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Minerva_SD

Blues

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Kako ne postoji pobogu, ima dosta varijacija, samo to onda vec ulazi u neku teritoriju jazza kad se ubace ii-V-I varijante, ali u sustini je i dalje blues. Recimo jedna od meni komplikovanijih blues progresija je

 

Tu ga bas seta sa akordima, pa se igraj s tim :)

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pazi ovo

[media=]http://www.youtube.com/watch?v=x1R8VE9gV4w[/media]

 

ekipa na albumu

Allen Toussaint - piano, vocals

Marc Ribot - acoustic guitar

Don Byron - clarinet

Nicholas Payton - trumpet

David Piltch - upright bass

Jay Bellerose - drums, percussion

Brad Mehldau - piano

Joshua Redman - tenor sax

Edited by Uruk

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убава зика Уруке!

 

Hendrix didn't die... he was eaten!

Ономад некад прије интернета на непријатељском сателитском каналу WDR сам погледао концерт дебелог њујорчанина. Нит' гаднијег лика, нит' милозвучнијег свирања и пјева, досад не сретох. А и жена му је лик, има занимљив "породични соло" албум.

 

Него:

 

http://youtu.be/wjO4ZpIwgxk

 

Мало другачији блуз, причица. Некад свирала бас у White Zombie, а види је сад. Осовина бенда су три жене, а ту су и пратећи незнатни младићи. Какав је остатак албума, не знам, шта је за очекивати, ал' ово је симпатично.

 

Ко није убијеђен, да кажем да се у споту у једном тренутку види сиса.

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Pesma je zarazna, ima gruva i lako ulazi u usi posle par slusanja. Album im izlazi na leto i to izgleda samo na ploci. Spot je prelep omaz Russ Meyer-u i Faster Pussycat! Kill! Kill!

 

Elem, nasao sam ovaj predivni biser

 

 

Bluey - Leap Of Faith (2013)

 

 

 

is one soulful man. No wonder he’s revered the way he is within the UK jazz/soul scene. He’s been father and son to the scene for over 30 years. The years have been kind to him, and the kindness is reciprocated on his solo debut
. An undoubtedly listenable creation, Bluey has blended the club-infused soul- jazz sounds that made him famous with the sensi bility of an elder statesman, which he is. And he’s earned that title righteously, having worked with the likes of James Brown, Stevie Wonder, George Duke, and more in a long, drawn-out resume’ of funky so-and-sos. Leap of Faith demonstrates what those star encounters impressed upon Maunick’s own flavor of music, making this solo effort a surprisingly original tribute to form nodding to the masters of the past while carrying the torch the rest of the way.

Bluey’s long-standing group
o famously picked up the ball and ran with it from the early ‘80s to 2012 with an impressive string of releases in the acid-jazz vein, a genre Maunick helped create. Musically, Leap of Faith isn’t far removed from past Incognito releases. The main difference between Maunick’s work with his band and this solo venture is the absence of female voices, and more presence of his tasteful guitar work. There’s no major climactic highlight to report on one individual song here. Instead, it’s one cohesive album that doesn’t intrude into personal space… more so than any previous Incognito effort. If the band is the definition of acid-jazz, then Bluey solo is the epitome of metropolitan soul. This individual signature meshes the songs together matrimonially, from the opening track “Stronger” to the title track at the end of the disc. Therefore, the standard practice of reviewing individual tracks through a critical ear doesn’t apply here. WithLeap of Faith, you’re along for the ride. Right on.

Maunick wears his influences on his sleeve on this outing, but that’s not a bad thing. He effortlessly channels Marvin Gaye, Stevie Wonder, and Ray Parker Jr. in his Raydio days, making this record an easy fit into any Sunday morning feel-good rotation. He doesn’t disregard the club feeling within acid-jazz on Leap of Faith (“Ain’t Nobody’s Business” and “Why Did I Let You Go” tap into that house flavor), but the concentration here is on soul. And soul it is, from the music to the words. Lyrically, the songs rely heavily on cliché, turning standard R&B phrases as often as a drive-thru window attendant asks “would you like fries with that”. With that said, it should also be considered that sometimes it’s not what you say. It’s how you say it. Bluey’s subtlety in vocal delivery coupled with exquisite production values makes the predictability of verse more of an intuitive sing-along on the first listen, as if you’ve already heard these songs before… all of them. This makes for an extremely relaxing sonic journey… as comfortable as kicking back in a plush rocker-recliner with a built-in back massager. Ahh, and it feels so nice.

 

 

 

http://clz.to/foz7mmd9

 

 

 

ili

 

 

http://ul.to/2v6vcazg

 

 

Za dela blues sladokusce, najava koncerta

 

 

 

 

Delta blues legenda - CeDell Davis rođen je pre 86 godina u Heleni država Arkanzas. Sa četiri godine odlazi na da živi na plantaži u Misisipiju u blizini mesta Tunica. Tamo se druži sa dečkom po imenu Isaiah Ross koji će kasnije biti zapamćen kao jedan od bitnijih blues muzičara 20. veka – Doctor Ross. Praktično su zajedno započeli svoje korake u muzici još tada. Ipak, sredinom 30-tih vraća se u Helenu pošto je sa 9 godina oboleo od dečje paralize. Posle skoro dve godine provedene u lokalnoj bolnici mogao je samo uz pomoć štaka da se kreće dok su mu pokreti ruku bili ograničeni. Morao je iznova da nauči da svira gitaru ovaj put da postane i levoruk obzirom da mu je desna ruka bila ozbiljnije oštećena. Upravo će ovaj hendikep i definisati njegov prepoznatljivi stil sviranja – čupanje žica prstima leve ruke i korišćenje kuhinjskog noža umesto prstiju desne ruke - otprilike kao što se koristi slajd naprstak, jedan od karakterističnih rekvizita svakog ozbiljnog blues gitariste.

Sa 14 godina nastupa po juke-joint birtijama sa starijim bluzerima, a u Heleni ih je bilo više uticajnih u to doba (Robert Lockwood, Sonny Boy Williamson II, Roosevelt Sykes, Robert Nighthwak...).

Sredinom 40-tih na kratko okušava sreću u Mizuriju, ali se već ’45. vraća u Helenu gde svira po barovima i često na KFFA radio stanici.

Od 1953. I narednih 10 godina svira sa Robertom Nighthawkom za stalno, a 1957. odlaze u St. Louis gde su u to vreme mnogi bluzeri iz Arkanzasa redovno nastupali. Sam Nighthawk smatran je za ništa manje dobrog slajd gitaristu tog doba od Muddyja Watersa, po gradskim tavernama gde se sviralo muvale su se face iz branše (Big Joe Williams, Charlie Jordan, J.D. “Jelly Jaw” Short) – život siromašnog blues muzičara bio je znatno vedriji nego u Heleni. Nažalost, ubrzo po preseljenju Davisa čeka još jedna ozbiljna nesreća – tokom policijske racije u baru gde je nastupao sa Nighthawkom dolazi do stampeda i Davis biva kritično povređen. Više preloma obe noge trajno ga vezuju za invalidska kolica u kojima je i dan danas.

Kao i mnogi drugi crni muzičari tog vremena koji nisu uspeli da materijalizuju svoj talenat i umeće, Davis se potom godinama sporadično pojavljuje, a za njega će se ozbiljnije čuti tek pošto ga poznati blues poznavalac, producent i muzičar – Robert Palmer – u značajnoj meri spomene u svojoj knjizi „Deep Blues: A Musical and Cultural History of the Mississippi Delta“ (1981.). Ipak, trebalo je još više od 10 godina da CeDell Davis napokon dođe do svog prvog albuma. Bilo je to u vreme kad su beli pankeri koji sviraju blues preplavili garažnu rokenrol scenu (Gibson Bros, The Gories, Jon Spencer Blues Explosion), a isto tako beli entuzijasti osnivali izdavačke kuće. Jedna od i danas najcenjenijih – Fat Possum Records – 1994. izdaje Davisov prvenac „Feel Like Doin’ Something Wrong“ koji producira Robert Palmer. Uslediće sjajne kritike i duboki nakloni starom majstoru čak i od ne tako tradicionalno orijentisanih medija poput Pitchfork-a koji je ovoj ploči dao ocenu 9, nazvavši je vanvremenskom. To je ohrabrilo CeDella i on u kraćim razmacima snima još jedan album ’95. - „The Best Of“, a 1998. i „The Horror Of It All“ – oba za Fat Possum.

U sedmoj deceniji Davis najzad upoznaje svoju sreću i nipošto je ne ispušta – osim što je u studiju češće nego u prethodnih 60 godina, ovaj veliki šef najzad nastupa na prilično plaćenim koncertima, svira sa velikanima jazz-a (Ornette Coleman i Bruce Hampton) kao i sa svojim bliskim prijateljem i producentom Robertom Palmerom.

2001. njegovu pesmu „She’s Got The Devil In Her“ obrađuje čuveni Buddy Guy na svom „Sweet Tea“ albumu, a 2002. sa grupom vrlo uticajnih muzičara (Peter Buck iz R.E.M., Scott McCaughey iz Young Fresh Fellows + R.E.M., Barrett Martin iz The Screaming Trees pored ostalih) odlazi u studio i snima sledeći album – „When Lightnin’ Struck The Pine“.

Kulturni centar Delta u kome su izloženi i predmeti koji su nekada pripadali Davisu mu je 2004. dodelio nagradu za životno delo za blues.

Kao i mnogi drugi delta bluzeri (R.L. Burnside, Junior Kimbrough, T-Model Ford...) CeDell Davis poprilično se napatio i načekao u životu. S druge strane nesumnjivo je da srećan čovek ne može da izvodi dobar blues, pa tako ni Davis, niti njegove kolege vredne pažnje. Ono što kod ovog možda i poslednjeg živog delta blues gitariste iz vremena od pre drugog svetskog rata naročito pleni jeste da Davis uprkos godinama i surovoj životnoj priči i dalje nastupa uživo i to ne samo u SAD, već i u Evropi. Naime, CeDell Davis tokom juna, a u vreme svog 87. rođendana, ima 10-ak zakazanih koncerata sa svojim pratećim bendom - Brethren. Jedan od njih održaće i u Beogradu, u petak, 14. juna u klubu Lađa s početkom od 21:00. Pre nastupa ove legende kao gost događaja pod nazivom ’Blues By The River’ promociju svog novog albuma „Naked Blues“ imaće blues umetnik iz Beograda – Nenad Zlatanović.

Blues Time Records sa velikim zadovoljstvom najavljuje novo izdanje, solo akustični projekat gitariste i pevača Nenada Zlatanovića, frontmena grupe Texas Flood. NAKED BLUES je začet pre više od dve godine u želji da se publici predstavi druga, mekša i osećajnija strana Nenadove muzičke ličnosti i mnogo širi spektar njegovih muzičkih interesovanja. Brušen postepeno tokom mnogobrojnih klupskih nastupa, Nenadov akustični repertoar je narastao do veoma zavidnog broja pesama, stekao veliki broj poklonika i sazreo do potrebe da se jedan njegov deo diskografski predstavi. Koncertna promocija CD-a održaće se na Lađi 14. juna, a u planu za leto je i serija promotivnih koncerata u zemlji, regionu i na nekim evropskim scenama.

 

Karte po pretprodajnoj ceni od 700 dinara od sredine poslednje nedelje u maju mogu da se kupe u Pinball Wizard Records prodavnici. Neposredno pre koncerta na ulazu Lađe – 900 dinara.

 

http://en.wikipedia.org/wiki/CeDell_Davis

http://www.last.fm/music/Cedell+Davis

http://www.encyclopediaofarkansas.net/encyclopedia/entry-detail.aspx?entryID=3613

http://www.allmusic.com/artist/cedell-davis-mn0000740771

https://www.facebook.com/cedell.davisdeltabluesman

http://www.reverbnation.com/hotspringsbrethren

https://www.facebook.com/hotspringsbrethren

Edited by VoivodBG

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Gazelle Amber Valentine - Devil's Tower I (2013)

 

 

34447d1369773068-jucifer-yy_gazelleambervalentine-devilstoweri.jpg

 

 

1. All Comes Down 3:15

2. Armageddon 2:45

3. Birthday 3:52

4. (He Used To) Send Me Flowers 3:10

5. Rock City 4:18

6. With the Lights Down 3:14

7. Witch 3:32

8. The Ta Ta Song 5:04

9. Freak in the Family 4:37

 

320 kbps

A soft polarity to the warlike, amp worshiping persona GAV wields fronting Jucifer. These are small stark songs, bravely divest of volume. Voice, guitar, banjo and barely-present drums build naked silhouettes to stand precariously before a lowering sky

 

Gazelle Amber Valentine is known primarily for her work in the band Jucifer. In context of Jucifer's live shows, Gazelle is known as an intense stage presence who both inspires and terrorizes audiences with her screams, growls, and uber heavy guitar riffs powered by "Thee White Wall Ov Doom" --- her infamous, enormous, literal wall of speakers.

 

But those who have explored Jucifer's entire catalog know the banshee-voiced heavy metal "Queen of Amp Mountain" is only one of many personae for Valentine. Over the band's career they have recorded many tracks which bear little in common with that description; tracks which are relatively soft and light, or dark but quiet; in which critics have found reason to praise Gazelle's substantial vocal range and her ability to lead listeners through many different sonic and emotional spaces.

 

Here for the first time is a full album's worth of that softer side from the sludge metal icon. Sung warmly and sweetly for the most part (no screaming!) and with lyrics alternately wistful, vulnerable, witchy, wise, lamenting, and tongue in cheek, 'Devil's Tower I' hearkens to Valentine's early appreciation for artists like Leonard Cohen, Neil Young, Loretta Lynn and Dolly Parton.

 

Once in awhile you'll hear a glint of iron beneath the softness, but that's only to be expected. Brief intervals of rain only add to this Sunday afternoon, hair of the dog, move onward towards redemption little record.

http://rusfolder.ru/36669811

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другари, татаратира, ево вам нешто за чилексовање да испитате (литл екс)

 

албум хард грајнд:

http://www.metnem.co...ttleaxe/lahg.7z

 

албум д вулф дет хаус билт (одличан албум, првенац)

http://www.metnem.co...eaxe/latwthb.7z

 

албум бот фор а долар, солд фор а дајм:

http://www.metnem.co...e/labfadsfad.7z

Edited by Генеральный

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