terça-feira, 17 de outubro de 2017
An international Jazzhop and fusion collective put together by Gadget of Millennium Jazz Music.The Jazz Jousters collective was formed in June 2012 by Millennium Jazz Music’s founding manager Gadget, who challenged the group to sample certain Jazz tracks while paying tribute to a different Jazz great in each session and releasing the submissions via the MJM label. This resulted in a new album consistently being released digitally every two weeks for the first two seasons, and then monthly in their third season in 2015. At this point all involved agreed that it was time to honor the listeners cries and attempt to put out some physical material in season four, The first of which was the 25 track compilation‘The Vault-Best of The Jazz Jousters ’double 12” managed by MJM & HHV.de to celebrate the past three years of tribute albums.
Season four was a ten part cassette series called ‘Locations’ which focused on Jazz from various countries such as, Japan, Brazil, Italy, Germany, France, Nigeria, Poland, Canada, Cuba and concluding with England.All volumes sold out and often had to be restocked.The success of the Locations series enabled MJM to press the Jousters first official 12” vinyl album entitled ‘Endurance’, released in May 2016.
After a well deserved break to focus on individual projects, the Jazz Jousters collective have returned for their fifth season to do another Locations series, but this time on vinyl. Locations: USA is the first of that series, and the saga continues!
A year of Jazz Jouting
The Next Chapter
Resense continues to bring the heat, this time with this flaming hot 45 that has some killer latin breaks with a unique touch that are perfect for the dancefloor !
Broken Beat - Nu Jazz
Two beautifully crafted breakbeat funk jams from party veterans Renegades Of Jazz. "Green Leaf Woman" takes a pinch of sixties psychedelia and blends it smoothly with Fatboy and Riva style big beat breaks. "Verano Del Corazon", meanwhile, looks to Cuba for inspiration. With warm vocal refrains, hip-shakingly loose percussion and a lovely lolloping double bass lick, it's ideal for any outdoor daytime bashes you've got lined up this season.
Broken Beat - Nu Jazz
The Bas Lexter Ensample is a project by acclaimed multi-instrumentalist Bas Lexter who combines a love of jazz, big band music, reggae, funk and of course sampling to create a unique multi-genre sonic world of his own. This eight-track mini album features a multitude of sampled jazz breaks, ragga and hip-hop MC flows, all married to tight funk grooves and reggae skanks. Party starting stuff!
segunda-feira, 16 de outubro de 2017
Anthony Phillips biography (http://www.progarchives.com/artist.asp?id=779)
MIX OF PROGRESSIVE CLASSICAL ROCK, NEW AGE & FOLK
Anthony PHILLIPS was one of the original founding members of GENESIS featuring Peter GABRIEL, Tony BANKS, and Michael RUTHERFORD. Following "Trespass", GENESIS' second album, PHILLIPS left (purportedly due to stage fright) and was replaced by Steve HACKETT. Nothing was heard again from Anthony until 1977, when he favored us with his first solo, "The Geese and the Ghost", although PHILLIPS wasn't the first member of the band to release a solo album (that honor goes to Steve HACKETT, by releasing "Voyage of the Acolyte", in 1975). A more commercial audience was courted on "Wise After The Event" and "Sides", to no avail, and PHILLIPS spent much of his time releasing instrumental pieces (both old and new) under the "Private Parts & Pieces" series. Steeped in classical, pre-Baroque, and folk influences, he was able to record entire albums featuring only his acoustic instrument. He is one of the world's masters on the twelve string guitar and piano compositions that hark back to GENESIS' original lost innocence. His studio recordings reveal a distinctive character to his compositions on those instruments as well.
Some of his albums are more "progessive" than others, especially "Sides" (INTERESTING CD), "Private Parts and Pieces II" (A MUST! for fans of early GENESIS), "PP&P IX", and "Wise After the Event" (A MASTERPIECE); others are more "classical" in style like "PP&P III", "PP&P V", "PP&P VI" or "poppy" like "Invisible Men" and a few tracks on "Sides". Anthony PHILLIPS' 1977 debut album is one of the best works, but all of them are excellent. This album (1977) by Ant is my second favorite PHILLIPS album after "Wise After the Event". Even more its a jewel for every Rock collection, but in its own particular genre (a mix of those quiet moments of "Trespass" of GENESIS+the medieval folkprog style by GRYPHON). As you well have gathered, "Anthology" (1995) is an album that has a compilation of tracks from his solo career. This album is the perfect introduction to the world of Anthony PHILLIPS.
Harvest Of The Heart_ An Anthology
domingo, 15 de outubro de 2017
For die-hard fans like myself, a new Devin Townsend release is nothing short of an event worthy of a national holiday, with so much of the anticipation coming down to not knowing what to expect. Townsend’s output has become increasingly genre-defying, with dark ambient, experimental noise, and even country, nestling alongside progressive and extreme metal. The latest release falls under the Devin Townsend Project banner and continues the epic progressive metal that started with Addicted, through to Epicloud and Z2 most recently, evolving the sound rather than completely reinventing it. Transcendence is a release that seems to look back, evidenced by opener ‘Truth’, a reworking of the same track that opened 1998’s Infinity. It may seem strange to open Transcendence with an old song, but I think it shows that we’re dealing with similar themes: the nature of the universe, human consciousness, and other similarly metaphysical and grandiose subjects. However, the key here is that Townsend is approaching these ideas with an entirely new frame of mind. This isn’t the post-mental breakdown, potentially drug-addled Townsend of 1998 – this is the sober and grown-up Townsend of nowadays, who examines the same questions with a view that is unclouded and grounded in a truth far more believable than the ‘Truth’ of Infinity. The song ends with Townsend softly singing “everything’s changed” and you get the impression he’s in a better place than he’s ever been before.
There are two other notable differences that jump out to me on listening to Transcendence’s opener, the first being the production. Townsend has always been known for a huge production style and while the scope of that sound hasn’t changed, it’s far tighter than it’s ever been before, with this probably being the best-produced Townsend album I’ve ever heard. This improvement seems to have come about from change in the way Townsend wrote and produced Transcendence. Instead of taking charge of all aspects of the making of the album, Townsend opened up and allowed greater input from the rest of the band, saying “I like to think after so many records with these guys that I don’t really have to be at the center of everything. I can trust a team of people – the right people – to help where I need help.” This help extended to the engineering, “I need an engineer who has better ears than me. My ears are getting tired after all these years.” The improvement a fresh pair of ears makes is evident and while Townsend is still directing the experience, more collaboration has led to more ideas and if this reduces the likelihood of burnout, I’m all for it.
The second of the two notable differences evident on ‘Truth’ is that the drumming is the best we’ve yet to hear on a Townsend release. For speed and sheer brutality Gene Hoglan’s your go-to guy, but Ryan Van Poederooyen has outdone himself on Transcendence, and you get the feeling he’s had greater creative control. Either that or he’s simply at the top of his game.
When ‘Truth’ finishes we’re left with the sparkling synth we became familiar with on Infinity, and no matter how many times I listen to it I can’t help but expect the snare rudiment of ‘War’ launching us into ‘Christeen’. Instead, we’re greeted by ‘Stormbending’, a song that brings to mind both 2003’s Accelerated Evolution as it does 1997’s Ocean Machine, the latter evoked in the echoey line, “I remember the rainy days in China Town”. ‘Stormbending’ is grand in scope, soundtrack-like in its evocative level of expression – if your soul is not lifted at the grand climax around 4 minutes in, you’ve got some searching to do.
The soundtrack level of spine-tingling doesn’t end on ‘Failure’. Three tracks in and we see that while Transcendence is instantly familiar, it manages to be refreshing and novel, with hooks so strong that they only improve with repeated listens. Also on display is some of the best singing yet from Townsend, with higher registers fearlessly explored. As I listen to this song, I cannot help picture in my mind the trailer to this album, hair-raising in its theatrical intensity.
Single ‘Secret Sciences’ hits all the right chords when it comes to positioning Townsend as the leader of “happy metal”, while ‘Higher’ reaches Strapping Young Lad levels of heaviness and is one of the best songs on the album: it begins gently with acoustic guitars and explodes halfway in, rapid double kick drum abound as do shouted vocals. At 8 minutes a choir-led crescendo supports the song’s transcendental theme. If Infinity was Townsend’s God-complex then ‘Higher’ shifts this perspective to something more mortal, looking down at himself rather than down at everyone else.
The rest of Transcendence continues to surprise and delight at every turn. Title track ‘Transcendence’ lives up to its name; ‘Offer Your Light’ is J-pop in its electro euphoria; while ballad ‘From The Heart’ slows things right down. The final track ‘Transdermal Celebration’ is a cover of the Ween original that ends things in typical arm-waving fashion.
Transcendence is certainly up there with the best of Devin Townsend’s albums and while it’s more evolution than reinvention, the increased collaboration hints at even greater experimentation to come in the future.
Manitou biography (http://www.progarchives.com/artist.asp?id=4501)
MANITOU is a progressive heavy metal band from Kotka, Finland consisting of Markku Pihlaja (vocals), Antti Lauren (guitar), Markus Vanhala (guitar), Ismo Laukkanen (bass) and Matti Suhonen (drums). The main point of the band is to make traditional heavy metal mixing progressive elements in the vein of QUEENSRYCHE and IRON MAIDEN.
The band recorded several demos between the years of 1999-2002, "Mad Moon Rising," "Mercenary," "Machine Mind," "Face The Snake," "Brother's Promise," and "The Valley Of Evergreen."
After sending the demo "Valley of Evergreen" to record companies the band was contacted by Rage of Achilles and they released their debut album "The Mad Moon Rising" in the summer of 2004.
Later that year, Rage of Achilles had financial problems and the band had to search for a new label. They re-released their debut with a couple of bonus tracks through Firebox Records and underwent a few line-up changes. After a mini-tour in 2004 with PAUL DI'ANNO, the band fired keyboardist Jukka Perälä who was never replaced.
They released the CSD "Fools in Control", followed by their second full length album "Deadlock" on Firebox Records in 2006.
In 2007, the band released their third studio album "No Signs of Wisdom" on Metal Heaven Records.
sábado, 14 de outubro de 2017
A Portuguese composer with the eyes on the world, an Australian singer-, songwriter based in New York City, both with their own acclaimed career. An improbable meeting, you would say, but it was in fact one meeting that seemed bound to happen sooner or later. Even before knowing each other, Rodrigo Leão and Scott Matthew seemed to circle the same grooves.
Rodrigo, a veteran of the Portuguese music scene for 30 years, started out as a rock musician and songwriter, formed the internationally renowned acoustic ensemble Madredeus (whose material he also wrote), and struck out on his own path, navigating between classical contemporary, new music, soundtrack work and adult pop. NYC-based Scott, revealed to the wider world by his participation in John Cameron Mitchell's acclaimed film Shortbus, released a series of solo albums and EPs while collaborating with other major artists such as Sia or Yoko Kanno, establishing his very personal brand of emotional, vulnerable truth.
It seemed as this was a meeting waiting to happen. An instrumentalist rather than a singer, Rodrigo's music has always been taken much further by the voices he invites to sing, whether they're Portishead's Beth Gibbons, The Divine Comedy's Neil Hannon or Tindersticks' Stuart Staples. Scott fit perfectly within that lineage, and Rodrigo invited him to sing in his 2011 album The Magic Mountain. A second collaboration followed for the 2012 compilation Songs, and both meetings proved key to create a relationship of friendship and complicity that grew, you could say, by correspondance.
While Rodrigo experimented with electronics and soundscapes, wrote soundtracks and even recorded an orchestral album for Deutsche Grammophon, Scott released two more albums of original material. All the time, they were both quietly exchanging ideas, emotions, songs, throughout their journeys. Now, the result of those years of exchanges can finally be heard in a whole album recorded together, Life Is Long, to be released in September by Universal in Portugal. The story of an improbable meeting that was inevitably meant to be, between a composer with the gift of melody and a singer-songwriter that knows how to build on that gift, Life Is Long's dozen new songs explain why they were meant to meet. Together, they attain that special magic that happens when two artists push each other to move forward, to move further, to take off in new directions. A quiet but breathtaking beauty only Rodrigo Leão and Scott Matthew could make together.
Obscure band of German Classic Rock from 80's.
1 - Sphinx
2 - Fernsehgericht
3 - Spielender Junge
4 - Schall und Rauch
1 - Die dicke Lilly
2 - Tageskotze
3 - Baum ab
4 - Vier Astronauten
Bass, Vocals – Uwe Beck
Drums – Walter Strauch
Guitar – Jurgen K. Wachter
Keyboards, Vocals – Wulf Berk
sexta-feira, 13 de outubro de 2017
San Jose, CA's Duster consists of multi-instrumentalists/vocalists Ewing Clay Parton and Canaan Dove Amber and occasional drummer Jason Albertini. Parton and Amber run the Low Earth Orbit recording studio when they're not creating droning, atmospheric songs like the ones found on their 1998 debut Stratosphere and 1999's 1975 mini-album. Contemporary Movement followed in mid-2000.
Duster's 1975 EP displays the group's deft touch with their sound, which mixes dreamy, confessional songwriting with subtle electronic and experimental touches. With the first two songs, the band demonstrates how versatile this blend can be: from "Irato"'s tinny drum machine, with murmured, hypnotic vocals and walls of guitars and synths, to "Memphis Sophisticate"'s stark, contemplative, guitar-drums-vocal arrangement. The tremoloed vocals and cascading melody of "The Motion Picture" and "August Relativity"'s backward drums and hovering guitars exemplify Duster's lush, expansive style, while "And Things (Are Mostly Ghosts)" and "Want No Light to Shine" stand out as two of the group's most delicately detailed moments. Even at its quietest, 1975 refuses to fade into the background; instead, it offers more proof that Duster can make the grey area between space-rock and lo-fi more interesting than either style on its own. Duster manages to keep a rather slow melancholy sound without letting it get boring, which happens too often when bands slow things down.
Age of Chance were a British alternative rock-dance crossover band from Leeds, England active from 1985 to 1991. They were perhaps most known for their mutant metallic cover of Prince's "Kiss" which topped the UK Indie Chart in 1986, and peaked at No. 50 in the UK Singles Chart in January the following year. Despite signing for major label Virgin, and being favourites with the UK music press, they never enjoyed a major hit in the UK, although "Don't Get Mad… Get Even" reached No. 8 on the US Billboard Hot Dance/Club Play chart.
Musically they were a mixture of punk, hip hop, industrial rock and Northern soul. Steven E provided a distinctive strident nasal vocal style, often employing a megaphone. Striking cover art visuals were a collaboration between the group and The Designers Republic, who would go on to graphic design fame. They were contemporaries of Pop Will Eat Itself, whose music also featured rock guitar, dance beats and copious samples, and other early UK samplist groups such as Coldcut and The JAMMs.
Agathorn biography (http://www.progarchives.com/artist.asp?id=7915)
Danish band AGATHORN was formed in 1980, and consisted of musicians that had previously been members of the bands Highland Quean and Medusa. They were more of a live band than a recording unit, but did release two full length albums: "Agathorn" in 1981 and "2...3-4" in 1987. While Agathorn never actually disbanded, a freak PA accident saw them opting for a rather different covers-oriented performance at a concert. This went down so well with crowd and musicians alike that they chose to continue their musical career in that direction, under the new band name Jack Cannon and The Sidefills. Fans of Agathorn were given a treat back in 2010 however, as Agathorn then celebrated that 30 years had gone since the formation of the band by giving a dual concert where they were the opening act for Jack Cannon and The Sidefills.
Kai Chresten Winding (May 18, 1922 – May 6, 1983) was a Danish-born American trombonist and jazz composer. He is known for his collaborations with trombonist J. J. Johnson. Winding was born May 18, 1922 in Aarhus, Denmark. His father, Ove Winding was a naturalized U.S. citizen, thus Kai, his mother and sisters, though born abroad were already U.S. citizens. In September 1934, his mother, Jenny Winding, moved Kai and his two sisters, Ann and Alice. He graduated in 1940 from Stuyvesant High School in New York City and that same year began his career as a professional trombonist with Shorty Allen's band. Subsequently, he played with Sonny Dunham and Alvino Rey until he entered the United States Coast Guard during World War II. In 1954, at the urging of producer Ozzie Cadena, he began a long association with J. J. Johnson, recording trombone duets for Savoy Records, then Columbia. He experimented with instruments in brass ensembles. The album Jay & Kai + 6 (1956) featured a trombone octet and the trombonium. He composed and arranged many of the works he and Johnson recorded.
During the 1960s, he began an association with Verve Records and producer Creed Taylor. He released the first version of "Time Is On My Side" in 1963 before it was recorded by Irma Thomas and The Rolling Stones. His best selling recording from this period is "More," the theme from the movie Mondo Cane. Arranged and conducted by Claus Ogerman, "More" featured what is probably the first appearance of the French electronic music instrument the ondioline on an American recording. Although Winding was credited with playing the ondioline, guitarist Vinnie Bell, who worked on the session, claimed that it was played by Jean-Jacques Perrey, a pioneer of electronic music. Winding experimented with ensembles again, recorded solo albums, and one album album of country music with the Anita Kerr Singers. He followed Creed Taylor to A&M/CTI and made more albums with J. J. Johnson. He was a member of the all-star jazz group Giants of Jazz in 1971.
Kai Winding & His Orchestra's version of "More" [from the film Mondo Cane] is the accepted "hit" version of this very popular piece of music (#8 on Billboard in the summer of 1963), which has been recorded by hundreds of artists (both instrumentally and with words) since the film was released in the early 60's. Jazz musician, trombone player (long member of a trio with pianist Bill Evans), orchestra leader, Kai Winding was born today in He passed in One of his best known pop hits was the Theme From Mondo Kane (More). Kai Winding & His Orchestra's version of "More" [from the film Mondo Cane] is the accepted "hit" version of this very popular piece of music (#8 on Billboard in the summer of 1963), which has been recorded by hundreds of artists (both instrumentally and with words) since the film was released in the early 60's.
KAI WINDING featuring KENNY BURRELL !!! More !!! (Theme From Mondo Cane) (1963 US 12-track deep groove mono LP on the large 't' label, including Soul Surfin', Surf Bird & Pipeline, pasted picture sleeve with deletion drill-hole. The sleeve shows a little storage around the edges & a small historic price sticker mark yet the vinyl reveals little play over the years).
quinta-feira, 12 de outubro de 2017
The Dead Science (formerly The Sweet Science) is an experimental pop band based in Seattle, Washington. The band consists of guitarist/vocalist Sam Mickens, Jherek Bischoff on bass and Nick Tamburro on drums. Jherek Bischoff's brother Korum was the drummer from the band's inception in 1999 through 2005. Tamburro, who'd shared drumming duties with him on the recording of Frost Giant and had previously acted as The Dead Science's touring drummer, joined permanently upon his departure. Korum is still credited on the band's label page with "guidance, stability and sometimes drums." Their music is heavily influenced by their training as jazz musicians and involvement in the avant-garde music of a number of artists, most notably Xiu Xiu and Degenerate Art Ensemble. Mickens has also cited Prince as an influence on his vocal style, often noted in reviews of the bands' work for its use of falsetto. The trio self-released their limited run debut EP Galactose under their original moniker, The Sweet Science, before giving up the name due to a cease-and-desist order from another band. Following the name change, The Dead Science released their debut album Submariner on Absolutely Kosher Records in 2003. This was followed by the release of their second EP Bird Bones in the Bughouse in 2004, their second album Frost Giant in 2005, and a third EP Crepuscule with The Dead Science in 2006. They were also named winner in the 'Jazz/Experimental' category in Seattle Weekly's 2006 Music Awards.