This fourth album by the bluesman from Spain Miguel Moreno said " Miguel M" offers us a colorful and warm in a bluesy universe expanded spectrum because there rubbing shoulders both the song / pop my utmost "," the wind rises ", blues rock " strange ", the disco / funk" move your body "" tell me baby "pure slow blues" integration " or boisterous " no time " soul "as I'd like . A diversity that will perhaps wince the "ayatollahs" of the blues, but that ultimately proved a major success story which reflects the influences of Miguel ranging from Buddy Guy and BB King to Led Zep through Prince or Johnny Guitar Watson without forgetting the great Paco de Lucia, flamenco ace.
It probably does not remain frozen in the blues tradition that has a chance to reach a wider audience, because make no mistake, this is the blues, driven by the warm voice of Miguel his guitar playing with finesse, as it is one of our best blues guitarists, and musicians who know what groove means.
The rhythm section consists of Pelfigues Olivier (drums) and Ludovic Timotéo (bass, mixing well), Damien Cornelis and keyboards round out the quartet, which will eventually Damien take a room in this blog because it feels I do not know how much time we cross paths ( Nina Attal, Blues Power Band among others, can not he possesses the gift of ubiquity or clones or Twin brothers ...). As guests are entitled to sax Thierry Farugia (" my utmost"), the harp of Nico Wayne Toussaint ("no time ") and a violin ( Eric Pujo on "The Wind That Shakes " and " I'd like both ).
The photos illustrating this page is signed Sandrine Boulois, with my thanks
This disc is the first of Miguel in French, sometimes exercise snack foods (names!?), but he is doing pretty well, with the help of Mrs. M, tackling social issues like " integration" (I send it right away to *** of Besson) or "strange " and "No Time " on human folly, but we are talking about something more intimate " my best " or "I'd like as "beautiful song of hope dedicated to his son.
a bonus hidden recovery of the idol of the (also very) young, " all I love music , which balance well with his soul and his brass side.
If you pass by in the movement, because Miguel is known for his stage performances, here is the link with the dates, and how to get this self-production treated (digipack, booklet with lyrics and photos): http://www.miguelm.fr/
Angel time changes ... Created in the late sixties in Franche-Comté by brothers Decamps, Angel becomes in the seventies the greatest rock band in France, accumulating disks Gold, tours and concerts sold out. In 1977, Angel deep crisis and two of its members and not least, leaving the spacecraft enough spacial: Daniel Haas and Jean-Michel Brezovar , the companion of days. After a very good album "Watch Apens" in 1978 the first without founding members, Angel deals with the 80 training redesigned once again. Decamps brothers and excellent drummer Jean Pierre Guichard involve Robert Defer (guitar) and bassist Didier Visentin, to address the new decade. Times have changed since " Beyond the delusional" and "Emile Jacotey" because the wave led by Phone , Bijou , Little Bob Story, Trust , GANAFOUL etc. ... has revitalized the music in France with an energetic rock and furious. After the failure of solitary adventures Decamps Brothers Angel loses his head a little but does not bar Switzerland, on the contrary, they will strike hard and surprise their fans with all this new album, Seen On Dog .
Angel abandons the 70's sound and away from his progressive and theatrical universe charge of great stories and medieval to produce music more rock, more raw and more current . This shift is confirmed with a musical Francis Décamp s who traded in his old organ Viscount doctored against a brand new polyphonic synthesizer.
From the first track "Modern Times" (which refers to the desecration of the grave of Charlie Chaplin March 1978), the heavy hitting drummer Jean-Pierre Guichard gives tempo and Robert "Robby" Defer rips the horizon with snarling riffs full of indescribable energy. It definitely brings a hard-rock side to the group and propels the listener a new dimension in power then still unknown in Angel . "was desecrated the man with the little hat .... Oh no !!!!! This is the dance of the pistons, connecting rods ... confusion!" The new guit'hard-hero group walks his pick for eight years with the brothers Décamps (1980-1983 & 1988-1993) . It remains today, a virtuoso of emergency (currently with Boniface ) to whom we owe some of the new musical colors and surprising power of this album . On the next song, the moving "The spectacles" , the theatrics impressive Christian Decamps make us shudder, his poetry becomes more present, more realistic and a little more rebellious. The general atmosphere is urgency, fever, the frenzy Electric ( "Nobody on the line" , "Get out of me Peace " ) and epics of the past as " Ode to Life" seem far away, even if the progressive influences have not disappeared completely, as can be appreciated while enjoying the poignancy " I work without a net" . Humor is also the rendezvous on funkisant "Switzerland" , a composition where the fanciful antiwar sarcastic môôsieur Christian Decamps, sorry sir, put their heart's content and sends a booger p'tite franchouillard patriotism. Christian Decamps himself a Polnareff in exile at the top of the Ballon d'Alsace on "Nothing To A " a wonderful acoustic ballad, a song (too) short, the sweet fragrance that reminds us of symphonic glory days. The incredible Seen a dog " fence apotheosis Album became a classic of the group on stage, the groove fabulous bassist Didier Viseux propels this piece funky, which ends in a veritable orgy of riffs sound, with screams and whistles of an audience in a trance.
Unfortunately, the public of Angel sulk this album, disoriented by the music too aggressive group and its commitment to a new style intensifying madness and excess of contemporary society, not to mention the ugly bag designed by a certain Alain Verniau .. .
Yet this underrated album, deserves to be re-listened to and valued at fair value, it is in my opinion a change of course successful, a renewed and successful adaptation to a time not too favorable to the Progressive Rock .
In three words for regular non classiquophiles of Deblocnot ' ...
Bach , a name synonymous with classical music (1685-1750). The time returns us to the end of the reign of Louis XIV to Louis XV. Bach therefore belongs to the Enlightenment, importantly with regard to the inventiveness of the composer's humanist.
Bach is more than a thousand partitions: Cantatas religious, Protestant or Catholic following the job of the moment, oratorios (including 2 passions), and then moult instrumental masterpieces, the Brandenburg concertos, cello suites, Well-Tempered Clavier (for the most known), etc.. and finally, two partitions strange and mysterious, the Art of Fugue and Musical Offering.
The Art of Fugue.
Expression school almost sounds like the title of a chore for conservatory students, class composition, counterpoint option. Yet behind this label abstruse, hides one of the most beautiful music Written in the West. A partition pure, dedicated to any specific instrument or set; one requirement: to play 4 simultaneous melodic phrases, alone or in groups.
A few easy musicology.
Fugue: This is to introduce a topic (subject) and then repeat it (response) following the rules of transposition, while superimposing one or more countersubject in order to meet the harmony. Example ultra famous Pachelbel's Canon. One gets the impression that listening to music to chase and hunt itself. She flees (Fuga, Fugere in Latin). It's hard to write, but oddly pleasant and easy to listen through the repetitive and rhythmic pseudo effect obtained. Counterpoint: A generic term for all types of fugues.
The genius of Cantor (title of position held by Bach in Leipzig) was to write all forms of counterpoint (fugue, canon) from a single original theme as follows:
Nothing you say incredible deal these four easy steps to sing (try it, it's easy) or play on a keyboard or the kid's xylophone. But where Bach is very strong, it is using this theme in 19 runaway, exactly 287 times! Straight, reversed or mirrored. In short, in a word, triturated respecting the codes of counterpoint in all imaginable possibilities (2-4 vote). All runaways were, in fact, a family resemblance but none of them really looks like, especially when musicians make their living by their choice of interpretation. I will not go beyond in music theory, because there are more exciting.
To add to the mysteries of an already esoteric composition, the score remains unfinished, or rather crashes in the middle of a range!
Why? Must investigate ...
lost manuscripts and other occult theories ...
The music is always frustrated at the moment when the cosmic music stops abruptly. (Print mute.) Does here the germ of the legend about the book and the myth of the manuscript is lost, stolen, destroyed? The score posthumously, in a total mess bequeathed to his son, does that 19 fugues. There could be more (24). Curiously the last is incomplete and interrupted in the middle of the line to be abandoned! Scrolls first 18, reviewed by scientists from before 1750, death of Bach, and even 1742. Started very early (1740), Bach would have finished writing his own way. Where does it long and truncated fugue?
• And if the latter, different tone and without the main subject (the 4 steps above), with a third on the notes BACH (Saxon Rating: Bb, A, C, Si) was an "alien music", added as an adjunct in the initial release in 1751?
• Mathematicians have shown that vaguely complex fugue could ever end. Hmm ...
• A reference written by Carl Philipp Emanuel Bach on this page incomplete claims that his father died in writing this fugue. Would it not rather an epitaph in memory of his late father, a romantic legend before its time?
• Another theory: Bach would have voluntarily left the task to the performer to improvise or write more.
• Finally, a follower of numerology, Bach would have concealed codes related to its mode of composition in which they are completed.
The biggest mystery remains, in my view, the incredible beauty of this cycle and the possibility of infinite adjustment available to all instrumentalists and musicologists. Intellectual prowess, certainly, but even more: a gift of a work that can not endure the test of time because of a baroque orchestra in a jazz band, or a clever synthesizer on transcription, the magic happens. We love this or that option is all. The main theme calling for calm and meditation, one could even talk of New Age since the eighteenth century.
To return to Earth since 1952 and the work of harpsichordist and conductor Gustav Leonhardt it is likely that this music score is completely dedicated to the keyboard, and the fugue is a later addition ultimate off-topic. Yet many musicologists, musicians and conductors have tried to transcribe these fugues and canons for various instrumental ensembles.
Talk disks including the new release which allows to show that the Art of Fugue seems to enjoy eternal youth.
Discography personal
I still very moved listening to metaphysical research of Hermann Scherchen leader transcripts:
• Roger Vuataz in Beromünster for 3 groups of strings and wood (Registration of an organ )
• himself in Vienna or Lugano (Records reissued but rare).
course, the keyboard has been masterfully served by:
• Gustav Leonhardt harpsichord.
• Andre Isoir organ.
• baroque ensembles, including burning her with Reinhard Goebel Musica Antiqua Köln.
• Glenn Gould at the organ is slightly offset from its usual universe at the piano.
But the Art of Fugue, a work magic and sublime, can still surprise with artists Innovative ... At the beginning of the year pleasant surprise:
A nice new recordings:
If considers the list above not limited ative, could we expect a significant success of this new record?
Stefan Mai, violinist Xenia Loffer, oboist and Raphael Allpermann, organist and harpsichordist, we propose a new approach and innovative light.
The idea is based on the game in groups of solo instruments, in turn, accomplices to a larger whole: the Akademie für Alte Musik Berlin a twenty musicians who already beautiful prints to his credit. The artists perform on period instruments.
Following the recordings, each choosing a personal interpreter, it would be futile, even boring, to list the options chosen for each counterpoint.
Sometimes when uninspired monotone, this interpretation holds alternating very varied in its course. Organ or harpsichord, violin and oboe, bassoon and strings and even the intervention of a few coppers, ensure this alternation. Thus, in the fugues 12 and 13 and their mirrors, the next game we are offered:
12a Counterpoint: String; 12b: harpsichord, 13a: 2 oboes and bassoon; 13b: violin, viola and cello.
Beyond the music theory, form and notes, there is music. The set of all the players is very fluid, and a little more introverted than Goebel, he won in spirituality, which Bach is never irrelevant. Punctuated by the intervention of the organ and harpsichord, the musical seems like a book you turn the pages where each page shows an unexpected musical illumination. This, again, a work of unearthly beauty.
To alleviate the frustration by the end of the last fugue, Hermann Scherchen rubato playing on the slowing the last notes. The work leading to infinity.
In this recording is a decrease in the instrumental music that allows everything to go out smoothly. Other sensitivity, another technique.
Moreover, Scherchen Vienna where cleverly concluded with a chorale, this version is a little introductory chorale played on the organ by Raphael Allpermann inviting us to the serenity necessary to Listening to the first fugue performed by full orchestra.
Even if it does not question the good discography drafted before and probably expand, we are facing an imaginative re-creation that comes with the complete happiness.
An enchanting disc by its warm colors. It further allows a discovery of the Art of Fugue or for those who do not know the work.
MUG SHOT: an intelligent editor (Naxos, Bee music?) Reissue there one day Hungaroton recording of 1972 Frigyes Sandor at the head of the Liszt Ferenc Chamber Orchestra , an extraordinary spirituality?
For those who have neither xylophone or keyboard or dare not sing, here's a video of Glenn Gould performing the first emphatic gestural counterpoint ... It, too slow, limits narcissistic, necessarily, but a beautiful light to enter the tangled topics among themselves
Completely in the context of disk commented on the third counterpoint (bassoon, 2 oboes, trombone and orchestra) by the Akademie für Alte Musik (a counterpoint to the more frenzied):
Woolly Wolstenholme (April 15, 1947 to December 13, 2010) by Christian Selmogue
Woolly Wolstenholme is a founding member of rock group Barclay James Harvest Symphony . He played keyboards in this training influenced by Beatles and Moody Blues . From 1967 to 1979, when he left the group, he recorded 12 albums. Although he made few, the quality of his playing and his arrangements are a pillar of the training. Effective, his playing is unmistakable and is involved in the original music by Barclay James Harvest . He left "BJH" in 1979, following the release of the album "XII". The reasons for leaving are simple. John Lees and Les Holroyd , the two leaders of the group, wanted out of their relative obscurity, playing music more simple and accessible. In short, they wanted to be famous. This wish will be partially filled. Wolly him, disagreed. So off he went. Importantly, it has never been replaced. Its successor is only "temporary." Which says a lot about his real influence within the group.
He then worked with David Rohl and composes music with him in films produced by the BBC. Then he began a solo career and founded the group Maestoso with whom he is going to experience a succes d'estime, and 1st parts of Judie Tzuke and Canadian Saga. A greater success was slow But next he retired from the music scene and became a farmer for many years.
BJH: Mel Pritchard (drums, died in 2004), Les Holroyd (bass, vocals) John Lees (guitar, vocals) Woolly Wolstenholme (keyboards, mellotron)
In 1998, following the splitting of Barclay James Harvest he joined John Lees, guitarist and singer of BJH for their version of the group, namely: " Barclay James Harvest Through the Eyes John Lees of . They recorded the album "Nexus " which contains arrangements of old songs, a beautiful version of " Mockinbird " and some new features. A tour will follow and a live album " Revival will be published. In 2004 Woolly Maestoso back and carries the album" One Drop In A Dry World . "The success will be fairly modest, but real. Suffering many years of severe depression, Woolly Wolstenholme ends his days on December 13 2010. He was 63.
While less known than his peers in progressive Rick Wakeman Keith Emerson and , Woolly nonetheless a major figure in the music thanks to his technical input. And we must admit that following his departure from "BJH" the band's music has greatly declined in quality.
