who heavily defined the blistering blues. It is certainly a touching look back at some of the classic cuts by Sonny Boy Williamson, Howlin' Wolf, and Jimmy Reed, and spots from Charlie Musselwhite, Snooky Pryor, Frank Frost, and Kim Wilson of the Fabulous Thunderbirds are just as inviting. A 24-page color book and historic pictures are also included with this double-disc set.



Essential Blues Harmonica



domingo, 14 de outubro de 2018

Melange - Progressive Psych Rock (Spain)


Melange is a quintet formed in Madrid at the end of 2014. They move in a style that breathes between psychedelia, experimental music and folk, among others.Melange is the name of the spice that makes possible intergalactic travel, telepathy, and longevity in Frank Herbert's saga, "Dune." The quintet Melange seeks similar possibilities in their music. Melange’s band members have been involved in the independent music scene for quite some time, playing in bands such as Lüger, RIPKC, and Bucles, to name a few. However the band is really just of a group of friends, joined together with the intention of chasing their own creative restlessness. Melange is Adrian Ceballos (drums and vocals), Daniel Fernandez (bass and vocals), Mario Zamora (keyboard and vocals), Sergio Ceballos (guitar and vocals), and Miguel Rosón (guitar and vocals).  They release their first album "Melange" on self-released vinyl with their label "Discos Tere" in double LP format in April 2016. In November of 2017 "Viento Bravo" (Discos Tere / Beyond Beyond is Beyond Records) comes to light. Advance of the double debut LP Melange to be published in March 2016 by Discos Tere. Recorded, mixed and produced in Dangerous Productions (Los Tablones, Alpujarra Granadina), with Carlos Diaz and Jose A. Sanchez, and in Fantom Power (Madrid) with Enrique Borrajeros between August and November 2015. Mastered by Pablo Sanchez in Dangerous Productions. All songs composed and performed by Melange.


Little Walter - Blues (Harmonica)


The high rating is for the music. Served in a portion as generous as one could typically fit over four slabs of vinyl, these vintage recordings of Chicago blues cannot be denied. "Juke," "Flying Saucer," "Boom Boom, Out Go the Lights."..these are all out and out classics of urban blues, delivered with zest and zeal by an artist who matched flawless and flamboyant harmonica technique and a devastating amplified sound with a vocal style that was mischievous to the point of irritating Rumpelstiltskin. His musical company here is the cream of the crop, killer players all. The interplay between guitars and harmonica is fantastic by itself, while the antics of the rhythm section are a subject for extensive study as well. As a bandleader, Little Walter was an inventive character, meaning that each track has something fresh about its arrangement, often just a little touch or sometimes an entire groove that with that magic combination of familiarity and surprise. There isn't a bum track on this collection, which is why it didn't matter that the tracks on the third and fourth sides of the collection were shuffled like a deck of cards for the '80s version of this two-fer repackage, about which the following competition can be launched: Which of the two-record set covers used for the Boss Blues Harmonica sets is uglier? Is it the '70s version, in which a heavy soaking of toilet-bowl blue coloring fails to hide the fact that almost the entire back cover is taken up with a drawing of a drum set? Or was it the '80s set, featuring a crude drawing of someone who doesn't look at all like Little Walter, standing in front of a bar in what looks like the middle of a vacant field. The earlier set didn't bother to provide a clear listing of session men and discographical information.


sábado, 13 de outubro de 2018

Ivan "Boogaloo" Jones - Jazz & Funk (Guitar)



Biography by Richie Unterberger, All Music Guide
Not to be confused with Philly Joe Jones, guitarist Ivan Joseph "Boogaloo Joe" Jones recorded several albums in a soul-jazz vein for Prestige in the late '60s and early '70s. In addition to leading his own group for recording purposes, Jones also played with Wild Bill Davis, Houston Person, and Willis Jackson. His own dates are solid, if unexceptional groove jazz, leaving plenty of space for the saxes and organ, as well as his own bop/R&B hybrid style. Rusty Bryant, Charles Earland, and ace soul and jazz session drummer Bernard Purdie are among the sidemen also featured on Boogaloo's albums. 

Review by Stewart Mason, All Music Guide
By 1975, soul-jazz was well into its decline, supplanted by both fusion and disco as the instrumental groove musics of the moment, and a lot of '60s soul-jazz players had made the stylistic switch. Joe "Boogaloo" Jones, on the other hand, hadn't, and this obscure 1975 release (reissued in 1996 by Luv 'n' Haight, the rare grooves subsidiary of Ubiquity Records) largely sounds as if it could have come out in 1966. The one concession to the times was in Jones' choice in covers on side two, with extended takes on Stevie Wonder's "You've Got It Bad, Girl" (really rather good, with some terse, George Benson-like solos) and Olivia Newton-John's "Have You Never Been Mellow" (which isn't a good song no matter who does it), separated by a bizarre, almost disco-tinged version of the Harry Belafonte standard "Jamaica Farewell." The three originals on side one are a much better use of Jones' undeniable talents, with the funky strut of the title track a particular highlight, but overall, Sweetback sounds like Jones is running out of ideas; unsurprisingly, it was his last album.

Jones recorded 8 albums in a Soul-Jazz vein for Prestige in the period from 1968 to 1973, but his most furious, frenetic, funky and in-demand record has to be “Sweetback,” recorded in Upper Darby, PA in 1975, and originally released on the Joka label.

Ivan Joseph Jones, also known as "Boogaloo Joe", (born 1 November 1940) made his solo soul jazz debut as "Joe Jones" on Prestige Records in 1967, but earned the name "Boogaloo Joe" following a 1969 record of that title. The nickname was meant to distinguish him from the other people with similar names in the music business, such as R&B singer Joe Jones, jazz drummers "Papa Jo" Jones and Philly Joe Jones, etc. Later, he'd turn to billing himself as Ivan "Boogaloo Joe" Jones.

While his sound and style clearly derived from the blues, it was a solid understanding of rock and soul that Jones brought to his style of jazz and set him apart from the crowd.




Baden Powell & Stephane Grappelli - Jazz & Bossa Nova


This CD by Stephane Grappelli combines a complete 1974 studio session with bossa nova guitarist Baden Powell along with excerpts from a 1977 session with a large orchestra conducted and arranged by Christian Chevalier. As long as a good melody is present, the veteran violinist can be counted upon to swing it, as on the collection of eight bossa nova songs, including the often-recorded "Desafinado" and "Samba de Uma Notta" (also know as "One Note Samba"). Powell is a talented guitarist but not exactly at the level of the artists who Grappelli recorded with during his long career (for example, Django Reinhardt, Joe Pass, and Martin Taylor, to name a few). But the music is at least enjoyable even if it isn't overly memorable. Unfortunately, the orchestral session is closer to easy listening than jazz, with Chevalier's sleepy arrangements proving to be more of a distraction than a helpful background for Grappelli's solos, especially on the overblown "You Are the Sunshine of My Life," a piece that has been successfully adapted by jazz musicians on many other occasions. Even when the jazz group, anchored by keyboardist Maurice Vander, is added, it is of little help. Overall, this now out of print CD will likely be sought only by those who must own Grappelli's complete discographical output; anyone else can safely bypass this uneven release.

This CD by Stephane Grappelli combines a complete 1974 studio session with bossa nova guitarist Baden Powell along with excerpts from a 1977 session with a large orchestra conducted and arranged by Christian Chevalier. As long as a good melody is present, the veteran violinist can be counted upon to swing it, as on the collection of eight bossa nova songs, including the often-recorded "Desafinado" and "Samba de Uma Notta" (also know as "One Note Samba"). Powell is a talented guitarist but not exactly at the level of the artists who Grappelli recorded with during his long career (for example, Django Reinhardt, Joe Pass, and Martin Taylor, to name a few). But the music is at least enjoyable even if it isn't overly memorable. Unfortunately, the orchestral session is closer to easy listening than jazz, with Chevalier's sleepy arrangements proving to be more of a distraction than a helpful background for Grappelli's solos, especially on the overblown "You Are the Sunshine of My Life," a piece that has been successfully adapted by jazz musicians on many other occasions. Even when the jazz group, anchored by keyboardist Maurice Vander, is added, it is of little help. Overall, this now out of print CD will likely be sought only by those who must own Grappelli's complete discographical output; anyone else can safely bypass this uneven release.

Personnel
Stephane Grappelli  (violin) 
Baden Powell  (guitar)
Guy Pedersen  (bass)
Pierre Alain Dahan  (drums)
Jorge G. Resende and Clement de Waleyne  (percussion)



sexta-feira, 12 de outubro de 2018

The Diplomats Of Solid Sound - Funk & Soul (USA)


Review by Steve Leggett 
 Undoubtedly the funkiest thing to ever come out of Iowa City, the Diplomats of Solid Sound, led by the Hammond B-3 playing of Nate Basinger, have had a series of jazz-inflected instrumental funk albums that recall at times a sort of breezier version of Booker T. & the MG's. For this outing, though, the Diplomats, who also include Doug Roberson on guitar, Jim Viner on drums, David Basinger on baritone sax, and Eddie McKinley on tenor sax, have added vocals, courtesy of the Diplomettes (singers Sarah Cram, Katherine Ruestow, and Abbie Sawyer), and the result is a pleasantly varied and jazzy take on a set of R&B and funk pieces. the Diplomats don't really stomp the funk so much as they skate around it in a kind of soul-jazz mode, strong enough to dance to but light enough to allow for some real interplay between the players, and the addition of vocalists actually adds a little Caribbean lilt to things. Among the highlights here are the sturdy, muscular "Come in My Kitchen," the bright, snappy "Trouble Me," and the interesting reggae remix of "Hurt Me So" that closes things off, a track that is more dancehall than Sly Stone. It's all fun, but assuming the Diplomettes are going to stick around, the Diplomats of Solid Sound may be on the edge of breaking into a whole new place with their next release. Until then, this set shows some interesting possibilities, and it's the perfect album for a little summer dance party on the patio.





Personnel
David Basinger - alto and baritone sax-- 
Eddie McKinley - tenor sax-- 
Nate "Count" Basinger -Hammond B-3 organ, vocals-- 
Doug Roberson- guitar, vocals-- 
Paul Kresowik- drums-- 
Sarah Cram and Kathy Ruestow are the Diplomettes!




The Diplomats Of Solid Sound - Let's Cool One


Nate "Count" Basinger: Hammond B3, Fender Rhodes
Dustin Conner: Electric Bass
Doug Roberson: Guitars
Jim Viner: Drums, Percussion
David Bassinger: Baritone Sax (Track 1)
Will Kalkhoff: Tenor Sax
Justin Feinstein: Percussion

Curupira - Latin Jazz Fusion (Brazil)


The Curupira Trio is formed by young musicians and composers from the state of São Paulo, who have been exhibiting for audiences in Brazil and abroad one of the most creative works of the instrumental genre. Featured in Rock In Rio - Lisboa / 2004, the group was still one of the finalists in the Visa Instrumental Award that same year.

The Curupira was born in mid-1996, a happy meeting of ideals and affinities of its members: André Marques (pianist of the Hermeto Pascoal group since 1994), Fábio Gouvêa and Cleber Almeida. Determined to develop a differentiated work, the result of musical and cultural research, based on genuine Brazilian music, they go through all rhythms and eliminate any boundary between styles. The sound is dense, the harmony is rich and the personality is remarkable. The name was chosen because it refers to the mythical personage of the Brazilian folklore in charge of protecting the forests and the animals. The trio assumed a similar mission: the defense of Brazilian music and culture. "We started with a conception totally centered on Brazilian music, but we realized that we are against musical prejudices. We play rhythms from all over Brazil, but we are open to influences, whether it be classical music, jazz, Arabic music or flamenco. "says André Marques.
Another great feature of the trio is the huge variety of timbres, due to the great exchange of instruments, both in the show and in the recordings. In his presentations are used the traditional formation of trio (piano, bass and drums) and others with flutes, cavaquinho, guitar, percussion, escaleta, among other instruments.

For the members of the Curupira Trio, the great cultural miscegenation that exists in Brazil allows the mixing of several elements of cultures as distinct as the indigenous, the African, the European and the Arab, among others. "Few have had an interest in exploring this subject, inserted in all segments of our culture. We want to bring to the audience - through the sounds of our inherited cultural plurality - an original and unique music that only Brazil has," they explain.

The Curupira trio was born in 1996 with André Marques (pianist from the Hermeto Pascoal group), Fábio Gouveia and Cléber Almeida. The sound is based on Brazilian rhythms and melodies, mixed with different styles, remembering a Jazz Fusion. This is the first album of this band, blessed by Hermeto Pascoal, who participates in some tracks, and produced by Jane Duboc. Highly Recommended.


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