Value :
Beautiful stuff – and a record we never tire of hearing! This album's a
sublime extension of the earlier Brazilian style of the Tamba Trio – in
a set that has them adding a fourth member, and picking up some cool
new sounds from producer Creed Taylor! The set brings the group's
earlier blend of bossa jazz and vocal harmonies into play with Taylor's
spacious sensibilities in the early days of CTI – that stretch when the
label was partnered with A&M Records, in a mode that also echoes
some of the best studio qualities of that imprint too! The songs are
longer than usual – nicely stretched out in a beautiful blend of jazz,
bossa, and voice – and tracks include a classic reading of Luiz Eca's
"The Dolphin", a great take on "Canto De Ossahana", and the tracks
"Flower Girl", "We & The Sea", and "Lemanja"
This LP from Stringtronics offers a genuinely psych/baroque
exploration, that could be considered the missing link between David
Axelrod’s “Song of Innocence” and Ennio Morricone’s Sergio Leone period,
with a light exotic touch. It features an astonishing dynamic 6-track
suite, written and conducted by the versatile virtuoso Barry Forgie.
Stringtronics also gives stunning ethno-lounge music from famous French
composers Nino Nardini & Roger Roger.
Οι The Thing, η θρυλική avant jazz/punk μπάντα των Mats Gustafsson, Ingebrigt Håker Flaten και Paal Nilssen-Love επισκέπτονται την Αθήνα για πρώτη φορά, για μια μοναδική ζωντανή εμφάνιση στο ΙΛΙΟΝ plus, την Κυριακή 26 Νοεμβρίου 2017, καλεσμένοι του Underflow Record Store & Art Gallery.
Η πώληση των εισιτηρίων έχει ξεκινήσει και γίνεται αποκλειστικά στο χώρο του Underflow Record Store & Art Gallery,
Καλλιρόης 39, Σταθμός Μετρό Συγγρού-Φιξ. Για περισσότερες πληροφορίες
και κρατήσεις, επικοινωνήστε μαζί μας τηλεφωνικά (2114039926) ή μέσω
email (info@underflow.gr).
After Galaxy-Lin Robbie van Leeuwen en Rick van der Linden started
another project named Mistral. They used a variety of uncredited
featuring vocalists for their recordings. Their first hit "Jamie", in
1977, featured Sylvia van Asten of Funny Face. Next year it was
succeeded by "Starship 109", featuring Marjan Schatteleyn and their last
hit "Neon City" featured Mariska Veres (the voice of Robbie's earlier
band Shocking Blue). In 1980 three more singles followed. "You're my
hero" features Sheen Milholland (who already had recorded "(You're) my
hero" as Sheen in early 1976). Their last single "I feel it" by the end
of 1980, featured Cheyenne-vocalist Julia Loko. Those last three singles
no longer were hits. This only mentions the vocalists that got known.
RIP Virgil Howe, the drummer in Little Barrie and the son of Yes guitarist Steve Howe, has died at the age of 42.
Over the course of a decade and a half and four albums, Little Barrie
have proven themselves to be masters of the power trio. They throw the
blues, hard rock, psychedelia, and good-old album rock in a blender and
end up with a brew that's both familiar and sounds sparklingly new.
Their fifth album, Death Express, is the first that Little Barrie
produced themselves, and it's their most immediate and atmospheric yet.
Recording at their own pace in their practice space, the bandmembers
were able to spend time honing their songs and sound to a fine point.
When they emerged, it was with a batch of songs that bludgeon the
listener with heavy riffs and thunderous drums, the moody tunes creeping
in the shadows while sporting a menacing snarl. Guitarist Barrie Cadogan
pulls out every trick he's learned along the way, but never plays an
excess note. Everything he does is in service to the song or the mood,
not to show off his formidable skills. Drummer Virgil Howe and bassist Lewis Wharton
are also unselfish sorts, and provide a rock-solid rhythm section that
also has plenty of flash when called upon to step to the front. The
album is long at 20 songs, but to the trio's credit, the energy never
flags.
Like a mighty boulder gathering speed as it rolls down a
mountain, the album alternates between window-rattling rockers ("You
Won't Stop Us" and the super hooky "Love or Love"), nasty laid-back
workouts ("I.5.C.A."), scathing prog funk jams ("Vulture Swarm"), and
strutting songs that sound like blueprints for a (really good) Black Crowes
comeback album (the title track and "Mind Mountain," which is built out
of their killer riff that serves as the theme to Better Call Saul). The
trio never falters or hits a bum note throughout the album, and if --
like in the past -- the focus is more on atmosphere than songcraft,
that's OK, because the atmosphere they create is so thick and fuzzy,
like a favorite old album from the early '70s lovingly cleaned up but
still a little scruffy. It's hard to rate Little Barrie
albums, since they are so close in sound and structure, but this might
be their tightest, toughest, and most impressive work to date.
Taste :
Little Barrie -
I.5.C.A
Little Barrie - You Won't Stop Us
Little Barrie - Death Express(@ Hostess Club Weekender
The mysterious Shades of Joy
recorded the wholly instrumental album The Music of El Topo in San
Francisco, the LP finding release on the Douglas label in 1970.
Co-produced by Alan Douglas (famous for his controversial posthumous work on some Jimi Hendrix
material), it's an odd but listenable mix of early jazz-rock fusion,
psychedelia, funk, and the kind of meditatively somber and pretty music
you might expect to hear on the soundtrack to a period drama.
And in
fact most of the compositions are credited to film director Alejandro Jodorowsky,
who was responsible for the early-'70s cult film El Topo. Fifteen
musicians are credited with playing on the album, the most noted of them
being occasional Grateful Dead/Jerry Garcia sideman Howard Wales
(on electric keyboards), though there are also numerous percussionists,
brassmen, and flutists; in fact, there are three combination
flutist/tenor saxophonists alone. (Jodorowsky himself does not play any of the music, however.) Martin Fierro
(who played flute, tenor sax, alto sax, and cowbells, as well as being
credited as a "scratcher") seems to have been the musician most involved
with the project, also doing the orchestration and horn arrangements.
The Music of El Topo, incidentally, is an entirely different album than
the Apple-issued El Topo soundtrack, for which Jodorowsky got composing credit for all of the music.By Allmusic
Recorded in San Francisco in 1970 on the Douglas label, this LP is
commonly associated with the visionary Western-on-acid epic film "El
Topo." It's an intriguing piece of urban jazz funk fusion.
And a somewhat confusing record. First, there are two versions – the
film score on Apple (which I hear is to be avoided) and this bay area
jazzfunk jam “inspired by the film” by the Shades of Joy on Douglas.
Alejandro Jodorowsky – the movie’s director is credited here with
writing all the music (which sounds improvised), yet appears to play no
instrument or take part in the session at all. But, of the people who do
actually play on this record, most noteable is funky keyboard legend
Howard Wales! The sound here ranges from all out funky get-downs, to
trippy, moody electric Miles Davis-esque excursions. Very highly
recommended.By Wax
Listen here to an exerpt from one of the more groovin’ tracks.
