sexta-feira, 29 de maio de 2009
quinta-feira, 28 de maio de 2009
Another fine jazz influenced krautrock band which delivers ambitious, inventive sounds. As it was said, the geographical roots of the band are from Kamp-Lintfort near Düsseldorf back to 1967. At this time the musicians were connected with a local religious brass band and then they decided to form a "cosmic" rock band to expand their own musical ideas and to put the stress on the jazziest side of their music. Very interlocking their first album released in 1970 for the ohr label definitely represents the fusion between "cosmic" music and jazz rock. Their strange, psych improvisations are mixed with weird space / electronic effects. Wind instruments (mainly the flute and the trumpet) are associated to the electric organ and conventional electric guitar parts. These combinations offer a tasteful musical ensemble. Recorded in 1972, their following album is maybe more elaborated, more evident with a very accomplished improvisatory approach. Consequently two remarkable efforts which contributed to the development of the Krautrock scene. Progarchives
Beziehungen - 1972
terça-feira, 26 de maio de 2009
New Violin Summit foi uma rara apresentação gravada durante um concerto no festival de Jazz berlim em 1971.
Os músicos participantes do show são Jean-Luc Ponty no Violino, Robert Wyatt do Soft machine na bateria, Terje Ripdal na guitarra, Neville Whitehead no baixo e Wolfgang Dauner no piano.Ponty também contou com um trio de violinista formado por Don "Sugar Cane" Harris , Brantner Nipso Brantner e Michal Urbaniak Michal.
New Violin Summit - 1971
segunda-feira, 25 de maio de 2009
Lonnie Liston Smith, Jr., 28th December, 1940 in Richmond, Virginia, U.S.A.Lonnie Liston Smith is somethimes confused with organist Dr. Lonnie Smith, keyboardist / pianist.
Lonnie Liston Smith started out playing straight-ahead acoustic jazz before becoming better known for embracing fusion, crossover, soul and funk with his 1970's band the Cosmic Echoes.
Smith was born in Richmond, Virginia, but it was in New York that Smith started getting a lot of work as a jazz pianist in the 1960's.
Greatly influenced by McCoy Tyner but quite distinctive himself, Smith played acoustic piano as a sideman for Pharoah Sanders, Rahsaan Roland Kirk, Betty Carter and Gato Barbieri but turned to fusion when Miles Davis hired him as an electric keyboardist in the early 1970's.By 1973, Smith was ready to lead a band of his own and formed the Cosmic Echoes with his brother, singer Donald Smith.The improviser made his recording debut as a leader with 1973's 'Astral Traveling' and continued to fare well in the fusion / crossover appeal with such offerings as 1974's 'Cosmic Funk' and 1975's 'Expansions'. The atmospheric fusion, crossover, soul and funk that Smith played on his Cosmic Echoes dates of the 1970's had a very spiritual feeling. If anyone bridged the gap between John Coltrane and Earth, Wind & Fire, it was Smith.
He moved from RCA to Columbia with 1978's 'Loveland', and the 1980's found Smith recording for Doctor Jazz. In 1986, Smith surprised his followers with 'Make Someone Happy', an excellent acoustic trio date that found him returning to straight-ahead post-bop and interpreting standards.
Unfortunately, the early 1990's weren't great years for Smith, who recorded some radio-oriented, formulaic NAC sessions that left much to be desired creatively. Smith returned to a Cosmic Echoes-type sound on 1998's 'Transformation', which reunited him with his brother Donald.
Primeiro disco que ouvi do Brand X, ainda em 1981, quando um amigo que tinha um sebo de vinilaqui em Fortaleza me mostrou. Gostei imediatamente, por isso acho este um dos melhores discos da banda.
Product - 1979
GRYPHON was founded in 1973 by Richard HARVEY (recorder, keys) and Brian GULLAND (bassoon, krumhorn) after a stint at the Royal Acadamy of Music. They shared a vision of blending traditional English folk, Baroque instrumentation and Renaissance music in a modern format. The compositions resemble those of Gentle Giant but give greater emphasis to the authentic textures and sounds of the Renaissance period.
Treason - 1977
After Pugh Rogefeldt disbanded Rainrock, he set out to explore American music, and on this trip he abandoned the hard rock he'd been trying on a few albums for a more country-oriented sound with slide guitars and an occasional New Orleans piano. The recordings took place in 1976, first in Muscle Shoals Sounds in Alabama, then in Hollywood, and finally in Stockholm in the autumn. Hearing the result, a suspicion creeps to mind that there was no real plan behind the trip, or actually behind the whole album. A number of the songs included are clearly substandard, with the worst first: the embarrassing tribute song "Bo Diddley." And only in a few songs is Rogefeldt able to use the country influences in a meaningful way, two of these being "Vår kommunale Man," a brilliant translation and rewriting of Woody Guthrie's "Vigilante Man," and the gospel oozing "Hällregn," where he finally gets a chance to weather his voice. But most songs linger somewhere in between country ideas, pop melodies, and session musicians influenced by funk without ever seeing a good fusion of these components. And while a great number of the musicians involved do a decent job, there is often no big correspondence between Rogefeldt's singing and the backing. There are exceptions to this, but the three best tracks are all covers, and on two of them Rogefeldt plays slide guitar and sings all by himself. ~ Lars Lovén, All Music Guide
Bamalama - 1976