Música de todos - Música para todos.
Rock, Punk Rock, Jazz, Fusion, Funk, MPB, Samba, Reggae, Regional, Progressivo, Música Universal e todas as combinações possíveis de ritmos e culturas...
US outfit CIRRUS BAY started out as an acoustic duo back in 2001, consisting of Bill Gillham on guitar and Sharra Gallham (now Sharra Acle) on vocals. They performed Bill's compositions live in coffee and sandwich shops, acoustic efforts with sophisticated compositional structures underneath a melodic palette catering to a more mainstream-oriented musical taste. The duo were, at some point in time, approached by Mark Blasco. He's a drummer and engineer, and besides being fascinated by the duo's musical ventures he also wanted to know if they would like to record their music, offering his services as a drummer if so would be the case. And while Cirrus Bay still is represented by a duo performing acoustic music, now consisting of Bill and Anisha Gillham, it has also evolved into a band project, at least as far as CD releases are concerned. And in the latter case the music has become much more embellished, closer to the muscial territories explored by acts such as Genesis and Spock's Beard.
Five seasoned prog veterans have gathered in a new band named Ghost Community.
Vocalist Marc Atkinson (Riversea, solo), guitarist Simon Rogers (Also Eden), bassist Matthew Cohen (The Reasoning), keyboardist Moray Macdonald (Godsticks, Crimson Sky) and drummer Jake Bradford-Sharp (The Reasoning, Echochain) have begun work on their debut album.
They say: “With much crisscrossing the country through the years, sharing the same stages, frequenting the same scene and forging firm friendships, the only natural evolutionary step was to form a collaborative and exciting musical entity.
“We realised that we all touched bases on many musical levels. With the wealth of experience we bring to the table, we can make this band something that not only meets our own musical desires – but a band for everyone.”
They explain their name by saying: “As we go about our business in our daily lives, we cross paths with individuals who exist merely as voices at the end of a digital connection. We travel the globe passing though borders, and making eye contact with their gatekeepers – and yet these moments are fleeting. With the ever-increasing prominence of social media channels, we impart information to and share details with hundreds, if not thousands, of strangers every day.
“In a fast-moving world we sometimes forget the one thing that truly holds everything together: people. These people are the ‘ghosts’ that make up our community. Without each other, what do we have? This is the Ghost Community. This is our community. This is your community. In it, we all stand together.”
Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known by her stage name Abbey Lincoln, was an American jazz vocalist, songwriter, and actress, who wrote and performed her own compositions. She was a civil rights advocate during the 1960s. Born in Chicago but raised in Calvin Center, Cass County, Michigan, Lincoln was one of many singers influenced by Billie Holiday. She often visited the Blue Note jazz club in New York City. Her debut album, Abbey Lincoln's Affair – A Story of a Girl in Love, was followed by a series of albums for Riverside Records. In 1960 she sang on Max Roach's landmark civil rights-themed recording, We Insist! Lincoln’s lyrics were often connected to the civil rights movement in America.
During the 1980s, Lincoln’s creative output was smaller and she released only a few albums during that decade. Her song "For All We Know" is featured in the 1989 film Drugstore Cowboy. During the 1990s and until her death, however, she fulfilled a 10-album contract with Verve Records. After a tour of Africa in the mid-1970s, she adopted the name Aminata Moseka. These albums are highly regarded and represent a crowning achievement in Lincoln’s career. Devil’s Got Your Tongue (1992) featured Rodney Kendrick, Grady Tate, J. J. Johnson, Stanley Turrentine, Babatunde Olatunji and The Staple Singers, among others. In 2003, Lincoln received a National Endowment for the Arts Jazz Master Award. Lincoln was married from 1962 to 1970 to drummer Max Roach, whose daughter from a previous marriage, Maxine, appeared on several of Lincoln’s albums.
Lincoln died on August 14, 2010 in Manhattan, eight days after her 80th birthday. Her death was announced by her brother, David Wooldridge, who told The New York Times that she had died in a Manhattan nursing home after suffering deteriorating health ever since undergoing open-heart surgery in 2007. No cause of death was officially given. She was cremated and her ashes were scattered.
Quando os pioneiros do blues no Brasil começaram suas carreiras, o gênero era pouco conhecido por aqui e havia um vasto território a desbravar. Mas o panorama mudou radicalmente nos últimos anos. O blues nacional avança de vento em popa, com músicos de grande talento surgindo em todos os cantos do país e lançando trabalhos de qualidade, inclusive com reconhecimento internacional. Sem falar dos inúmeros festivais dedicados ao gênero que pipocam em diversas regiões, alimentando ainda mais uma efervescente cena blueseira.
Para celebrar este momento, Guitar Player lançou o álbum Blues na GP, distribuído na Expomusic 2013 e enviado aos assinantes da revista. Nem todas as músicas presentes nesta coletânea são blues em sua forma mais pura e nem todos os guitarristas participantes se dedicam exclusivamente ao estilo, mas eles possuem o blues como referência e forte influência, utilizando-se de suas técnicas e sonoridade para moldar as ideias que brotam em suas mentes. Confira comentários desses músicos nacionais sobre as canções que estão no disco.
Uma prática esquecida no Brasil foi resgatada com ótimo resultado pela edição brasileira da revista Guitar Player. Durante a ExpoMusic, ocorrida em setembro em São Paulo, a publicação vendeu exemplares do mês de outubro acompanhados de um CD bônus dedicado ao blues brasileiro. Vinte e dois guitarristas dos melhores que existem por aqui cederam faixas ou gravaram especialmente para o projeto. Intitulado “Blues na GP”, o disco conta com participações de artistas de várias partes do país. São eles: Nuno Mindelis, Celso Salim, Marcos Ottaviano, Blues Etílicos, Fernando Noronha, Igor Prado Band, Ricky Furlani, Irmandade do Blues, Alamo Leal, Big Gilson, Amleto Barboni, Duca Belintani, Artur Menezes, Kim Kehl, Norba Zamboni, Tatiana Pará, Felipe Cazaux, Carlos Café, Décio Caetano, Oly Jr. e Brazilian Blues Band. A produção do álbum ficou por conta de Flávio Gutok. “Blues na GP” foi enviado também aos assinantes da revista pelo correio, mas ainda não está prevista a venda avulsa, seja no site da revista ou mesmo em lojas. De longe é a melhor coletânea de blues feita por brasileiros no Brasil. Corra atrás das músicas em pensar…
Cosmograf is a progressive rock project lead by Robin Armstrong, a multi instrumentalist musician from Waterlooville, England. The Cosmograf sound is rooted in 70’s classic rock with a contemporary and progressive twist with obvious influences from classic progressive rock such as Pink Floyd, Yes and Genesis, but with more contemporary flavours from bands such as Porcupine Tree, Muse, and Radiohead.
Robin plays guitar, keyboards, bass and drums, sings, and records, producing himself and fellow collaborating musicians, in his own self built music studio ‘The Trees’. Cosmograf tracks feature guest musicians from the progressive rock community performing and contributing to each album.
Captivated as a teenager by Deep Purple’s fusion of Heavy Rock with Baroque intros and lead lines, Robin often utilises a blend of classical music and contemporary rock music to provide a fusion of progressive rock that polarises audiences and demands attention.
Cosmograf albums are built around concepts – Conceptual Progressive Rock allows the freedom to span genres, stop and start in different tempos, with the inclusion o f relevant soundscapes and effects to build the story. This creates a musical freedom far beyond the commercial rules and constraints of a disposable 3 minute pop song.
Samuel Aaron Bell (April 24, 1921, Muskogee, Oklahoma - July 28, 2003) was an American jazz double-bassist. In the 1950s, Bell appeared on Billie Holiday's album Lady Sings the Blues and with Lester Young, Stan Kenton, Johnny Hodges, Cab Calloway, Carmen McRae, and Dick Haymes. In 1960 he left Haymes' band after being offered a position in the Duke Ellington Orchestra, opposite drummer Sam Woodyard. He left in 1962, spending time with Dizzy Gillespie before taking jobs on Broadway as a pit musician. He and Ellington collaborated once more in 1967, on a tribute to Billy Strayhorn. Bell held a residence at the La MaMa Experimental Theatre Club in New York City from 1969 to 1972. He also began teaching at Essex College in Newark in 1970, remaining there until 1990. Later in the 1970s he toured with Norris Turney, Harold Ashby, and Cat Anderson; in the 1980s he returned to piano playing, and retired from active performance in 1989. He died in 2003.
Abayomy significa “encontro feliz” em Yorubá, palavra que traduz bem o clima da banda. Todos amigos, que se divertem bastante tocando juntos. A banda conta com Vitinho Gottardi na guitarra, que também toca com Claudio Fantinato (percussão), Leandro Joaquim (trompete) e Pedro Dantas (baixo) na banda Sobrado 112. A banda também tem Thomas Harres, que também toca bateria com o Letuce, Gustavo Benjão guitarra no Do Amor, Donatinho nos teclados, Rodrigo La Rosa e Alexandre Garnizé nas percussões, Marco Serragrande no trombone, Thiago Queiroz no saxofone barítono , Mônica Ávila no alto e Fábio Lima no tenor. Todos se juntaram para tocar em homenagem ao nigeriano Fela Kuti, no famoso Fela Day no Rio. O próprio Vitinho explica quando e como isso aconteceu.
“A Abayomy surgiu no dia 15 de outubro de 2009, quando nos juntamos para tocar no primeiro Fela Day no Rio. Fela Day é um evento que rola em várias cidades do mundo, e que celebra o aniversário do Fela Kuti, um dos criadores do Afrobeat” – junto com o Tony Allen, com quem a banda gravou neste ano (visto no vídeo acima comparticipação do BNegão no vocal, cantando Jorge Benjor). “Montamos uma banda pra tocar somente nesse dia, mas foi tão legal que sentimos necessidade de continuar com o projeto, e a partir daí começamos a tocar pela cidade e a compor”, complementa Vitinho.
ABACUS is surely a big name for everyone interested in rock music. The band formed in 1971 made their breakthrough at the Germersheim rock festival, where ABACUS drew not less applause from the 300,000 visitors than PINK FLOYD, SANTANA or ELP which appeared on stage as well. Jürgen Wimpelberg takes on himself to play keyboards, guitars, drum programming as well as vocals. After a lengthy absence from the recording scene, German band are back with a new album, "Fire Behind Bars". They develop Pop melodies into a wide instrumental manner, with gorgeous neo-classical and symphonic sequences. In a vein near GENESIS, GREENSLADE or PINK FLOYD. ABACUS offers a modern and attractive Progressive Rock music.
Aaron Space was a Canadian psychedelic rock band from Toronto, performing art rock with a touch of psychedelia and a pinch of 70's hard rock.
Hailing from Sudbury, Ontario, Aaron Space was formed in the late 1960s by guitarist Jake Thomas (originally from North Bay, Ontario, and ex of Bucstone Hardware) Yarmouth, NS native Dave Moulaison, Gene Falbo (originally from Digigriano Cosenza Calabria, Italy) on bass, and local native drummer Bob DiSalle. While they played the area's circuit as a covers band, they slowly started writing their own material and inserting it into their playlists. By 1970, they'd relocated to Toronto to take advantage of the bigger crowds. Soon after, Warner Brothers rep John Pozer caught their act and signed them to a deal. They released their first single, "Keep On Movin'," which featured Lisa Garber on bg vocals, b/w "The Visitor" in the fall of '71 to mixed reviews. It eeked its way up to #83 on some strong support from Toronto radio, where it stayed for three weeks. Recorded at Eastern Sound in Toronto and produced by John Stewart, their eponymous debut album followed early the next year, with the single, "Marsha" b/w "She Smiles" close behind. Despite a heavy ad campaign being launched, it failed to make a dent in the chart, yet still many critics later praised the album as a whole. Entirely self-written with Moulaison and DiSalle sharing lead vocals, other songs like "Silly Ceilings," North Country Rock n Roll," and "Man In A Yellow Car" were full of heavy riffs and fuzz guitar, and indicative of the acid rock scene of the day. After a series of short tours around central Canada, plans were being made for a follow-up album, some songs had been written, and some time in the studios had been spent. But with their deal with Warner on the brink of ending, the band imploded, and everyone went on to individual projects. Falbo, now going by his real name, joined Jackson Hawke a few years later.
NEMRUD was established in the second half of 2008 in Istanbul-Turkey by Mert Göçay, Harun Sönmez and Aycan Sarı. By the time the band had its current formation, there had been several changes in the composition of band members. The current line-up was formed with the participations both Mert Alkaya and Mert Topel in 2010 and Levent Candaş in 2015 as band members. NEMRUD have released their first two conceptual Progressive Rock albums "Journey of the Shaman"(2010) and "Ritual"(2013) on Musea Records from France. In late 2015 NEMRUD continued the recordings with a conceptual S/T album, released by Rainbow45 Records from Turkey. The group is named after Mount Nemrut; the 2150m high mountain lies in southestern Turkey, known by tomb-sanctuary built in 62bc by King Antiochus I Theos of Commageme on the top mouintain overlooking The Euphrates Valley. Mount Nemrut is the place embracing the Middle of the Ground and the place that first album character 'Mitos' passes by while going to the underground. This mountain is at a sacred place which is the intersection point of East and West, two worlds that mankind have been believing for hundreds of years. NEMRUD has gone beyond the Turkish standard rock or popular line-chorus structured songs and pushed the technical and composition limits of rock music. Besides, there are classic, jazz and avant-garde components in their compositions. Their music shows the general characteristics of Progressive Rock such as changing melodies and rhythms, refrains from repetition, conceptual and abstract lyrics. The admiration of the band for the golden era of Progressive Rock reflects itself in the epical stories used in the albums. Their albums are referring to the golden 1970s era and made up of reminiscences to Eloy, Pink Floyd, Yes, Camel and other bands with psychedelic and symphonic leanings.
Finalmente saiu um grande documentário sobre ZAPPA. "Eat That Question: Frank Zappa in His Own Words" . (Engula esta Pergunta: Frank Zappa em suas próprias palavras). Vejam o trailer...
Documentário: 90 min., 2016.
Diretor: Thorsten Schütte.
Uma pequena sinopse:
O documentário dirigido por Thorsten Schütte aborda Zappa através de sua persona pública e sua relação complicada com a mídia. Utilizando como matéria prima várias entrevistas na TV e performances ao vivo um tanto obscuras e esquecidas, o filme revela duas facetas deste artista complexo na longa carreira de trinta anos. Zappa foi tanto um compositor carismático que exultou no palco comoe um debatedor inteligente e intransigente que nunca renunciou às suas crenças. Este filme ressoa sua música e ideias que marcaram gerações. A luta para libertar o público de conformismo que continua a ser mais relevante do que nunca.
Mais uma palhinha:
E não é só isso... O legado de Zappa é enorme, e sua família têm administrado para que suas gravações não se percam ao longo do tempo. Vejam este vídeo abaixo...
Vejam o tamanho do armazém que possui várias gravações não publicadas... Isto quer dizer que vem muita coisa por aí.
Road Tapes, Venue #3 features two complete shows from Tyrone Guthrie Theater in Minneapolis, MN. The July '70 Mothers line-up featured Flo & Eddie, George Duke, Ian Underwood, Aynsley Dunbar & Jeff Simmons. FZ's vast Vault does not contain many full shows from this time period, so that alone makes this release a special one. The tapes were recorded to stereo reel-to-reel, but not without problems. Due to their historical relevance, we felt it was worth it, warts 'n all! Venue #3 does not disappoint.
Disc One
Show 1
1 Tyrone Start The Tape… (1:59)
2 King Kong (3:37)
3 Wonderful Wino (Zappa/Simmons) (4:47)
4 Concentration Moon (2:34)
5 Mom & Dad (3:25)
6 The Air (3:46)
7 Dog Breath (2:01)
8 Mother People (2:06)
9 You Didn’t Try To Call Me (4:10)
10 Agon – Interlude (Stravinsky) (0:36)
11 Call Any Vegetable (7:59)
12 King Kong / Igor’s Boogie (20:25)
13 It Can’t Happen Here (3:05)
14 Sharleena (4:59)
Show 2
15. The 23rd “Mondellos” (3:13)
16. Justine (Harris/Terry) (1:46)
Disc Two
Show 2, continued
1 Pound For A Brown (5:07)
2 Sleeping In A Jar (3:37)
3 Sharleena (5:49)
4 “A Piece Of Contemporary Music” (7:03)
5 The Return Of The Hunchback Duke (incl. Little House I Used To Live In, Holiday In Berlin) (10:00)
6 Cruising For Burgers (3:44)
7 Let’s Make The Water Turn Black (1:42)
8 Harry, You’re A Beast (1:29)
9 Oh No / Orange County Lumber Truck (11:01)
10 Call Any Vegetable (11:29)
11 Mondello’s Revenge (1:46)
12 The Clap (Chunga’s Revenge) (13:01)
Frank Zappa: guitar
George Duke: electric piano, vocal drum imitations
Aynsley Dunbar: drums
The Phlorescent Leech & Eddie (Mark Volman, Howard Kaylan): vocals
Jeff Simmons: bass, vocal
Ian Underwood: alto sax, electric piano
E aguardem, que muito em breve, deve ter muito mais...
