Jazz has this delightful it generates for new talents, especially in the area close to my heart: the singers. Ella and Sarah can rest in peace, the succession is assured. Little wonder that will be discussed today is a Quebec-17 spring, once after N'Didi which has already been the subject of a column here or Kellylee Evans (album "Nina " tribute to Nina Simone , with a nice back of " Do not Let Me Be Misunderstood") . Like what our friends drinking maple syrup to the variétoche Dion Garou not phagocytosed any music scene, and there seems to be a place, especially on the plateaus TVs for anything other than the soup as is the case with us (If a Canadian reader could make his testimony that he did not hesitate).
But back on topic with Nikki Yanofsky who despite his young age is not the future of jazz but his present, for if we can find that it is perfectible (fortunately ), it gives off a virtuoso a singing technique, a sense of rhythm and a joy to sing obvious and contagious. Divine gift, perhaps, but also years of work behind. As soon as she began to speak Nikki sang Aretha discovered the Beatles or Stevie Wonder to 5 years, then the clash with Ella Fitzgerald who finally showed him his way. At 12 she made her first stage for charity concerts and Montreal Jazz Festival passes, youngest artist to be produced there. In 2007, she was signed by Verve, again the youngest to drive collective tribute to Ella "We All Love Ella "where she worked alongside Etta James, Diana Krall and Stevie Wonder. She has since played in Montreux, Carnegie Hall and shared the stage with Herbie Hancock monsters like or Quincy Jones , sung Olympics opening ceremony yesterday (Montreal 2010), brief 16 years already experienced many rewarding experiences.
I also recommend this DVD if you have a player multizone because it is only available in zone1
This disc produced by the legendary Phil Ramone (Ray, Dylan, Aretha, Elton, BB King ..) and written by Nikki Jesse Harris (Norah Jones) and songwriter Ron Sexsmith gives pride to the standards of jazz, Songs that chose Nikki because she enjoys the singing "Take The A-Train " "I Got Rhythm " "God Bless The Child " (Billie Holliday of , another influences), "You'll Have To Swing It Mr Paganini " (a classic repertoire of Ella played fantastically here, my favorite track on the album), and original compositions ( "Never Make It On Me " "For Another Day ", "Cool My Heels" "Grey Skies ") most likely pop, who are poor without being more dispensable to me (who likes well chastises well). Also note "On The Sunny Side on the Street / Fool on the rain " (from. .. Led Zep, the Miss Hendrix also includes concert) "First Lady " a touching tribute to Ella, and "Try Try Try " piece donated by Canadian singer Feist , a piece in the genre Sheryl Crow, and it ends with "Over The Rainbow " (The Wizard of oz) in a beautiful version even if it's really in passages Nikki swing that excites me, especially when she takes passage scat like "I Got Rhythm " you can see from the video below below where it attacks the "Airmail Special " Ella.
In this world of crazy, this girl is a breath of optimism and good humor, joy and hope, as she says herself in jazzy ballad "Welcome to my life": " Welcome to my life, all is bright here "Nikki it lasts, that's all we can wish you. My advice: learn there now, in 10 years it will be "huge", well, figuratively I mean ..
Summer 76, the heat wave descends on the hexagon and France is thirsty. This does not even quite young and dashing Philou to drag his sneakers Palladium in real stars, record stores in non air-conditioned, always in search of vinyl puck was still spring (record companies) at the time. In those remote times, the pockets of the poor bugger did not contain one or two pieces of 1 franc, just enough to buy a pack of Bonbec. It was damn save to finally be able to buy a disc, this beautiful object which kindled all his desires and which had its heyday in the late nineteenth century. Attracted by the beautiful cardboard covers from artists, limited editions, the screen-printed packaging and other "Picture Discs ", Philou the guy had heard on the radio who spent more rock at the time, some Peter Frampton who was talking up his guitar and Philou which was not yet the veteran that we know, wondered how much there was this guy there to cause his guitar?? That year, a connoisseur, he had bought the "Agents Of Fortune" of Blue Öyster Cult the "Rocks" of Aerosmith the "Desire" of Bob Dylan and "Live Bullet" of Bob Seger , that's heavy, the cream of U.S. rock. In these days blessed by the gods of the riff and drum solo, only the good bands ruled the planet music.
The famous Peter Frampton and "Comes Alive" had tumbled in stores since January, but by dint of Philou deprivation had amassed a small nest egg (84 francs and 75 centimes) and finally managed to acquire the famous cake Saturday, July 3 at 3:27 p.m., while at the same time in Paris, 40% of the RATP bus refused to leave deposits in protest against a peak of 59 ° in the vehicle. It also disengaging the Samaritan and the Liberation newspaper headline in the News: "Work makes you sweat!"
Peter Frampton, Philou had heard of him and read articles in "Best", this guy despite his young age (26 years) had already recorded 4 solo albums and played with the group Steve Marriott , Humble Pie. "Not a charlot ! "Philou said gently and asking frantically, the disk on its turntable Akai APA1 belt. From the beginning of the concert with " Something's Happening ", Philou attacking full leaves (detached) and was completely electrified by the game's blond guitarist youthful face ... "Damn it's too good" Philou screaming in his room, mimicking a more than convincing gestures Peter Frampton without the famous Gibson Les Paul black hands. Experts are still formal, it is Philou who invented the "Air Guitar". Listening to the next song "Show Me The Way" , Philou very insightful, thought that with this as there Peter will certainly pick up a bunch of dollars.
The diamond tip traverses the LP scrolls and album, the sound is remarkably clear and precise. The guy turns, all bursting with vibrant emotion, not weaken, the delicate acoustic "Wind Of Change" , the ballad filled with emotion "Baby, I Love Your Way" through the electrifying and spellbinding "Lines On My Face " , and essential to the mythical "Do You Feel Like We Do" , an incredible parade of rock about 14 minutes where precisely the evil Peter made his guitar speak ......
Bob Mayo On The Keyboards ... Bob Mayo. ..!!!! ad Peter Frampton the wild crowd of Winterland in San Francisco.
............ WE LIKE DOO yoou FEEEL dooo ...........
"Damn, it's true he made his guitar talk!" s "Philou exclaims," How is that done?? Quickly, he called Louis Jean, his friend who is in class with him in 5 th transition, it picks up anything in progress, but Zique he touches his ball. Jean Louis is actually the future and illustrates Rockin JL, distant cousin of Rory Gallagher by his Celtic roots and future collaborator in the Philou Deblocnot '. In fact, Louis Jean explains that Peter Frampton uses a talk box , connected between head and the enclosure of the amp, it diverts the signal to a mini HP located in a box (Box ) which share a tube that is placed in his mouth, just check the Indeed, opening the mouth more or less (Talk ) and voila!
"Damn, it's hard my friend Jean Louis !!!... and this disc is a real massacre, faith Philou!
True, this album is a fixture in the series "Live Album" , Frampton and excellent musicians, John Siomos (drums), Stanley Sheldon (Bass) and the late Bob Mayo (everything else) all play in a more than perfect osmosis. In addition, the public version of the songs are much more striking on this album, blasted by an urge to gamble, sincere and without artifice Peter and his group. This album will spend 10 weeks in the first place the U.S. charts and remains one of the best selling live albums in the U.S. even today (the 4th). The album will be voted "Best Album of the Year 1976" by the famous magazine "Rolling Stone ". After chained ago, concert gigs, without much success, the career of Peter Frampton take off like wildfire with the release of this double album. He was the first surprise of this success unexpected and phenomenal . The result will be less favorable to the guitarist who will never repeat this feat, quite the opposite and it is not the arrival of punk and New Wave, which will arrange his affairs.
It will however continue to out regularly albums and can be seen as a guitarist with David Bowie and even participate in 1986, album "Rock'n Roll Attitude of Johnny Hallyday as session man!
"If There Was a musician who's ever year honorary member of San Francisco Society, Mr Peter Frampton "...... or the introduction of the legendary Bill Graham, promoter of the concert June 14, 1975, who died tragically in 1991 in a helicopter crash while returning from a concert by Huey Lewis & The News.
THE BLACK KILLER OF HELL, by Claude and hazing of Toon!
As you know, Claude Toon joined the team DEBLOCNOT 'to hone our musical culture. Already some see the Blues or Rock, as the "old music", so imagine the remarks must endure when Claude puts on his platinum records written by gus emperruqués, powdered and in pantyhose ... (One sympathizes Claude ...). To join the team déblocnoteurs, Claude was gently folded à un examen de passage. Le sujet était : un feuillet sur le disque (fictif) "Dark blood in my eyes" par les non moins fictifs THE BLACK KILLERS OF HELL. Et vous savez quoi ? Deux jours plus tard il rendait sa copie ! Nous n'avons pas résisté à l'envie de vous faire partager ce grand moment de... de... n'importe quoi ! La parole est à Claude :
KILLERS OF THE BLACK HELL from left to right: JC, Kevin, John Edward, Robert, Johnny and Fifi.
Dark Blood In My Eyes "by The Black killers of hell ...
Cool!
For my hazing, I found the video of" Dark Blood In My Eyes " by The black killers of hell ...
I click. Oh thin, there is an ad before a movie as "The Descent". Hurry up and drown you nazes band that I bump my topic ... Oh, it starts. heuuuu, who is the big dog in the air and smashed malicious? Scared! I flip to death as Renaud sings! It scared me the mastiff. I almost throw my four hours on the keyboard. Stomach acid that eats the keyboard and which corrodes the upper abdomen, I'm good for an ulcer. I have all the rough language (Wouaf Wouaf, it is not me who makes a rotten pun, the dog barking). Hey, it's fun, the Musical Producer called Mozart Jones! It's crazy ... a parent ? Be careful with sensitive people! And if I had a child leaning over my frail shoulders? And at my age, a terrifying image, and it is good for "infractus" or AVC (Association Voluntarily Conne). I continue. MUSIC:
Boom bam boom! Boom boom bam! Boom boom bam! Boom boom bam! Return to beginning of line. This is not a runaway, or I did not hear the response and cons about it. For we shall see stretto at the end.
He repeats what level text? Looks like the English double the rumblings of mutt. A big Black strangling, slaughtered, or both, guys. I frowned: return. Oh OK: a gam with blood in a trash bag. I begin to understand the theme: a guy from a poor neighborhood looking for his dinner. Inevitably, they eat too much fat and the strong men like him, the gam appear leaner than his biceps. Although, I heard the word Fuck, I'm probably off topic.
My English is very limited, I can follow the pictures (sniffing): a wheel of Toyota (Sponsor?), A guy who Crame. The Big Black has other Pekin with a knife, then a hammer, a real tool box on legs. Oh, there are flashes of vaguely satanic distinguished in this universe. It may (The Big Black) to be tolerated by a window with his laptop. Ah the resumes, the absolute recurrence, he cuts a human foot (arrow on the video stating "Human Foot" for those who do not). It's "blood" pure blood. Musically, it's probably inventive, but tell the lion that roars in the end clip is a live recording of a real lion who teams up with Big Black or synth? In addition, a sound of broken glass to enter the lion broke his glasses, but in December '. Reminds me of "Street Trash"-style musical, like "the melody of yucky."
My mom is 88 years old told me she liked rap, I'll see if I find the CD. I have not found it on Amazon! Thin. In fact it is listening on a PC that breaks the spell. Should I listen on my channel "upscale" restore the sweetness of the voice, the soft accompaniment, the harmonic richness. Difficult for the uninitiated to tell if the musicos in polyrhythmic or provide monorythmique.
Good to relax I will listen to "Twinkle Twinkle Little Star" by Mozart, Na! For Vincent, clip hyper Hard.
Note: I live 500 meters from the Saint-Anne hospital in Paris. Is helpful.
Claude photographed at St Anne, recovering after listening to a second disc of Black Metal.
MATT BAUDER "DAY IN PICTURES" (2010) by JOHNNY GUITAR Freddiejazz
Matt Bauder on tenor sax
long time now, the referee had whistled the end of regulation time, and no person 'could have said where were the extensions ... These same words, these same formulas, to borrow a phrase from Alain Fleischer, I now come to mind to describe this disc also carefully regulated, organized and programmed: DAY IN PICTURES Matt Bauder , released in 2010 on Clean Feed label is a disc that builds on a traditional jazz, clearly identifiable in terms melodic and rhythmic. Extension or extensions, each chooses his formula. Moreover, during his program "Open Jazz" (as yours truly does not fail to listen when he has time - it's every day on France Musique, from 19h), Alex Dutilh him even pronounce the word "extension", while we did discover two or three themes of this cake. And indeed, our tenor sax came from the depths of Texas, this young man barely old thirty years, extends here the idiom of jazz very classic, one that refers to what was in the 50s and 60s. Not that this is a project that pays into parody or pastiche, although in the liner notes there Bauder cites Jimmy Heath as one of his earliest influences. No. Only the disc fits into an extension of what was Stan Getz, Ben Webster , Coleman Hawkins and to some extent, Miles Davis (sometimes we remember the first great quintet of the sorcerer black, with John Coltrane and Bill Evans). The success of the album is no doubt (the compositions are beautiful, varied, homogeneous), but we sometimes get the feeling that the musicians did not want to risk too much (you might say, in KIND OF BLUE, either). In the end, we have a pretty good fucking hard and very beautiful (the sound of the whole, far from any noise music is a clarity that is breathtaking). Composed of seven parts all as original as each other, Day In Picture does not, never falls into the demonstration, let alone pontificate. In 45 minutes, the important thing is said. Bauder declined to include standard, because the creation and inspiration are more important to him. That said, we can always find a few references here and there (for example, the intro to "reborn not gon ', track 4, referring to" Gone, Gone, Gone "by Gil Evans with Miles Davis, cf. Porgy and Bess). Other winks to jazz of the 50s is no shortage ...
Tomas Fujiwara (photo Claudio Casanova)
Finally, Matt Bauder with his thick black glasses (a beautiful picture shows a portrait inside the digipack), has still a big sound, who knows how to sweet and romantic walks (listen to the beautiful "Park After Dark") but also very "out" or "suspended" in pieces rather mid tempo (and the opening in "Cleopatra's Mood"). In this first theme, a rhythmic atmosphere, this way of treating the offender's phrasing is simply amazing. Suspense, and a few surprises, so .. And above all an artist who, despite his credentials, trying to imitate anyone or only plays what he has in him ... The trumpeter who officiated at his side, Nate Wooley , is in sobriety, the sound is chiseled, his trumpet and light. Not too bop, not too mainstream. Just in the service of music. Inhabited. As for the rhythm, it is also very simple, even classical architecture. But it is not a problem. Composed of Angelica Sanchez on piano (Tony Malaby's partner), Jason Ajemian of on bass and Tomas Fujiwara finally on drums, it even includes a sincerity and freshness of integrity, which affects outset the listener. The voicings of Sanchez are beautiful. No notes nor superfluous puffery, as one can find Today in disks resolutely turned towards the postbop. In short, if this disc is nothing revolutionary (in form and in substance, any acoustic quintet, contemporary jazz, vaguely reminiscent of what was in the 50s) is still a high level technique. The musicians were in their luggage as many melodies from elsewhere (the imagination is at full throttle) that controlled rage and energy bittersweet inhabited and inspired they are. The sounds captured sometimes extends to a certain nostalgia, but without sentimentality, it is rather in humility, poetry and contemplation. And when the instruments are mixed with harmonics and notes can be complex, at least in a swing melodies that innervate them is natural, we say that yes, this album is a success. Matt Bauder, remember this name. I do not think I am right in saying that this is a jazz artist to watch very closely ...
Matt Bauder trio, in a version of "Cleopatra's mood". We will recognize Tomas Fujiwara on drums (stealthily). In this session, bassist Jason Ajemian is not.
« DAY IN PICTURES » de Matt Bauder (2010, Clean Feed) 1. Cleopatra's Mood 7:14 2. Parks After Dark 11:17 3. January Melody 4:55 4. Reborn not Gone 6:22 5. Bill and Maza 13:14 6. Two Lucks 8:55 7. Willoughby 2:40
small band lucky ... Either you are one of those who knew JOHNNY GUITAR and you drool in advance of the evocation of this masterpiece, or you're someone who does not know him, and you drool at the thought of discovering ... In DEBLOCNOT 'everybody wins!
JOHNNY GUITAR is a western directed by Nicholas Ray, 1954. Ray is also the author of Rebel Without a Cause with James Dean , Pounce with Robert Taylor and before that LOVERS OF THE NIGHT with Farley Granger, THE VIOLENT with Humphrey Bogart. What initially was to be a western series, turns into a lyrical drama and violent, driven by Nicholas Ray, who threw the script, and rewrote history with Philip Yordan. It's a film under constant tension, like his first plane, an overall plan of the mountains, a rider is coming, and soon a series of explosions occurs (we built a railroad) followed by a Attack of care ... All in just seconds ... This jumper is Johnny Guitar, who has just moved in the saloon Vienna, his ex-mistress. Vienna is struggling with a militia in the pay of the railway company that wants to get out. It is also suspected by the local marshal to protect a gang of thieves led by Dancing Kid in love with Vienna, and finally faces Emma, blinded by jealousy, thirsting for revenge after his brother was killed - believe it - the Kid.
Joan Crawford and Sterling Hayden
That's a lot for a woman alone, waiting for the next track brings in her batch of customers. Meanwhile, his property is empty, but the dealer in order to turn the wheel all the same ... Vienna appears to us in the first scenes wearing a man's suit, black, a whip in his hand. It is austere, authoritarian, dignified, and face to face with Emma tells us about the relationship between these two women. For JOHNNY GUITAR that originality has to contrast two women to death. Emma suffers from morbid jealousy, fascinated by Vienna, in love as no doubt she has much trouble with men. A character consumed by hatred. As in the first act of a tragedy, Nicholas Ray orchestrates a scene of exposure absolutely wonderful, tense, bringing Emma, Vienna, Johnny the Kid, the marshall, his men and the militia. A concentration of latent violence in the room of the saloon, which culminates with the plan of spinning glass on the bar, ready to fall in a dead silence, and the sudden appearance of Johnny, his guitar slung over his shoulder. The frames are absolutely rigorous, dry mounting, but the dialogues are also brilliant. Dancing Kid sees the danger in allowing Johnny to work for Vienna. He felt that these two had a common past loaded and tries to separate them.
Kid: I like you sir, you should come work for me, I have money, I'll start a business.
Johnny I prefer to accept the job offer from Vienna.
Kid : Then you are to me much less sympathetic
Johnny What a pity, sorry, I do not like losing a friend ...
JOHNNY GUITAR is a movie full of surprises, reversals, fights, stampedes, gunfights, and intimate scenes of unparalleled purity. At night, Vienna and Johnny are alone in the kitchen of the saloon. Johnny asks in Vienna: "Tell me lies, tell me you love me." And just repeated in a neutral, academic, "I love only you." "Tell me that you did for five years as I thought." "For five years I have thought only of you." "Thanks." The music rises, Accompanying the kiss of Johnny and Vienna gives the scene a romantic exacerbated sublime, as in the latest film plane, this time just highlighted a song played on guitar. There are characters in Nicholas Ray backflow of feelings, emotions, unspoken that gnaw, ooze, just waiting to explode. Vienna and Johnny they love each other again? "When a fire is extinguished, there are only ashes" meets Vienna.
The color palette (TruColor process, unique to Studio Republic) highlights the colors red, hot, shirts of the players burst of primary colors. Pictorially, this is a great achievement, which only reinforces the dramatic contrasts. The decoration of the saloon, with its first floor beneath beams arranged in a triangle, like a ship, reflects the good taste of Ray for the scenery, for he was a student of Frank Lloyd Wright architect. There will be at the end, this dazzling scene, almost abstract, Vienna in immaculate white dress, only the piano, threatened by the horde of Emma, all black suit (they come from a funeral). See Emma to lead this company, dressed in mourning, still a striking image.
A painful scene for Nicholas Ray, himself a victim of McCarthyism. On land, the young Turkey on trial ...
Beyond the dramatic and pictorial success of this film, we broke another dimension to the figure. JOHNNY GUITAR was conducted in full McCarthyism, and Nicholas Ray himself was suspected for a very left-leaning beliefs. How do see through this plot a condemnation of McCarthy * system? That the law of state officials (The marshall) is less respected than the horse, or a cowboy hat, is the lot of many westerns, in a country and era (Far West) full political integration. But Nicholas Ray goes further. When taken in Vienna is a history of bank robbery, one tries to make him confess his complicity. She refuses to submit. The militia made a prisoner in the band to Kid, the young Turkey, which is threatening to hang without trial. He was blackmailed, he was asked to denounce Vienna. The kid is in tears, and begs Vienna: "What do I say? . She replied: "Save your skin." Non-veiled evocation many statements to the McCarthy committee, where actors and directors have sold some friends to avoid being implicated themselves, starting with Sterling Hayden, the actor who plays Johnny Guitar. But the irony is that Nicholas Ray has assigned the role of John McIvers, the head of the militia at Ward Bond, John Ford's favorite actor, notorious anti-communist, and leader in Hollywood for the hard right. The same McIvers, who at the end of the film, said he tired of the shootings, feels that the chaos is near, and in a burst, leaving Emma to his personal vengeance, by withdrawing his men announced the carnage. The message passed by Nicholas Ray in Hollywood could not be could not be more clear.
Abandoned by his superiors after he attacked the U.S. Army, Senator McCarthy died alcoholic ... (There is justice!)
L e Senator Joseph McCarthy (1908-1957) went to war against the alleged anti-American acts. To complete his minor celebrity, and cure his ego, he attacked particularly denounce the communist ideas in artistic circles, and Hollywood. A blacklist was created to spread the studios of artists suspected of relationship with the Communists: Charlie Chaplin, Jules Dassin, Joseph Losey, Marlene Dietrich, Dalton Trumbo, John Garfield, Martin Ritt, Robert Rossen, the most famous, and therefore Sterling Hayden, who was forced to share a few names, like the director Abraham Polonsky. Disgusted with himself, and filled with remorse, he later became an early advocate of the First Amendment. Ernest Borgnine, left of the picture, an admirable second role, which excels in all jobs. Right, Scott Brady in the role of Kid.
interpreters of the film are wonderful, the worrying Joan Crawford head, excessively masculinized. His role had been written as a man, and so she was headed. However, the character keeps feminine aspects as dinner plates, porcelain, or takes care of extending a wet shirt to dry. Joan Crawford later said: "There was no excuse for the film to be as bad, and for me to play inside." All Anyone can make mistakes ... In the title role, the monolithic Sterling Hayden, any force, threat, violence and fragility seen in The Killing and Dr. Strangelove Kubrick, WHEN THE CITY SLEEPS Huston, 1900 Bertolucci , THE GODFATHER Coppola . Mercedes McCambridge acts of torture Emma Ward Bond, John Carradine and the always fabulous Ernest Borgnine complementary distribution.
Violent, lyrical, paroxysmal, going against the tide Traditional westerns by changing roles, and making repressed impulses of the heart of the story, JOHNNY GUITAR is an exciting and profound work, coupled with a devilishly effective action movie, with each vision shatters wealth. This is not a classic western, as Darling Clementine, PRISIONNIERE THE DESERT , LIBERTY VALENCE (to name three films by John Ford) in the sense that it does not just to discuss the construction of a country, describing the customs of the Far West, but is the vector of contemporary concerns, which will then westerns filmed in the 60/70.
If you could have five westerns you, it must be prominently.
And like any masterpiece also contains its share of inconsistency, JOHNNY GUITAR is no exception. There is a scene, outdoors, on a bridge. First filmed in profile, Vienna is joined by Johnny. We can clearly see the sun in her eyes, and almost setting sun. In the next shot, front view, we can see the sunset and the orange sky ... But behind them! So how could they have the sun in your eye?! Especially since the next shot, on a parallel action, watch Kid and his gang flee to the mountains ... in broad daylight, under a blue sky! Find the error ... The fault probably a "retake" ie a new shot made in the studio, with transparency effect, then incorporated into assembly at the scene, which she had been shot in decor real. Lack of time, vigilance?
Unless you enjoy excerpts poorly dubbed in Serbo-Croat, or a trailer filmed on a camcorder to TV (!) We limit ourselves to these images, mounted on the song from the movie ...
JOHNNY GUITAR (1954) directed by Nicholas Ray, 1:50, color, 1:37
YES - "Beautiful" (2001) & CD "Symphonic Live" (2001) DVD by Vincent Chameleon
Higher! (Unless you go elsewhere).
1. Magnificent "Magnification".
very far from knowing everything their world, I discovered the group later on, via 90125 and his worldwide hit "Owner Of A Lonely Heart . To date, this album is still part of my Top 10, all different kinds. This means if I remain attached to the period Rabin (least Yes purists argue, but who cares!). Here! Yet this is a good album without Trevor Rabin , besides being devoid of any commercial considerations. Just think! This Yes is dominated symphonic ... And that symphony!
addition Philharmonic Orchestra, Jon Anderson (vocals), Chris Squire (bass and lead vocals on "Can you imagine ") Alan White (drums) Steve Howe and (guitar) make up all four this umpteenth version of the most legendary progressive groups. At this stage, I can already see that start to raise his arms to heaven (or being suddenly taken with violent headaches). Let me just tell you that an album such as this one could finally put into touch all the prejudices that you then took over the group so far. Your a priori may indeed deprive you of a truly great moment of music. I insist (just this once): Do not discard in advance, and put your doubts aside. I assure you that the union of these two worlds (progressive music and symphony orchestra) will bring you to a hundred places all the ideas that a layman like me had done hitherto Great music. Magnification is nothing less than a true little miracle ear, a revelation to the infinitely beautiful. Of course, provided to appreciate the timbre particular Jon Anderson ... It goes without saying.
Amidst this near perfection, only " Soft-as-a dove " seems to do a little spot. This title is 2 minutes also benefit office as an interlude piece itself. In 2 minutes as well, "Time Is Time " ends Magnification on a lighter note, gently melancholy. WARNING! Now boarding for stars: Beep beep beep ... Hooray!
2. Even Symphony, Yes remains unique.
If there is one group that, throughout his career has continued to create controversy, it is Yes. The bad language even say that it is in the worst group is the best (oh naughty!). Except that when Yes, in the mid 80's, made the choice to move towards a more immediate music (bigger audience, more Hard FM, easier, etc. ...), it had been there too stoned. In short, what side that one is, Yes never unanimous, and even after 40 years of existence (!!!). Hey! That should already pushing us to benefit from respect for them ... Mmm?!
Let it be said, Symphonic Live offers everything that some will continue to hate, while those endless not cherish the Yes the beginning, raptures again face the 2 hour 45 minute show. Either-way, not only on its duration, a concert Yes already done all the difference over most of it any other training (bam!).
Neither of the strongest, least "connoisseur" of this training, I would first like to point out that even before watching this DVD, aside from their respective reputations, I knew absolutely nothing about the standards that are albums The Yes Album , Close to the Edge, Relayer , or Tales from the Topographic Ocean . Both say that the first reading of the DVD, except "Owner Of A Lonely Heart" (for the blow a bit "weird" in a directory like this one) and 3 from the album Magnification , my ears did not understand much ... And for good reason! For besides the longueuuuuur pieces (pieces), Symphonic Live focuses primarily on four albums mentioned above. So hard to put on a line, you will agree. Jon Anderson Chris Squire and
It will take time to me (and patience) to tame this directory. Still not sure that I succeed. For it must be admitted also, the music of Yes evidence is not available to all is a fact. And yet ...
How remain indifferent to what I call experience from the outset. For beyond the extraordinary complementarity and symbiosis of the Philharmonic and quartet, which requires most is this alchemy, this unique combination made between Jon, Steve , Alan and Chris . P * tain! Not the least score in their eyes! Glups ...
But beyond the "how do they remember all that?" I initially posed the following question: Where do they get all that?
More troubling still, the Zen with which the musicians play the directory. Except for the guitarist. Indeed, more particularly its attitude austere Steve Howe is one that denotes more on stage. Pitiiié! Next time, make an effort on your outfit. But what God guitarist! Steve Howe
Apart from this character at least curious and rather strange, what a treat to see that Alan White (drummer) to play with as much panache . This guy can really get the full time (he happens to speak the brighter of the four).
Chris Squire from the top of its 2 feet, pacing the stage and down, trying in vain to go get some semblance of a smile to the guitarist, but without success. As for the game and the sound of his Rickenbaker Lower (sometimes a Fender-see clip), that say you do not already know. One and one are one.
Acoustic Guitar, Percussion, Keyboards, it's not yet time for this Jon Anderson his portion to the cat. Singing divinely, it is in perfect communion with the audience throughout the show, introducing each piece between two thunderous applause. For the public, came in number (10 000 people in my opinion, can even more), is indeed not stingy with applause. We also talk more easily real ovations made with respect to the group about him. Really touching!
addition to this amazing and impressive orchestra Yes also invited a stranger (Tom Brislin ) coming into the keyboard instead of Tony Kaye or Rick Wakeman . The least we can say is that the young musician is not the extras either.
There would be something to write, and write yet, on this impressive show. So I will not say more, so as not to deprive yourself (it still itches a little) the few bravura moments that punctuate the show ... Unique for what it is. Because we like it or not ... This group is definitely unique.
Caution: As shown above the jacket, it seems there are several versions of this DVD. Well, mine has no bonus (interview, clip, etc. ...). Anyway, the sound as the picture is absolutely flawless. On the other hand, the concert is also increased by a few images, as landscapes or fantasy characters, and you'll have time to see (or not) using your remote control by introducing some songs.
Set List.
Intro: Alternate version of a Give Love Each Day (intro)
Close to the Edge
Long Distance Runaround
Do not Go
In The Presence Of
Gates of Delirium
Steve Howe (guitar solo)
Starship Trooper
Magnification And You and I
Ritual (we are the sun)
I've Seen All The Good People
Owner of a Lonely Heart Roundabout
Extracts from the album Magnification (which would still same could be represented by one or two additional titles).
"In the Presence of". A appreciate until the end, and preferably with a real big sound. (It is Alan White in the introduction of the song, back at the keyboard).
Roy BUCHANAN - " That's What I'm Here For "(1973) by Bruno Miguel
The true and only Master of the Telecaster
Difficult to believe that under her father looks like a quiet, country and asked, hiding a real phenomenon and artist, craftsman, electric guitar (he also showed on some occasions he was not armed with acoustic ).
Roy Buchanan born September 23, 1939 of Scottish parents, Arkansas (Ozaki), became interested in early music and thus began a professional career early. In 56, a first group, "Heartbeats" ( with future Jefferson Airplane drummer ), which will make a very brief appearance in a movie ( Rock, Pretty Baby ) in 57-58, he accompanied Dale Hawkins (Mr. "Suzie Q") in the studio, replacing James Burton . The records show that Buchanan was already an accomplished guitarist. In 1960 he went to Canada to accompany a moment the singer Ronnie Hawkins (cousin of Dale), whose members later formed the group The Band. Then, after his marriage he began the tour on standby. Roy took as a result of the costume studio musician, which allowed him to approach different styles.
same time, Roy went in search of new sounds, even inspired by the example of Link Wray by slashing the membrane of the HP amplifier to create a natural distortion. In 1965, it no longer, he went back on the road. A tumultuous road. And already, at the time, very personal style of Roy did not go unnoticed. Quite avant-garde, his playing was sometimes described as alien. And for good reason. With the help of his Fender Telecaster Blonde (lovingly dubbed Nancy he would bought a passer, and would have been the trigger effect of irréssistble want to go back to the adventure ), Buchanan was exploring the depths of high frequencies, not hesitating to reach his goal, to play notes beyond the sleeve, and plucking the strings near the bridge (see photo -cons). Unadorned he managed to extricate harmonics assassinnes whistled, the monstrous and subtle bends, and always with an appropriate musicality. Nothing was done randomly, to amuse the gallery. Roy also uses the volume knob (the technique looks simple but requires a perfect coordination is therefore essential to use the switch with the little finger while plucking the strings), plus incidentally that of the tone, to make his guitar weep. His mastery was such that sometimes one could believe he used a wah-wah. Sometimes they were dizzying bends which arrived to replace a pedal-steel, sometimes huge and staccattos tightrope. And sometimes, it combined everything, relaxed, with disconcerting ease. All without external assistance, without artificial embellishment, without technological tool other than a Fender Vibrolux, volume pushed donf. This is certainly the secret of a percussive sound. And thanks to this lack of equipment, it was easy to reproduce its effects and sounds in concert. In fact, he was a guitarist who only used his emotional reach to succeed as other effects come painfully to perform with electronic gadgets
But Roy remained as confidential, even if the legend that Roy would have been contacted ( with other ) by the Stones to take the vacant place of Brian Jones. Charlie Daniels even made him a record contract, but disappointed with the result Roy opposed to its output (this is the album "The Prophet" recently published). Then came the turn of his publishing house, due to a conflict with Roy, who refused then publishing his first album "Buch and The Snake Stretcher's (which included three compositions for his first album) . It was not until 1971, thanks to a television report of 90 minutes (!) Which had been devoted entitled "The Best Unknown Guitarist In The World", he was signed by a major label (Polydor). Followed an article in Guitar Player in '72, where he even coverage.
Thus, in 1972, after have managed the feat of completing the Carnegie Hall without a disc to her credit, only with a growing reputation, word-of-mouth, released an eponymous first album, hesitating between a country-rock, beautifully made, and a blues-rock cleaner (nothing heavy). A first test on the whole good, not transcendent, but with two superb instrumental "Sweet Dreams " finesse and restraint, and especially "The Messiah Will Come Again" (also taken by Gary Moore on "After the War ) - listening below -. Everything is there: feeling, technique, emotion & class, nothing that justifies the title of the CD purchase. Sublime.
The 'Second Album "came out quickly in the wake, at 73. The orientation is definitely more blues-rock, harder, purified.
Roy had triggered the fifth and the white-hot blues from his Telecaster incandescent there are fly. With a dashing "Tribute To Elmore James " where Roy made the fart licks stamped "King of Slide", but no bottleneck here! The album is better, but still has a shortcoming: Roy is not cons by a great singer (to put it mildly), he mumbles more than he sings. The effect is nice in small doses, but for lack of size, prevents some of the songs to rise to higher dimensions. Paradoxically, however, Roy appeared on stage systematically intimidated in front of a microphone, an attitude bordering on autistic. Apparently the man wished to be more present at the microphone, but it will never happen to cross a barrier inside. Like countless guitarists, Roy expressed primarily through his instrument, the tool allowed her to externalize, to release a lock.
The same year, " That's What I Am Here For " opera a slight turn significantly reducing the benefit of instrumental songs. Where previously a singer Annex manifested in one or two pieces, the remaining few being played by Roy, this album marks the arrival of a singer, Billy Price, full time, or almost. Price will remain, for many, the best singer of all Roy's career. Price is a singer in a blues crossroad elegant, hardly sophisticated, and soul-white Blue-eye-Soul . Her powerful voice and subtle, affected, made more to the music of Buchanan. On a more melancholy, almost tragic. This allows the music of Roy to be more accessible, and to approach other more melodic heaven. If the album starts on a good blues-rock, but lacking more sturdy seat, the cover of "Hey Joe " (dedicated to the memory of Jimi Hendrix) is beautiful, friendly and personal time. A poignant tribute, " sung (or rather told) by Roy, climbing gradually in intensity to finish in a défouloir cascades of notes pressed. Point Wah-wah, tremolo or here, Roy does not need to sing his guitar. In the 70's, it became a recurring basis of his stage repertoire. However, besides this recovery, the interest of the album lies mainly in the compositions enjoying the presence of Price.
" Home is Where I Lost Her " and "Please Do not Turn me Away," striking in their appearance highly melodic, adorned with a plaintive edge with lightning attacks of Nancy, even if it fits beautifully in the register, so that it seems sometimes tears (another specialty of Roy). Or the title track, a kind of soul-rock relatively powerful.
The excellent performance of Dick Heintze piano contributes significantly to the high content of the disc. Although this since 72, with the first album, Heintze is highlighted and enriched as well, to great effect, the compositions.
With this training, follow the famous "Live Stock "Generally considered a must.
In the end, difficult to define the style of Roy Buchanan. Say it is the result of years to play Rock'n'Roll pioneer, an approach to country music, a search of his personal immersion in the blues, an interest in the Gospel and Soul, and a special character. Later, he even Tatera jazz-rock (with Ray Gomez). For many years, by a desire to want to compartmentalize everything, journalists had filed in a Southern rock and even Redneck (?). Why not? While some of his music is undoubtedly South, but the relationship with the Allman and Lynyrd example, are tiny. No, Buchanan was rather a compendium of American music, American early, coupled with a formidable guitarist, with his distinctive, immediately recognizable and unique style. It is indeed surprising that someone as seemingly introverted balance of sentences, as riotous chorus of guitars.
Roy Buchanan: the true and only Master of the Telecaster! (according to Jeff Beck, Andy Summers, Jimmy Tachery & Gary Moore).
Roy died August 28, 1988 in Fairfax, Virginia. Binned for drunkenness (two theories: driving while intoxicated and following the complaint of his wife while Roy was in crisis, under the influence of alcohol), he would be there hanged. It was written that his family refuted this, because according to them he was not suicidal, knowing more than his career had taken a second breath.
Billy Price earned a good reputation, first in the Keystone Rhythm Band, Soul singer (-white) talented. Fred Chappelier, big fan of Buchanan, invited him to record a tribute album, "Chappelier Fred & Friends - A Tribute to Roy Buchanan." The current passing between the two, a second album, this time to his own compositions, was born (Night Works). And recently, a live album (for this purpose: http://ledeblocnot.blogspot.com/2010/08/fred-chapellier-billy-price-live-on.html # comments ).
My Baby Says She's Gonna Leave Me (3:21)
Hey Joe (5:26) - in memory de Jimi Hendrix par Billy Cox
