quinta-feira, 17 de agosto de 2017
Clyde Jackson Browne (born October 9, 1948) is an American singer, songwriter, and musician who has sold over 18 million albums in the United States. Coming to prominence in the 1970s, Browne has written and recorded songs such as "These Days", "The Pretender", "Running on Empty", "Lawyers in Love", "Doctor My Eyes", "Take It Easy", "For a Rocker", and "Somebody's Baby". In 2004, he was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio, as well as bestowed an Honorary Doctorate of Music by Occidental College in Los Angeles, California.
Keith Hudson aka the "Dark Prince of Reggae" (1946 – 14 November 1984), was a Jamaican reggae artist and record producer. He is known for his influence on the Dub movement. In 1976 he moved to New York City and signed a four-year contract with Virgin Records, the first release being the soul-influenced album, Too Expensive, which was poorly received by critics and didn't sell well. Hudson returned to reggae with the "(Jonah) Come Out Now" single, released under the pseudonym Lloyd Linberg, and Virgin terminated his contract. Hudson then started a new label of his own, Joint. He resumed working with the Soul Syndicate, who had backed him on many of his best recordings in Jamaica. His album Rasta Communication (1978), which had been preceded by its issue on dub as Brand, was well received by a wider audience and is considered a roots reggae classic. It was followed by Nuh Skin Up Dub and its vocal counterpart From One Extreme to Another in 1979. Hudson also released a deejay album by Militant Barry based on the Brand rhythms, Green Valley. By the early 1980s, he was considerably out of step with modern trends in "dancehall" music. He reverted to his classic rhythms for his next to last album Playing It Cool (1981), recording new vocals on heavily overdubbed mixes of the earlier tunes. He released one final album in 1982, Steaming Jungle, which attracted little attention. It was reported in 1984 that he was once more working with Aston and Carlton Barrett, who had played on Pick a Dub and Torch of Freedom. Hudson was diagnosed with lung cancer in August 1984, and appeared to be responding well to treatment, but on the morning of 14 November he complained of stomach pains, collapsed and died.
At first glance it might appear that Jack DeJohnette’s Music We Are is simply a jazz piano trio recording, albeit one that has a compelling lineup since the other players include pianist Danilo Perez and bassist John Patitucci. That said, appearances can be, and in this case are certainly, deceiving. These musicians have all played together before in other contexts: DeJohnette and Patitucci have worked together on a pair of Steve Khan’s recordings, while Perez and Patitucci are members of Wayne Shorter’s quartet. The music here ranges widely. One highlight among many is the straight-ahead Latinized modern jazz of “Cobilla.” Here Patitucci’s upper-register playing on the electric bass is nothing short of startling but is balanced by the multi-layered, double-timed percussive attack by DeJohnette as Perez comps large chords inside the syncopation. The opening cut is the delightfully playful and inventive “Tango African,” on which DeJohnette and Patitucci multi-track more than one instrument -- in the former case it’s the melodica on top of drums, in the latter it’s electric bass over an upright one. Perez stretches the melodica’s simple melody, harmonically enhancing it while responding in sprightly ways to the rhythm section’s dancelike vibe. But then there’s the great improvisational flavor on this record as well: “Seventh D” is a piece DeJohnette has recorded before but here it appears in two movements. The first is a gorgeous Latin groove with Perez showcasing his contrapuntal post-bop chops taking the melody and knotting it tightly while swinging the entire way; in the second part, it’s Patitucci's chance to solo on some of the same themes articulated earlier, with double-timed comps by Perez in polyrhythmic ways as DeJohnette pushes both with his trademark-style double tom-tom attack. “Panama Viejo” is an improvisational ballad with Patitucci’s arco work articulating a melancholy melody as Perez improvises on the chord structure of the piece and DeJohnette shimmers his cymbals and hi-hat to create a timelessness and space in the proceedings. This is a solidly enjoyable yet very expansive take on the piano trio format. It was obviously a blast to record it as well. This is evidenced by the bonus DVD that includes a 20-minute documentary on the making of the album.
quarta-feira, 16 de agosto de 2017
Il Paradiso degli Orchi biography (http://www.progarchives.com/album.asp?id=52878)
Il Paradiso degli Orchi (The Orcs' Paradise) formed in 2009 in Brescia, with a self-titled album released in 2011, their style a crossover of different influences - progressive rock (both vintage Italian and worldwide artists), psychedelia, pop, indie, singer-songwriter atmospheres, ethnic hints and electronica.
In 2014 the group commenced work on their next work, which brought them to the attention of modern Italian prog icon, musician and producer FABIO ZUFFANTI (no stranger to taking notice of promising young bands like UNREAL CITY and OXHUITZA), who, fascinated by the project, began working closely with the musicians to help them focus their ideas and bring out the best in them. The result is `Il Corponauta', a 79 minute concept work inspired by a book of the same name by Flavio Emer.
Il Paradiso degli Orchi and their latest album combine influences by a diverse range of prog-related bands such as PREMIATA FORNERIA MARCONI, KING CRIMSON, JETHRO TULL, AISLES and the many vintage Italian bands who featured a heavy use of flute in their music. But they have a sound all their own, and on `Il Corponauta', they make just as much of an impressive and confident statement as recent Italian groups who mix a vintage influence with youthful energy that INGRANAGGI DELLA VALLE, LA FABBRICA DELL'ASSOLUTO 1984 and F.E.M PROG BAND did when they released their most recent works, and it's one of the most striking and impressive Italian discs of 2016.
Biography by Michael Hodgson (Aussie-Byrd-Brother)
Keith Mansfield (born 1941) is a British composer and arranger known for his creation of prominent television theme tunes, including the Grandstand theme for the BBC. Other works include "The Young Scene" (the original 1968 theme to The Big Match), "Light and Tuneful" (the opening theme for the BBC's coverage of the Wimbledon Tennis Championships), "World Champions" (the closing theme for NBC's coverage of the same tournament), and "World Series" (used for the BBC's athletics coverage). One of his library music recordings, "Teenage Carnival", was used as the theme to the cult 1960s ITV children's television series Freewheelers. He has also composed film scores for British movies such as Loot (1970) and Taste of Excitement (1970), and the western Three Bullets for a Long Gun (1971). He also scored the closedown of ITV Granada in the 1980s, before it switched to 24-hour television.
William Alan Hawkshaw (born 27 March 1937) is a British composer and performer, particularly of themes for movies and television programmes. Hawkshaw worked extensively for the KPM production music company in the 1960s and 1970s, composing and recording many stock tracks that have been used extensively in film and TV. In 2016, he was awarded a doctorate, officially giving him the title of Doctor for his contributions to the music industry.
Originally recorded in 1969 by legendary music library KPM for their 1000 series, "The Big Beat" is the king of library albums. Composed by the undisputed heavyweight champions of the genre, Keith Mansfield and Alan Hawkshaw, and until now only available to the vinyl junkies with the fattest wallets, it represents everything that is great about the music and musicians that made up the shadowy world of Library Music.
The album you are holding right now is without doubt the King of all library albums, it is a living legend, it is The Big Beat. Not a big beat, but THE Big Beat. Oh yes. Composed by the undisputed heavyweight champions of the genre, Keith Mansfield and Alan Hawkshaw, and until now only available to vinyl junkies with the deepest of pockets it represents everything that is great and good about the music, the musicians and even the fiendish record collectors that make up the shadowy world of Library Music.
You could safely assume that an album made up of incredible Hammond organ playing, a really fat horn section, fuzz guitar solos and drum breaks would deliver the goods but this album does so much more than that. Just one listen to tracks like “Beat Me Till I’m Blue” or “Senior Thump” and you’ll know you are in the presence of something far greater than the sum of it’s parts. And when those parts are described as Pounding, Thumping, Rocking and Pulsating, you had better be prepared from a musical man handling that’ll have you smiling well in to retirement.
Iamthemorning biography (http://www.progarchives.com/artist.asp?id=7504)
Russian based outfit IAMTHEMORNING was formed in 2010 and describe themselves as ... a neo-classical vocal indie band... that ...combine non-typical but easily perceived vocal parts of progressive rock with a distinctly classical musical approach... They made their full album debut with ~ in 2012. iamthemorning have been an active live unit since they started, performing as a full 8 member band or in less numerous and stripped down versions. All band members have a higher education in classical music and are still studying this craft as of 2012.
terça-feira, 15 de agosto de 2017
Veterans of Brazilian Prog, hailing from Sao Paulo, formed in late-80's by brothers Claudio Penna (keyboards) and Sergio Penna (drums), accompanied by Jameson Trezena on bass, formerly of the Heavy Rock band The Clavion, when he played alongside Fabio Ribeiro of Blezqi Zatsaz fame.By mid-90's they had shared the same stage with the most notable recent and old Brazilian Prog acts, like Terreno Baldio, Dogma, Recordando O Vale Das Macas, Tisaris, Sagrado Coracao Da Terra and O Terco.They came to the attention of the leading prog label of the country, Progressive Rock Worldwide, and between December 96'-December 97' they recorded their debut ''Implemental view'' at the Pro Studio in Sao Paulo, after being joined by guitarist Cristiano Moro, released the following year.
Sigma's sound was heavily influenced by the classics of Prog Rock, more particularly they appear to have listened to CAMEL's discography countless times, because they shared the same feeling for elaborate, smooth and all instrumental Progressive Rock with light jazzy and symphonic touches, driven by the smooth guitar playing and the lush sound of synths, organ and acoustic piano.Considering this fact they sound extremely similar to compatriots DOGMA, having a sensitive instrumental approach with modern Neo Prog flashes.The album though appears to be very long for its own good without making a significant impact, the musicianship is quite decent but very mellow, lacking instrumental highlights, while the similarity between the pieces is an issue as well.It's not bad music, but a depth in composing quality and memorable melodies is definitely missing.Moro sounds like an ANDY LATIMER-wannabee for most of the album's length.Production quality is also a matter of discussion, presenting the keyboard parts in a very thin version, typical of 90's bands, afraid to offer more bombastic sections.''Implemental view'' still contains a couple of notable pieces, for example ''Run'' is a 9-min. trip back to CAMEL's heydays of ''The snowgoose'' period with a combination of Symphonic and Canterbury Prog, based mostly on Hammond organ, same goes for the farewell ''Waves'', while ''Get out'' eventually offers some needed energy in the instrumental passages, highlighted by the deep bass work and the alternation between synthesizer and organ.
Origanally posted on PROGROCKVINTAGE
Kokolo, also known as the Kokolo Afrobeat Orchestra, is an American Afrobeat band from the Lower East Side of New York City, formed in 2001 by songwriter/producer Ray Lugo. Along with The Daktaris and Antibalas, they form part of the early New York Afrobeat scene that ignited the genre’s current global revival. The band's name was taken from a 1970's term used in Spanish Harlem and parts of the Caribbean, often as a pejorative, to describe Latinos of African descent who were fans of Afro music. Kokolo aimed to invert the negative connotation of the term through the positivity in their music.
Prior to founding Kokolo, Lugo’s musical background was rooted in New York’s downtown hardcore punk and rock scenes, associating with groups such as Bad Brains, Agnostic Front, Cro-Mags, Gorilla Biscuits, Jawbreaker, Youth Of Today, Anthrax, Leeway and Warzone. Warzone’s lead singer, Raymond “Raybeez” Barbieri was a close personal friend of Lugo and an early mentor on the ins-and-outs of independent music, inspiring the DIY ethic that would become a key characteristic of Kokolo.
By the summer of 1995, Lugo ran Underhanded Studios, a recording facility on Ludlow Street which he shared with Mark Anthony Thompson from Chocolate Genius, Sim Cain from the Rollins Band and Yuka Honda (Cibo Matto/Sean Lennon) . While at Underhanded, Lugo befriended Gabe Roth and Phillip Lehman, who soon recorded the first albums for Desco Records at Underhanded and who would go on to release the Daktaris album, which spearheaded the Afrobeat revival in New York. Also during this time, while producing King Chango’s debut recordings, Lugo recruited Martin Perna and Mike Wagner as the group’s horn section. Perna and Wagner would go on to form Antibalas, along with percussionist Fernando Velez (Sharon Jones & The Dap-Kings), another former King Chango alumni.
Lugo’s search for a new musical direction let him to form Kokolo in the spring of 2001, enthused by the template of his friends in Antibalas and informed by the music of Fela Kuti, James Brown and the Fania All-Stars and by the live power of groups like Bad Brains, The Clash and Mano Negra.
Initially a traditional Afrobeat ensemble, the group consisted of 14 members from various parts of the world, and as a result of a revolving door of musicians coming in and out of the group, the initial months proved frustrating at tightening up the group as a live unit. During this time Lugo met English Trombonist Chris Morrow, the only other original member currently in the group.
In the summer of 2001, Lugo turned to Gabe Roth to produce Kokolo’s debut album “Fuss And Fight”, so called because Lugo wanted to denote the friction and internal bickering going on within the group at that time. Recorded at Daptone Studios in Brooklyn, featuring some of the musicians in Antibalas and released on the UK Label AfroKings, “Fuss And Fight” quickly gained the band a following, in particular with European audiences, due in part to the relative novelty of the genre, but also due to their high-energy performances and undeniable talent, and the band soon toured the UK for the first time. Prior to this maiden tour and a result of internal disagreements, most of the initial group left to form the Akoya Afrobeat Ensemble.
Finding themselves stuck with an upcoming tour and no band, Roth came to the rescue by connecting Lugo and Morrow with longtime collaborator and former Fela Kuti/Manu DiBango drummer Jojo Kuo, enabling them to carry on with the tour.
Huis biography (http://www.progarchives.com/artist.asp?id=8678)
Huis ("home doors" in french, and "house" in dutch) is a five member musical project from Québec officially formed by Pascal LAPIERRE (keyboards) and Michel JONCAS (bass) at the end of 2009, after an oustanding and inspiring trip in the Netherlands.
At that time, they decided to put on tape (read hard drive!) some ideas they had in mind since a long time. Over time, three other talented musicians, William REGNIER (drums), Sylvain DESCOTEAUX (vocals) and Michel ST-PERE, this last musician from the band MYSTERY (guitars) joined the band, each one bringing a special touch to Huis' sound.
The music is a well crafted progressive rock with a symphonic touch and the use of Hammond, Moog and Mellotron takes us back to the old prog rock sound of the 70's. The guitar playing of St-Pere brings a big influence of the Neo-Prog band MYSTERY and many others Neo-Prog bands that put the melody and vocals upfront with strong compositions skills. The band has released is first studio album in January 2014, " Desptie Guardian Angels".
segunda-feira, 14 de agosto de 2017
Höstsonaten biography (http://www.progarchives.com/artist.asp?id=152)
FINISTERRE's bass player Fabio Zuffanti released three albums of his own compositions under the name of "HÖSTSONATEN". Symphonic band with the participation of FINISTERRE members. The music is pretty much on that band's style, a little less classic prog driven. Good flute passages feature on their symphonic music as well.
After founding FINISTERRE, contributing as a major composer to the their best works, writing and recording the complex and very welcomed "Merlin - The Rock Opera", Fabio Zuffanti gives new life to the Hostsonaten project. This band is an 'open' group named after a very famous movie by Ingmar Bergman. Even if the most of the musicians he got around for the three CDs recorded under this cinema related name are the same, everything apart from Fabio can change. Hostsonaten represents Fabio's deepest love for progressive rock, jazz, folk and ethnic music. In these last years Hostsonaten is working on the 'Seasoncycle Suite' project, an ambitious concept in four parts and four cds dedicated to the four seasons. For now the third and fourth chapters ('Winterthrough' and 'Springsong') are available. The second chapter ('Autumnsymphony') is out by September 21, 2009.
[Bio from the band's website]
Les Maledictus Sound was the creature of Jean-Pierre Massiera, the inventor of French progressive-rock. Les Maledictus Sound (Canusa, 1968 - Mucho Gusto, 2000) is a tour de force of stylitic metamorphoses.
Massiera also composed Visitors (1974), another psychedelic nightmare that featured a supergroup of French veterans.
Massiera then moved to Canada and recorded another experimental work, L'Etrange Monsieur Whinster (1976), credited to Horrific Child, which includes three suites: two poems (Baudelaire and Lautreamont), a tribal "danse macabre" and a piece of musique concrete. A1 Frayeur A2 Angoisse B1 H.I.A. (Horreur indescriptible et accumul‚e)
Jean-Pierre Massiera's convoluted career is summarized on the compilation Midnight Massiera (Finders Keepers, 2009). Even better are the separate anthologies Psychoses Freakoid (1963-1978) (Mucho Gusto, 2007), for his psychedelic side, and Psychoses Discoid (1976-1981) (Mucho Gusto, 2007), for his disco side.
Massiera's ventures into "space-disco" yielded Space Woman (1977 - Mucho Gusto, 2010), credited to Herman's Rocket, and Galactic Soul (1978 - Mucho Gusto, 2010), credited to Venus Gang.
Bass – Pierre Demaria
Clarinet [Bass & Bariton], Violin – Georges Amadi
Double Bass – Edmond Aublette
Drums – André Ceccarelli
Drums, Timbales – Nicolas Montalbano
Engineer [Sound] – Patrick Scotto
Engineer [Technician] – J.-Pierre Guidicelli*
Guitar [Rhythm] – J.-Claude Chavanat*, Richard Pasero
Guitar [Solo] – Patrick Djivas
Horns, Violin [Violins] – Opéra De Monte-Carlo, Opéra De Nice
Kazoo, Voice [Effects] – Guy Sabato
Organ – Bernardini
Piano – René Bec
Saxophone [Alto & Tenor], Arranged By [Orchestra] – Paul Baile
Trumpet, Violin – Jean Buzon
Written-by, Guitar [Solo], Recorded By – J.-Pierre Massierra
Recorded in april 1968 in Studio SEM, Nice.
Yugen biography (http://www.progarchives.com/artist.asp?id=2811)
This band/project originating from Italy features a very promising and international lineup in its debut cd. It was conceived in autumn 2004 by Francesco Zago (formerly of The Night Watch) and Marcello Marinone who wanted to create a band which will play combine RIO and chamber music. As influences they state the following: "Satie, Stravinsky, Schoenberg, Cage, Reich, Zappa, Henry Cow, Gentle Giant, King Crimson, Univers Zero".
The name chosen for this group is Yugen which is a Japanese word "which expresses the aesthetic canon of japanese art, as haiku in poetry or Noh in theatre".
Between December 2004 and January 2005 they record their first demo. Diego Donadio (former drummer of The Night Watch), is drummer in this recording. In February 2005 the lineup is reinforced in the shape of keyboard player Paolo Botta (French TV) and Swiss saxophone player Markus Stauss (Spaltklang, Ulterior Lux) when they have a jam session in Tradate. Another expansion is the joining in of bassist Stephan Brunner (Spaltklang), and reed player Peter Schmid (Evan Parker, Vinny Golia).
As Zago composes more music the band wants to fully express their potential by adding more musicians who will help create a final outcome befitting the aim. It is then that these people join in: percussionist Massimo Mazza, harpsichord player Giuseppe Olivini (OZ, Contrapplugged), the classical players Maurizio Fasoli (piano), Elia Mariani (violin) and Marco Sorge (clarinets). Finally arrive drummer Mattia Signò, Tommaso Leddi (Stormy Six) and U.S. drummer Dave Kerman (Thinking Plague, 5uu's, Present, Ahvak Blast).
In June 2005 they start recording their first album entitled Labirinto d'Acqua and the album is released in 2006. The album was mixed and mastered by Udi Koomran (Avhak, Present, Thinking Plague).
The record is instrumental, and while you can trace the chamber rock sound similar to Univers Zero and Art Zoyd, it has a fresh modern and rockier sound. Since there are several different backgrounds here in the lineup (Zago is symphonic oriented, Kerman and Leddi are RIO people and other players are classically trained) we get a mix of everything, and the result is compelling. You can hear some 5UU's, Thinking Plague and Ahvak similarities, dynamic chamber rock, chamber music, mellow and ponderous parts, some "symphonic prog" parts (there is a mellotron and minimoog), quickly changing rhythms and unusual time signatures, layers of instruments playing different tunes, some quirky tracks which are free-form and more abstract (played mostly by only the classical instruments) and you have the complete freak-out parts where the band goes insane. There is a myriad of styles here and you need many listens to be able to absorb all of it and identify the numerous influences and musical ideas. The sound is rich due to the expanded lineup and the production.
==Assaf Vestin (avestin)==
Source for biography - http://www.myspace.com/yugenband