sábado, 3 de julho de 2010

Manfred Mann's Earth Band - Jazz Rock (UK)


Manfred Mann was an English rock band, formed in London in 1962. The group was named after their keyboardist Manfred Mann, who later led the successful 1970s group Manfred Mann's Earth Band. The band had two different lead vocalists during their period of success, Paul Jones from 1962 to 1966, and Mike d'Abo from 1966 to 1969. Manfred Mann was regularly in the UK charts in the 1960s. Three of the band's most successful singles, "Do Wah Diddy Diddy", "Pretty Flamingo" and "Mighty Quinn", topped the UK Singles Chart. They were the first southern-England-based group to top the US Billboard Hot 100 during the British invasion.


An R&B band that only played pop to get on the charts, Manfred Mann ranked among the most adept British Invasion acts in both styles. The fact that their range encompassed jazz as well as rhythm & blues, coupled with some elements of their appearance and presentation -- co-founder/keyboardist Manfred Mann's bearded, bespectacled presence -- also made the Manfreds more of a thinking person's band than a cute, cuddly, outfit like the Beatles, or sexual provocateurs in the manner of the Rolling Stones. Yet, their approach to R&B was as valid as that of the Stones, equally compelling and often more sophisticated. They charted an impressive number of singles from 1964 through 1969, and developed a large, loyal international fandom that lingers to this day.


South African-born keyboardist Manfred Mann, born Manfred Lubowitz in Johannesburg in 1940, was originally an aspiring jazz player. He performed at dances and local coffee bars in Johannesburg as a teenager, and studied classical music at Witwatersrand University, also playing with Hugh Masekela in a local band. His influences included John Coltrane, Miles Davis, Cannonball Adderley, Ornette Coleman, Bill Evans, and Dave Brubeck. He felt that his musical growth would be stymied by further work in South Africa, however, and decided to move to England in 1961, making his living as a jazz pianist and teacher, and writing articles under the name Manfred Manne, the surname derived from drummer Shelly Manne -- he later dropped the "e" and used "Manfred Mann" as his performing name.


Mann's preference for jazz quickly ran headlong into the growing public taste for rhythm and blues that began sweeping through younger audiences in England during the early '60s. In the course of his playing at the Butlins resort in Clacton during 1962, Mann met percussionist Mike Hugg, and the two soon began playing together in a band that included Graham Bond. Hugg and Mann eventually formed their own band, the Mann Hugg Blues Brothers, which grew into a septet, including two saxmen and a trumpet player. They were successful on the London club scene, playing venues such as the Marquee and other top music spots. The band's membership also grew to include guitarist, flautist, and saxman Mike Vickers.


The group was still lacking a lead singer, but this deficiency was rectified in late 1962 when they added Paul Jones, who had previously worked with guitarist Tom McGuinness, to their lineup. By early 1963, the Mann Hugg Blues Brothers had shrunk back to five members -- Manfred Mann (keyboards), Mike Hugg (percussion), Mike Vickers (guitar, sax, flute), Paul Jones (vocals), and Dave Richmond (bass) -- and also picked up a manager, Kenneth Pitt, who arranged auditions for the group with Pye, Decca, and EMI Records. The EMI audition in May of 1963 was the one that worked, and they were signed to the latter company's HMV label. The band was assigned producer John Burgess, who was intrigued by the mix of jazz and R&B in their style. It was also Burgess who decided that the group needed a shorter, punchier name and -- against the wishes of the keyboardist himself -- chose Manfred Mann as the band's name.


Paul Jones was one of the best British Invasion singers, and his resonant vocals were the best feature of Manfred Mann's early R&B sides, which had a slightly jazzier and smoother touch than the early work of the Rolling Stones and the Animals. The group's debut single, "Why Should We Not" b/w "Brother Jack," were drawn from their first EMI commercial recording audition, and showed a bit of what the band could do instrumentally -- the A-side was a moody, bluesy original that alternately featured Vickers' sax, Jones' harmonica, and Mann's organ, while the flip was a bouncy jazz variant on "Frere Jacques." If the group's debut showed the Manfreds' virtuosity and cleverness, then the blues-rock follow-up "Cock-A Hoop" heralded the arrival of a major and charismatic singing talent in Paul Jones. Despite a lot of radio play, "Cock-A Hoop" failed to chart. The group's luck changed late in 1963, however, when they were asked to write a new theme song for the British television rock & roll showcase Ready, Steady, Go. The result was "5-4-3-2-1," a catchy, pulsing piece of rock & roll that got to number five on the British charts and became the permanent signature tune for the television series. Shortly after the single was recorded, Dave Richmond exited Manfred Mann's lineup and was replaced by Tom McGuinness, who switched from guitar to bass to join the group.






























domingo, 6 de junho de 2010

Nightwish - Symphonic Prog Metal (Finland)


Nightwish is a symphonic metal band from Kitee, Finland. The band was formed in 1996 by lead songwriter and keyboardist Tuomas Holopainen, guitarist Emppu Vuorinen, and former lead singer Tarja Turunen. The band soon picked up drummer Jukka Nevalainen, and then bassist Sami Vänskä after the release of their debut album, Angels Fall First (1997). In 2001, Vänskä was replaced by Marco Hietala, who also took over the male vocalist role previously filled by Holopainen or guest singers.


Although Nightwish have been prominent in their home country since Angels Fall First, they did not achieve wider success until the release of the albums Oceanborn (1998), Wishmaster (2000) and Century Child (2002). Their 2004 album, Once, has sold more than one million copies and was the band's breakthrough in the United States. Their biggest US hit single, "Wish I Had an Angel" (2004), received MTV airplay and was included on three US film soundtracks to promote their North American tour. The band produced three more singles and two music videos for Once, as well as a re-recording of "Sleeping Sun" for the compilation album, Highest Hopes: The Best of Nightwish (2005), before Turunen's dismissal in October 2005. Her last performance with Nightwish was during a concert recorded for the live album/DVD End of an Era. After the concert, the other members informed Turunen with an open letter that she was no longer a member of Nightwish.


In May 2007, Nightwish announced Anette Olzon as Turunen's replacement. That September, the band released their sixth album, Dark Passion Play, which has sold almost 2 million copies. The album's lead single, "Amaranth", became one of Nightwish's most successful in Europe. The supporting tour, one of the band's largest, started on October 6, 2007 and ended on September 19, 2009...














terça-feira, 4 de maio de 2010

Nelson Cavaquinho


Uma das principais referências do samba carioca, Nelson Cavaquinho foi contemporâneo de outros grandes mestres do Samba. A simplicidade de sua música emociona! Abaixo, texto baseado na publicação de http://www.samba-choro.com.br/artistas/nelsoncavaquinho.

Filho de família pobre, Nelson Cavaquinho nasceu no Rio de Janeiro em 29 de outubro de 1911. Viveu a infância solto na rua, jogando em peladas, bolinhas de gude, correndo atrás de balões. Quando tinha 7 anos de idade pegou gripe espanhola, que assolou o Rio de Janeiro. Devido aos problemas financeiros de sua família teve que deixar a escola no terceiro ano primário para trabalhar numa fábrica de tecidos e depois como auxiliar de eletricista.



A música nasceu cedo em Nelson. Seu pai, Brás Antônio da Silva, tocava tuba na Polícia Militar. Nas tardes de domingo, a família se reunia, seu tio Elvino tocando violino e Nelson tentando acompanhá-lo num instrumento feito em casa: uma caixa de charutos com alguns arames esticados. Sua mãe, Maria Paula da Silva, era lavadeira no Convento de Santa Tereza e cuidava de seus cinco irmãos, Iracema, Arnaldo, João, Atarílio e José.

Seu contato com a malandragem carioca começou cedo. Ele ficaria amigo de famosos e famigerados valentes como Brancura, Edgar e Camisa Preta. Na adolescência, morando na Gávea, entraria em contato com os chorões e sua músicas. Ficava fascinado com a perícia dos grandes mestres do cavaquinho e ia espiando e aprendendo os truques do instrumento. Como não tinha dinheiro para comprar um cavaquinho, treinava quando conseguia emprestado de alguém.

Em suas andanças pelos bailes dos clubes cariocas conheceu músicos de grande influência em sua formação, como Edgar Flauta da Gávea, Heitor dos Prazeres, Mazinho do Bandolim e o violonista Juquinha, de quem recebeu importantes noções de como tocar cavaquinho. Nessa época adquiriu um costume que virou sua marca: tocar apenas com dois dedos. E ganhou o apelido que o acompanharia por toda a vida.

Demonstrando grande habilidade para o instrumento, Nelson compôs um choro, “Queda”, que o fez tornar-se respeitado como músico, passando a ser chamado para fazer shows. Fugia de seu trabalho como ajudante de eletricista e ia para a rua da Conceição para ver músicos como Luperce Miranda tocando. Afinal, ganhou um cavaquinho de presente.

Aos 20 anos, conheceu Alice Ferreira Neves. Meses depois foi arrastado pelo pai da moça até a delegacia e obrigado a se casar. Teria quatro filhos. Com as obrigações de um chefe de família e sem emprego, Nelson teve que pedir socorro à família. Seu pai, que era contramestre da banda da corporação, conseguiu para ele um posto como cavalariano na Polícia Militar. 

Quem achava que a disciplina do quartel mudaria seus hábitos boêmios se enganou. Todos os dias Nelson pegava seu cavalo, Vovô, e subia o morro da Mangueira para a patrulha. Chegando lá parava de bar em bar, onde fez amizades com sambistas como Carlos Cachaça, Zé da Zilda e Cartola.

Nelson conta como conheceu Cartola: “Foi na quadra da Mangueira. E, no nosso primeiro encontro, teve um caso interessante. Na época, era polícia e estava de ronda pelo morro. Aí, resolvi parar numa tendinha e deixei amarrado na porta o cavalo, e olha, fiquei tanto tempo conversando com o Cartola, que quando saí da birosca, cadê o animal? Tinha sumido. Fiquei apavorado. E resolvi, assim mesmo, voltar para o quartel. Não é que quando chego lá dou de cara com o cavalo na estrebaria? O danado parecia que sorria pra mim pela peça que me pregou.”

Sua patrulha até que era eficiente. Como conhecia todo mundo no morro, quando encontrava alguma encrenca, não prendia: conversava com os envolvidos e resolvia a questão. Nelson mergulhava cada vez mais no samba e na boêmia, passava dias longe de casa, faltava ao trabalho e era punido com detenção. “Eu ia tantas vezes em cana que já estava até me acostumando ao xadrez. Era tranqüilo, ficava lá compondo, entre as músicas que fiz no xadrez está “Entre a Cruz e a Espada”.”

Antes que fosse expulso da corporação, Nelson conseguiu baixa. Na mesma época separou-se da mulher, depois de alguns cavaquinhos e violões quebrados, ficando livre para dedicar-se à música e a boêmia sem cobranças nem recriminações. Sem dinheiro, habituou-se a ir à praça Tiradentes vender seus sambas por verdadeiras ninharias. Um de seus parceiros, Milton Amaral, também compositor e boêmio, costumava contar que, certa madrugada, fizeram um samba juntos. Dias depois, quando foi à editora para assinar o contrato, qual não seria sua surpresa ao constatar que era o 16º co-autor: Nelson já havia vendido a mesma música quatorze vezes.


Na década de 50, trocou o cavaquinho pelo violão. Mas não deixou a maneira de tocar com o polegar e o indicador que sempre impressionou instrumentistas como Paulinho da Viola, Turíbio Santos e Egberto Gismonti. Como compositor, notabilizou-se pela melancolia de sua poesia. E pela constância da morte em sua temática. “Sou um homem que está muito perto da fatalidade. Minhas músicas, por isso, falam sempre em morte e em Deus, não faltando os amores fracassados.” Nelson realmente viveu muitas tristezas. No começo da década de 40, depois de três dias e três noites na rua, tocando cavaquinho, quando voltou para casa, descobriu que sua mãe havia morrido e fora enterrada dias antes.

Com repertório de mais de 600 composições (a maioria delas inéditas ou esquecidas, pois dificilmente o músico as escrevia, preferindo guardá-las na memória), Nelson Cavaquinho criava de madrugada, nas mesas dos bares, com o violão e um copo de cerveja ou cachaça. “Nunca fiz samba por encomenda, por isso jamais vou compor um samba-enredo. Acho horrível você ter de fazer aqueles lá-lá-lá e oba-oba obrigatórios na linha melódica das escolas de samba. Faço músicas para tirar as coisas de dentro do coração. E foi assim desde o dia em que fiz meu primeiro samba.” 

Seu principal parceiro, Guilherme de Brito, conta como o conheceu: “Conheci o Nelson Cavaquinho no Café São Jorge. Eu morava em Ramos naquela época e o Nelson já era um sucesso. Às vezes eu voltava de noite, trabalhava o dia inteiro, e lá estava o Nelson com o seu violão. Até que um dia eu me atrevi e cheguei perto dele com a primeira parte de um samba, que foi "Garça", e falei: "Ô Nelson, vê se você gosta aqui...". Ele disse que estava ótimo e fez a segunda parte. Dali em diante seguimos até o fim da vida e fizemos um trato de compormos juntos, só eu e ele. Foi muito boa a parceria e fomos leais até o fim da vida dele. Se bem que ele pulou fora duas vezes durante esse período e compôs com outro cara, mas foi muito bom. Se ele estivesse vivo, estaríamos com certeza até hoje ligados um ao outro.”

Com mais de 50 anos de idade, conheceria Durvalina, sua companheira pelo resto da vida.

Aos poucos o menestrel das ruas foi envelhecendo. Os cabelos tornaram-se brancos, as rugas fizeram residência em seu rosto. Com medo de ter problemas de saúde, parou de beber e de fumar. Já não mais varava as noites em claro, não desaparecia por dias seguidos. Mas continuava com o violão. Todos os dias, abraçava-o carinhosamente, com seu estranho hábito de tocá-lo quase na vertical. As composições foram rareando, no entanto, persistiram até o fim.


Na madrugada do dia 18 de fevereiro de 1986, aos 74 anos, ele morria, vítima de enfisema pulmonar. Ele agora chamava-se saudade




1 - Juizo final (Élcio Soares - Nelson Cavaquinho)
2 - Folhas secas (Guilherme de Brito - Nelson Cavaquinho)
3 - Caminhando (Nourival Bahia - Nelson Cavaquinho)
4 - Minha festa (Guilherme de Brito - Nelson Cavaquinho)
5 - Mulher sem alma (Guilherme de Brito - Nelson Cavaquinho)
6 - Vou partir (Jair Costa - Nelson Cavaquinho)
7 - Rei vadio (Joaquim - Nelson Cavaquinho)
8 - A flor e o espinho (Alcides Caminha - Guilherme de Brito - Nelson Cavaquinho)
Se eu sorrir (Nelson Cavaquinho - Guilherme de Brito)
Quando eu me chamar saudade (Nelson Cavaquinho - Guilherme de Brito)
Pranto de poeta (Nelson Cavaquinho - Guilherme de Brito) participação: Guilherme de Brito
9 - É tão triste cair (Nelson Cavaquinho)
10 - Pode sorrir (Guilherme de Brito - Nelson Cavaquinho)
11 - Rugas (Garcêz - Ary Monteiro - Nelson Silva)
12 - O bem e o mal (Guilherme de Brito - Nelson Cavaquinho)
13 - Visita triste (Anatalicio - Guilherme de Brito - Nelson Cavaquinho)

Reativandôôô!!!



Vários motivos me fizeram abandonar o Valvulado por um tempo, porém sem nunca esquecer do compromisso com as pessoas interessadas que visitaram o blog, mesmo com ele relegado ao ostracismo!

Estou de volta com muita disposição! Conto também com a participação dos meus fiéis colaboradores!!! El Desaparecido, não desapareça! Javanês, não se assuste, é fácil, muito fácil! Monster, é que nem coçar, é só começar...

São sempre bem vindos os pedidos, sugestões e críticas.

Saudações sonoras


Para comemorar:



sexta-feira, 30 de abril de 2010

Nina Hagen - Pop RockPunk Rock (Germany)


Catharina "Nina" Hagen (born 11 March 1955) is a German singer, songwriter, and actress. She is known for her theatrical vocals and rose to prominence during the punk and new wave movements in the late 1970s and early 1980s.

Born in the former East Berlin, German Democratic Republic, Hagen began her career as an actress when she appeared in several German films alongside her mother Eva-Maria Hagen. Around that same time, she joined the band Automobil and released the single "Du hast den Farbfilm vergessen". After her stepfather Wolf Biermann's East German citizenship was withdrawn in 1976, Hagen followed him to Hamburg. Shortly afterwards, she was offered a record deal from CBS Records and formed Nina Hagen Band. Their self-titled debut album was released in 1978 to critical acclaim and was a commercial success selling over 250,000 copies. The band released one more album Unbehagen before their break-up in 1979.


In 1982, Hagen signed a new contract with CBS and released her debut solo album NunSexMonkRock, which became her first record to chart in the United States. She followed it with two more albums: Fearless (1983) and Nina Hagen in Ekstasy (1985), before her contract with CBS expired and was not renewed. In 1989, she was offered a record deal from Mercury Records. She released three albums on the label: Nina Hagen (1989), Street (1991), and Revolution Ballroom (1993). However, none of the albums achieved notable commercial success. Hagen made her musical comeback with the release of her album Return of the Mother (2000).

Besides her musical career, Hagen is also a voice-over actress. She wrote three autobiographies: Ich bin ein Berliner (1988), Nina Hagen: That's Why the Lady Is a Punk (2003), and Bekenntnisse (2010). She is also noted for her human and animal rights activism.





domingo, 25 de abril de 2010

Television - Alternative Rock (Post Punk)


Television is an American rock band from New York City, most notably active in the 1970s. The group was founded by Tom Verlaine, Richard Lloyd, Billy Ficca, and Richard Hell. An early fixture of CBGB and the 1970s New York rock scene, the band is considered influential in the development of punk and alternative music.

Although they recorded in a stripped-down, guitar-based manner similar to their punk contemporaries, Television's music was by comparison clean, improvisational, and technically proficient, drawing influence from avant-garde jazz and 1960s rock. The group's debut album, Marquee Moon, is often considered one of the defining releases of the post-punk era.


Television's roots can be traced to the teenage friendship between Tom Verlaine and Richard Hell. The duo met at Sanford School in Hockessin, Delaware, from which they ran away. Both moved to New York, separately, in the early 1970s, aspiring to be poets.

Their first group together was the Neon Boys, consisting of Verlaine on guitar and vocals, Hell on bass and vocals and Billy Ficca on drums. The group lasted from late 1972 to late 1973. A 7-inch record featuring "That's All I Know (Right Now)" and "Love Comes in Spurts" was released in 1980.


In late 1973 the group reformed, calling themselves Television and recruiting Richard Lloyd as a second guitarist. Their first gig was at the Townhouse Theatre, on March 2, 1974. Their manager, Terry Ork, persuaded CBGB owner Hilly Kristal to give the band a regular gig at his club, where they reportedly constructed their first stage. After playing several gigs at CBGB in early 1974, they played at Max's Kansas City and other clubs, returning to CBGB in January 1975, where they established a significant cult following.




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