Labels: recordsvinyl. Thursday, February 14, Fiona Boyes - Lucky 13 Yellow Dog, An Australian transplant to the American south, guitarist Boyes is proficient in a wide variety of blues styles. This is a competently played though somewhat schizophrenic tour of her influences, like the rural acoustic blues of "Red Hot Kisses" which features some fine acoustic slide duetting with Bob Margolin and "Ramblin' Man Blues" which is evocative of the pre-war blues.
Old school New Orleans music is checked with the horn fueled "Pigmeat Lover" and LP "Celebrate My Curves," while greaser rock and jump blues get their due on "Rockabilly on the Radio" and "Big Bigger Biggest" respectably. This is a solid mix of blues music played with confidence, but I can't help but get the feeling that Boyes is still casting around, trying on a number of different styles of the blues like so many changes of clothes, looking for her own individual voice. I hope she finds it, because there's quite a bit of talent here and when she finds her own way to tell her own stories, she could make a valuable contribution to modern blues music.
Labels: bluesFiona Boyes. Tuesday, February 12, The best album category, in particular, is often a corrective or an apology for any excesses or shortcomings of the present. Just because a lot of people like something doesn't mean it sucks. Sometimes the avant-garde slips into the collective conscious on little cats' feet.
There are no compromises with esthetic integrity on River, just elegance applied by distinguished artists to songs in which they realize previous unexplored possibilities, and in the performance suggest even more. Labels: articles. Monday, February 11, The Vandermark 5 - Beat Reader Atavistic, The Vandermark 5's latest release continues their tradition of frenetic improvisation interspersed with slower more abstract songs, all dedicated to fellow musicians and artists. After going through some changes a few years ago, the personnel in the band has stabilized with leader Ken Vandermark and Dave Rempis on saxophones, Fred Lonberg - Holm on cello, Kent Kessler on bass and Tim Daisy on drums.
Two very powerful uptempo compositions begin the disc, "Friction" and "New Acrylic" have intense saxophone soloing prodded along by powerful drumming. Lonberg - Holm is the secret weapon of the band, his electrified cello sounds completely original and the sawing, scraping sounds create a cacophony of wonderful noise.
More subdued are the reflective pieces of music like "Any Given Number" and "Compass Shatters Magnet" which use abstraction in an artistic, nearly visual manner. The latter takes on a mournful hue, as it is dedicated to the late Paul Rutherford. I've always wondered how Vandermark chose his dedicateesand how the particular compositions developed with those people in mind.
It's another feather in the cap of one of the finest bands in contemporary music. Labels: Ken Vandermark. Sunday, February 10, Adam Rudolph's Moving Pictures - Dream Garden Justin Time, Drummer and percussionist Rudolph melds the improvisatory nature of jazz with the world music of pioneers like Don Cherry on this intriguing disc. Rudolph's "Moving Pictures" band is rounded out by Brahim Fribgane on oud, tarija, Graham Haynes on cornet and flugelhorn, Hamid Drake on drums and percussion, Kenny Wessel on guitar, Ned Rothenberg on flute and saxophone, Shanir Blumenkrantz on bass, and Steve Gorn on bansuri, clarinet and oboe.
The music alternates between shorter more meditative improvisations focused of percussion and flute, and longer jazzier passages that call upon more diverse instruments and larger ensembles, but are still anchored in a bed of complex and ever shifting percussion. The opening composition "Oshogbo" sets the stage for what's to come with strong percussion and guitar joining in for a thick and powerful performance.
Rudolph has worked with saxophonist and flautist Yusef Lateef for several years and the influence of Lateef's music is palpable in some of the more spiritual and ethnic music influenced performances.
The hypnotic drum and percussion work of Rudolph and Drake are the focus, but the entire band plays well. It all adds up to a worldwide jazz that looks for wide open vistas of music for its inspiration. Labels: Adam Rudolph. Friday, February 08, The music on these sets however is a throwback; this is rough and tumble down-home blues geared towards an audience that was still eager to hear earthy rural blues.
Many of these listeners were still in the south while many other were transplanted southerners still eager to hear the older styles. Thursday, February 07, The label has focused admirably on the no nonsense old school blues and that is heavily represented here with the likes of Sam Myers tough talking "Tired of Your Jive"and "Slow Down" by Snooky Pryor.
The label also kept an eye out for forward looking blues talent as well and made a major discovery in Fruteland Jackson who is represented here with two songs, "Blues 2.
This is a well done and economical introduction to modern blues, and gives hope that this great music has a future. Labels: bluesVarious Artists. Wednesday, February 06, From India - A Celebration of the Music of Miles Davis Times Square, There have been many tributes to trumpet great Miles Davis over the years, but this is one of the more interesting and original ones.
Davis was interested in the music of India and it influenced several of his performances during his "electric" period in the 's. The use of Indian instruments such as the sitar and tablas as well as traditional western jazz instruments and violin are well integrated.
Add to this some raucous electric guitar on some of the fusion pieces and it makes for some pretty compelling music. There is a mixture of electric and acoustic music from different phases from Davis's career, interpreted from a near eastern perspective.
From the acoustic side are "All Blues" and "So What" which has wordless vocals adding to the otherworldly vibe of the music. From the electric perspective are two versions of "Ife" one of which features some incendiary violin work that recalls early Mahavishnu Orchestra. Wallace Roney is in the hot seat throughout playing trumpet, and though he is often criticized for having a tome too reminiscent of Davis, that is hardly a hindrance in this case.
Overall this was a very well done set with all of the musicians working for a common goal and creating a very fine fusion. The album was completed in two parts with musicians in India recording their contributions and then American musicians recording in New York with the contributions edited together digitally.
Things seem to have come together quite seamlessly despite the vast distances. This album will be released on April Labels: Miles Davis. Tuesday, February 05, The collection is interesting as it shows the bands fluency in blues based material, especially when Eric Clapton was the band's lead guitarist.
Fans of Sonnys Thing - Sonny Terry & Brownie McGhee - Sonny & Brownie (Vinyl rock that still have enough room in their collection for another Yardbirds set should find this valuable, with interesting presentation along with solid liner notes and photographs rounding out the package.
Labels: Yardbirds. Monday, February 04, The albums of Coltrane's widow Alice feature prominently in the band's influences as does the music of Pharoah Sanders. The title track "Dawn" sets a deep bass and drums groove while chants and hand claps duck and weave throughout. There are a couple of misfires on the disc, on the track "Morning Glory" vocals dominate, overshadowing the music with corny lyrics recalling some of Pharoah Sanders worst music on his overproduced 80's records.
The finale, "Heaven" goes way over the top with overwrought strings drowning out the game efforts of the harp and saxophone. So, overall this is a mixed bag. I do enjoy the "kozmigroove" music of the Impulse era that this band takes as it's inspiration from and there is some good music to be found on this disc. Perhaps the next disc will dispense with the unnecessary strings Album) vocals that burden the music and allow these talented musicians to take flight on the cosmic journey they desire.
Labels: Build an Arkjazz. Sunday, February 03, Sonnys Thing - Sonny Terry & Brownie McGhee - Sonny & Brownie (Vinyl Perfect for those late night dope headz sessions, this is beat heavy and groove wise.
At this time I was always moving. Felt like stopping, I would. I used to carry spare shoes and socks in my pocket. I only played one place. After I got enough money to go to Detroit, I got on the bus. I was lucky, got a job as porter. I was a left-hander. Then I fought in New York and Chicago. From there I was taking trips to Elkhart and I married when I was Her father had a gym and he was training fighters. I got in and started that. The first fellow I sparred with was young Jack Thompson, the welter-weight champion.
He bought everything for me to fight. Jack was able to keep steady gigs, supplemented at times by working as a cook. He met ex-boxer Kid Edwards, a record shop owner sincewho introduced him to Sea Ferguson and other cabaret owners. It occupied an old four-story building in the near downtown section, and represented the zenith of black-and-tan night life in the Hoosier capital. On the top floor was the high-ceilinged Trianon Ballroom. In the yearall attention was on the revue type of presentation.
While hanging out in Chicago, Tampa Red helped get Jack signed by Lester Melrose, who put him together with the Okeh label, cutting 20 tracks in and Jack stayed with Okeh until ; recording on June 13 th with two more sessions in January and another in November, the last with Jesse Ellery who had traveled with him from Indianapolis. He did stay with The King label quite a while, recording 26 sides between April and November It used to be the club down on the Loop.
Georgia Tom and Blind John Davis worked there. What they show you in the movies was nothing like Al Capone. Just once in a while go on a job at night. You had to work. I made a lot of records right after the war ,. In I was signed by King Records and I remained with them until last year. InJack took Lucille Dalton as his bride and, wiser now about the music business, began to assign writing credits for his songs to her. They would have five children before they divorced.
Walking the Blues became a hit for King Records, with whom Jack laid down 26 tracks between andLucille credited with many of them. King and Nipsey Russell. A year later, Jack accepted an offer to go to England for some work and, as one source tells me, he became the first American Bluesman to stay in Europe; beginning in Paris followed by six years in Zurich, then Denmark, and finally settling in Halifax England in Jack had married a Yorkshire girl inbut by laid down his roots for good in Hannover Germany.
While there, he cut an album for Rounder Records and either stayed there a while or made a return trip for a second session that produced his last two albums. Aside from the Blues from the Gutter LP that languished relatively unplayed in my collection, these three discs were likely my first extended exposure to the man, and combined with seeing him in person around the same time make them a very enjoyable set of music. It is just my opinion, but what could make a true Yankee Doodle proud American, so proud he wished to claim the national holiday as his birthday, leave home and stay an ocean away?
Like so many other Negros as far back as World War I, they had proven themselves first class warriors in defense of their country and its ideologies, only to come back home and find they were still treated as second class citizens. The respect they received abroad, especially the musicians, made it possible for them to uproot themselves, and hopefully their families, to bask in, not adulation, but merely fair, just and friendly treatment. But if I sing it on records all around the world, everybody will know.
You got to mix all these keys together to make harmony. Bring It On Home. Sunshine of Your Love. Get Your Head Happy. November 12, Mayall with Mick Taylor Mick was born January 17 th in Welwyn Garden City, Hertfordshire and began learning the guitar by the time he was eleven.
Taylor was a member of the Gods along with future Euriah Heep keyboardist Ken Hensley in andby which time he was starting to listen to the Blues.
With nothing to lose, Mayall allowed him the opportunity and he impressed enough that John put an ad in the Melody Maker to locate him when he needed to replace Peter Green. The nineteen year old Taylor responded and was installed as one of the newest Bluesbreakers.
Along with Mayall and McVie, the three joined drummer Keef Hartley in the studio on July 11 th and 12 th and recorded the Crusade album. I may have already expressed my opinion that the album is a smoother listen than the two preceding LPs which are considered by many to be among the finest of their time, but the musical press mostly did not agree.
And, in the case of Muddy Waters or Albert King, the originals are very much better in terms of musicianship. I must admit that through the first three albums his voice was not yet noticeably getting on my nerves. The album immediately following Crusade was an interesting adventure called The Blues Alone and, as its name implies, Mayall played all the instruments with the exception of Keef Hartley adding drums or percussion to some of the tracks. The Bluesbreakers spent the waning months of touring Britain and the continent while Mayall carried around a reel-to-reel recorder to collect over 60 hours of live samplings.
These were sorted and submitted to Decca in January with the caveat that the sound quality was not of studio caliber but that the tapes were a true representation of his working band. The Diary of a Band was issued in two volumes in in Britain but took an extra two years to reach the American market, and while the sound quality is not up to studio standards I found the CDs much better listening than I recalled.
It was during this period that Paul Williams left and Keith Tillman took over the bass duties. Once back in England, Paul Williams dropped out and the year-old Andy Fraser, recommended by Alexis Korner whose daughter he was dating, joined for about six weeks on his way to becoming bassist for the band Free.
All these changes having occurred in the first two months ofthe new seven-man lineup went into the studio in April and came out with the album Bare Wires. Included on the tapes Mayall did over the last two months of were anything he found interesting on stage or off and one of those segments was of a sexual encounter that was supposed to have been highly energetic. After editing it into a seven minute tidbit, he played it for Hiseman and asked him to interpret whatever he heard through his drum kit, Album) to be overdubbed.
All in all, the album received the best chart ranking so far with 3 in the UK and 59 in the US. Of the three songs we did take from the LP, two were the handiwork of Mick Taylor.
No kidding! The year-old Mayall romancing a year-old? The music is good so it gets included here, unlike a song from his next LP Blues from Laurel Canyon where he sings about the Medicine Man who cured him of VD on his California vacation.
Apparently his standards for what is appropriate and entertaining vary greatly from mine. Late in July ofMayall told the band that for the next tour he was planning to cut back down to a four-piece and tone down the volume.
He got Dick and Mick together to say he would decide in a week whether he would go with a saxophone or the more accepted Blues guitar lead. DHS and Hiseman had been talking about putting together a new band, so Dick contacted Jon, but Hiseman wanted to stick with Mayall for the American tour after which they could get together, but three months was too long for Dick to stay stagnant; he likely would have moved into another commitment by then.
Bottom line for that saga is Hiseman did opt out of the Mayall tour and the two, along with Reeves put together Colosseum, but that is a tale for another day. His first record includes 10 tracks either recorded in live conditions or backed Album) by an electronic rhythm section. Thank you Chicken Diamond. I also played as kind of noisy OMB a couple of times, with a drum machine plugged into a distortion pedal.
I tried to play these kind of riffs. I used some drums and bass samples and learned programming and recording. I have set up a small studio under my roof. And I have recorded things, like the ones you heard which sounds more or less like a band. Then I put these things over the web because I thought maybe somebody could be interested into putting this on a record.
I got some contacts and proposals for playing live. I did some gigs with the computer, but it was not that good. So, I looked for something that would give me more freedom while I was playing.
And I did this thing with the wooden box and a crash cymbal. There are some tracks that I played that way on the record. By the way, there is no plan for download now: the label is not at all into this. They are more focused on vinyl. What's happening, music-wise in France? Has that inspired a OMB or other kind of punk infected blues scene there?
They are starting getting recognition now. There is this festival in Binic, which is helping a lot. Black Keys, since they changed their style are also doing well. The only one I know, who is more into blues is Birds Are Alive. Chicken Diamond has been kind enough to let me share one of my favourite tracks off the album with you. For free.
Rough Diamond (b) - Frank Ricotti / Ray Russell - Jingles 3 (Vinyl, LP), Superaventura - Super 3 (3) - El Musical (CD, Album), Baby Duck - Feelgoods - Tea Shades & Baby Duck (Cassette), We Came Here To Party - Chris K* - Need For Speed (Volume 7) (CD), 路上の灯 - MSC - 新宿 Street Life (CD, Album), Rochambo - Jonathan Cain - Bare Bones (CD, Album), Время - Stigmata (6) - Основано на Реальных Событиях (CD, Album), Suspicious - Dennis DeYoung - Desert Moon (CD, Album), Space Bridge (Stereofect) - No Artist - Spectacular Sound Effects - Sounds From Outer Space (CD), London Dungeon - Misfits - Demonomania Club (CD)