Fun Stuff > BAND
The M/F Thread 2009: The Quickening
Scandanavian War Machine:
for what it's worth, I could always see the image
Touch Me Im Sick:
ImageShack'd it, should be fine now.
Can - "Delay...1968"
--- Quote ---Although recorded in the late '60s, the material included on Can's Delay...1968 did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can tunes ever recorded; while nowhere near as intricate or assured as the group's later work, the visceral energy of tracks like the deranged "Uphill" and "Butterfly" is undeniable. -AMG
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pilsner:
--- Quote from: allaboutjazz.com ---What's always been remarkable about this band is its ability to be texturally rich yet atmospheric and spacious at the same time. One might think that having three guitarists would create a potential for excessive harmonic density and the occasional train wreck, but everyone's listening skills are so advanced that things never get cluttered, despite the number of players.
Garden of Eden also proves the malleability of Motian's writing. Motian's tunes range from the maelstrom-like temporal elasticity of "Mumbo Jumbo" to the dark and ethereal "Etude" and the lyrically folksy "Mesmer," where Motian's light but busy playing seems at odds with the more languid phrasing of the horns and guitars. They could easily be imagined played by his trio with Bill Frisell and Joe Lovano. There's inherently more activity here, but it shows just how far Motian has evolved as a writer with a distinctive voice that transcends context.
Motian may turn 75 this year, but on the strength of Garden of Eden it's clear that he's in the midst of a musical renaissance; advancing age needn't be synonymous with a dilution of the creative juices.
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(Not the cover, just a picture of Kevin Dean)
Great jazz with with a Hammond organ! From Montreal!
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--- Quote from: www.jazzreview.com ---Tierney Sutton, is a jazz vocalist quite unlike any performing today; she has a genuine and unique approach to jazz resulting in a sound that is hers and hers alone. Tierney would say that the sound is not hers alone, she is a member of the band, and the sound is theirs alone. I believe both she and I would be right.
The Tierney Sutton Band is a philosophical anomaly in the music world. The band has no diva, no boss, no black sheep. What they have is a team that allows them to take big chances and pull off the extraordinary in creating music. It's a matter of trust, shared values, and listening very carefully to each other. Sutton's music is literary in being not just beautiful noise; it is also specific mind frames that can't be expressed otherwise. On the album insert that accompanies Telarc's recording of On the Other Side Tierney writes, "In the United States, our founding fathers guaranteed us among other things, "the pursuit of happiness." I always found it amusing that we aren't guaranteed the thing itself, but rather the right to chase after it. Mystics tell us it is the chase that causes our problems… Sometimes it seems to me what the Declaration of Independence really guarantees is a broken heart, but that's not the whole story… Music is about the search." - Tierney Sutton (from the Telarc Jazz Record On the Other Side)
The Band, consisting of Tierney, Christian Jacob on piano, Kevin Axt and Trey Henry, and Ray Brinker on drums, has been together for close to fifteen years. In the last two years, they have released two remarkable albums with Telarc: I'm With The Band and On The Other Side. Both of these compilations show how seamlessly these very talented musicians work together and demonstrate Tierney's mastery of vocal music. I'm With The Band was Tierney's first live album and On the Other Side is her most daring concept record to date. On the Other Side is now ten months old.
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--- Quote from: http://www.bbc.co.uk/music/reviews/2xw6 ---If they ever make a biopic about Madeliene Peyroux there'll be no shortage of key moments to for them to illustrate; busking around Europe as a teenager; 2004's Careless Love selling over a million; record company-hired private detectives trying to track her down after she goes AWOL.
It'll all make great Hollywood for sure. However, it's likely that the most important scene will be the making of this, her fourth album since 1996.
Despite occasionally tossing a tune of her own into an appealing though often undemanding best-selling blend of jazz and blues, for the bulk of her career she's been praised as an interpreter rather than a writer of songs.
Now collaborating with producer Larry Klein, Julian Coryell (son of jazz guitar legend Larry) and Steely Dan's Walter Becker amongst others, she's begun to delve deeper into her own experiences.
Damn The Circumstances and Love And Treachery capture the moment when anyone who's ever been in love, wakes up at 3 a.m. to be haunted or taunted by what's got them to that particular point in their life.
Klein's production tenderly embraces Peyroux's brooding muse, whilst pianist Jim Beard's understated eloquence is often the album's quiet star.
There was a time when if someone said that Ms.Peyroux had a great voice, the smart reply was ''yes, but it's a pity it belongs to Billie Holiday''. With Bare Bones she's finally finding her own. The really interesting part of the Madeleine Peyroux story starts here.
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JD:
fix yo links
pilsner:
Should work now.
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