He was the only child of Mehmet İbrahim Karaca of Azerbaijani origin,and İrma Felekyan (Toto Karaca) of Armenian origin,a popular opera, theatre and movie actress.
His first group was called Dynamites and was a classic rock cover band. Later he joined Jaguars, an Elvis Presley cover band. In 1967, he started to write his own music, joining the band Apaşlar (The Rowdies), his first Turkish-language group. In the same year he participated in Golden Microphone (Turkish: Altın Mikrofon) contest, a popular music contest in which he won the second place with his song Emrah. In 1969, Karaca and bass-player Serhan Karabay left Apaşlar and started an original Anatolian group called Kardaşlar (The Brothers).
In 1972, Karaca joined the group Moğollar (The Mongols) and wrote one of his best-known songs, "Namus Belası". However, Cahit Berkay, the leader of Moğollar, wanted an international name for his band, and he left for France to take the group to another level. Karaca, who wanted to continue his Anatolian beat sound, left Moğollar and started his own band Dervişan (Dervishes) in 1974. Karaca and Dervişan sang poetic and progressive songs.
In the 1970s, Turkey's image was damaged by political violence between supporters of the left and the right, separatist movements and the rise of Islamism. As the country fell into chaos, the government suspected Cem Karaca of involvement. At times he was accused of treason for being a separatist thinker and a Marxist-Leninist. The Turkish government tried to portray Karaca as a man, who was unknowingly writing songs to start a revolution. One politician was quoted as saying, "Karaca is simply calling citizens to a bloody war against the state." Dervişan was ultimately dissolved at the end of 1977. He later founded in 1978 Edirdahan, an acronym for "from Edirne to Ardahan"; the westernmost and the easternmost provinces of Turkey. He recorded one LP with Edirdahan.
In early 1979, he left for West Germany for business reasons. Turkey continued to spin out of control with military curfews and eventually a military coup on September 12, 1980. General Kenan Evren took over the government and temporarily closed all the nation's political parties. After the coup, many intellectual people, including writers, artists and journalists, were arrested. A warrant was issued for the arrest of Karaca by the government of Turkey. The state invited Karaca back to the country several times, but Karaca, not knowing what would happen upon his return, decided not to come back. While he was in Germany, his father died, but he could not return to attend the funeral.
After some time, the Turkish government decided to strip Cem Karaca of his Turkish citizenship, keeping the arrest warrant active. Several years later, in 1987, the prime minister and leader of the Turkish Motherland Party, Turgut Özal, issued an amnesty for Karaca. Shortly afterwards, he returned to Turkey. His return also brought a new album by him, Merhaba Gençler ve Her zaman Genç Kalanlar ("Hello, The Young and The Young at Heart"), one of his most powerful works. His return home was greeted happily by his fans, but during his absence, Karaca had lost the youthful audience and acquired few new listeners. He died on February 8, 2004 and was interred at Karacaahmet Cemetery in Üsküdar district of Istanbul.By wiki
Το ντοκιμαντέρ αυτό, καταγράφει τη (σύντομη) ζωή του Rahsaan Roland
Kirk, του βιρτουόζου σαξοφωνίστα, ο οποίος μπορούσε να παίζει ταυτόχρονα
με τρία σαξόφωνα, δε δίσταζε μπροστά σε καμία δυσκολία και όπως είπε ο
σκηνοθέτης του ντοκιμαντέρ Adam Kahan: “Ακόμη και αν δεν υπήρχαν αρκετά
εμπόδια, θα δημιουργούσε μόνος του μερικά ώστε στη συνέχεια να τα
υπερπηδήσει, σαν άλλος Δον Κιχώτης”.Το ντοκιμαντερ θα ξανα προβληθει την Τεταρτη 25 Φεβρουαριου.
A great one from Carlo Pes – who you might know from his work in the
group I Marc 4, and who really makes things great here through a range
of cool, jazzy instrumentation! The titles are all in English – but the
music is a mix of the best Italian funky styles of the early 70s – bits
of jazz one minute, some sweeter keyboards the next – usually pretty
lean, although with a few dark moments too. There's a nice sense of
variety to the record – although most tracks are upbeat – and the
production styles get nicely trippy at times, which creates some sweet
psych touches that are a nice surprise!
Oι Echo Stars δημιουργήθηκαν στην Λευκωσία το 1961, από τους Πανικό Μάρκου, Αντρέα Σόλωνος, Peter Darakelian και Φίλιππο ντε Καστάν.
Έπαιζαν συνοδεύοντας Θεατρικό σχήμα ( σήμερα ΘΟΚ ) σε διάφορες παραστάσεις ανά την Κύπρο, παίζοντας στα διαλείμματα των έργων και σε προσωπικά πάρτυς..
Ρεπερτόριο Αγγλικό – Shadows και άλλα ξένα ορχηστρικά συγκροτήματα της εποχής. Καθαρά instrumental συγκρότημα.
Πρώτος μου δίσκος ήταν το «Beautiful Lies» όταν ζούσα στην Γαλλία το
1970. Οι μουσικοί ήταν όλοι φίλοι μου, Έλληνες κυρίως, που είχαμε βρεθεί
εκεί με το όνειρο της διεθνούς επιτυχίας Σιδεράς, Ταμπόσης,
Βλαβιανός,Κουλούρης,Καρακαντάς.Απο συνεντευξη στο Ελληνικες Γραμμες.
Οι ODYSSEY δημιουργήθηκαν στο Brighton της Αγγλίας τα τέλη του 1969. Aρχικά τα μέλη ήσαν τέσσερα. Ο τέταρτος διαμένει μόνιμα στο Λονδίνο. Το 1970 μετακόμισαν στο Bristol όπου άρχισαν να ενδιαφέρονται για διάφορα μουσικά ιδιώματα. Όταν αργότερα μετακόμισαν στο Cardiff της Νότιας Ουαλία όπου έπαιζαν στο μεγαλύτερο κλαμπ / καζίνο της χώρας άρχισαν να ενδιαφέρονται για τη ροκ μουσική που ήταν επηρεασμένη από τους ήχους των ανατολικών και δυτικών ακτών της Αμερικής. Άρχισαν να δίνουν έμφαση στις φωνητικές αρμονίες και το σμίξιμο αυτού του στοιχείου με τη ροκ μουσική ήταν κάτι το οποίο λίγες μπάντες έκαναν εκείνη την εποχή. Παρουσιάστηκαν στην Αγγλική τηλεόραση, στην Ουαλική τοπική τηλεόραση και στο Ραδιόφωνο του ΒΒC, καθώς και σε πολλά Μουσικά clubs και φεστιβάλ στις Αγγλικές νήσους Guernsey και Jersey. Διατέλεσαν ως inhouse resident bands σε μεγάλα clubs όπως το Titos, Golden Garter, Manchester, Alexandrias Club New Port S. Wales, Golden Hind, Bristol,
Αργότερα έκανα αίσθηση στην PYE Records η οποία τους προσέφερε συμβόλαιο και τους κυκλοφόρησε ένα single. Αυτό τους έφερε στην προσοχή της EMI με την οποία και υπέγραψαν. Ηχογράφησαν 5 κομμάτια στα EMI Studios του Abbey Road, από τα 12 που χρειάζονταν για να ολοκληρώσουν το ντεμπούτο άλμπουμ τους, πριν το διαλύσουν σαν μπάντα. Τώρα, δεκαετίες αργότερα επαναπατρισμένοι στην Κύπρο, και με μια μεγάλη ανάπαυλα από την Μουσική για 35 χρόνια, επιστρέφουν σαν ένα πιο ακουστικό σχήμα. Το ρεπερτόριο τους εστιάζει σε κομμάτια της δεκαετίες του 60 και 70 κυρίως, τα οποία περιλαμβάνουν τριφωνίες. Παίζουν κυρίως κομμάτια από τους Crosby, Stills and Nash όπως επίσης τους America, The Everly Brothers και τους The Eagles, Stix, Simon & Garfunkel, Bee Gees κ.α.
Την μπάντα αποτελούν οι: Γιώργος Ευτυχίου: φωνή, κιθάρα, μπάσο. Στάθης Λαζαρίδης: φωνή, κιθάρα. Φίλιππος De Castan: φωνή, κιθάρα, φισαρμόνικα. ( Denzil – Danny - de Moraes: φωνή, Lead guitar – Lives in London, UK).
Ο Στάθης Λαζαρίδης και Φίλιππος ντε Καστάν ηταν και στους Lords πριν τους Odyssey (σχετικα με τους Lords εδω)
Excellent grooviness – and typical of the mad instrumental LPs that
showed up on Impulse when they weren't cutting high-minded jazz! The
record has a nice mix of easy funky jazz and pop psychedelia – performed
by a range of groovy players conducted by Bob Thiele, and featuring Tom
Scott & The California Dreamers, Bill Plummer, and Gabor Szabo.
Every now and then a band catches my ear that possess the magic ingredients of being able to create a following on two fronts; the Mod / 60s crowd and the more eloquent ear holes of music lovers who can distinguish between quality, original retro sounds and manufactured retro sounds.
The Travellers contain the correct authentic musical touches along with a vocalist who will draw comparisons to both Julie Driscoll and Grace Slick thanks to a deep, soulful style that is perfect for the Motowny.
Psyche sounds that they conjure up. So far two singles have surfaced the exquisite Summer With No Sun all Jefferson Airplane, late '60s with a modern edge. Listen for that fuzz guitar! It came out in late 20I2 on their own Lemoncake imprint, the same as the second single: the more soulful "Stay". Gemma Marchi's soaring vocals come to the front besides the piano keyboard, the flip is one of my favorite tracks by the band. The Julie Driscoll / Brian Auger style "Don't look For Me" with its jazzier overtones. Heavy Soul magazine
To pop music fans, keyboardist Jan Hammer is best known for his work on the soundtrack of the stylish '80s cop series Miami Vice. But Hammer also achieved considerable success in the jazz fusion world, both on his own and as a charter member of John McLaughlin's legendary Mahavishnu Orchestra. Though jazz purists often decry major portions of his solo work, Hammer has undeniably left his mark, both musically and commercially.
A native of Prague, in what was then Czechoslovakia, Hammer was born into a musical family (on April 17, 1948) and began studying piano at age four. By age 14, he was working with a touring and recording jazz ensemble that also included future Weather Report member Miroslav Vitous. Hammer studied theory and composition at the Prague Academy of Muse Arts, but when the Soviet Union invaded Czechoslovakia in 1968, he emigrated to the U.S. After attending the Berklee School of Music, he landed a year-long touring engagement with Sarah Vaughan as both keyboardist and conductor. In 1970, Hammer settled in Manhattan and recorded as a sideman with Elvin Jones and Jeremy Steig. The following year, he joined the Mahavishnu Orchestra, appearing on landmark fusion albums like The Inner Mounting Flame and Birds of Fire. After the group disbanded at the end of 1973, Hammer reunited with Mahavishnu violinist Jerry Goodman for the album Like Children (1974). Hammer released The First Seven Days himself in 1975, and he assembled a backing unit called the Jan Hammer Group for the supporting tour. The Hammer Group recorded prolifically over the next two years, including collaborations with guitarist Jeff Beck, and their brand of fusion shifted towards R&B-styled grooves. After 1978's Melodies, Hammer disbanded the group and recorded a true solo album, Black Sheep, playing all the instruments himself. In short order, though, he formed another backing band, this one called simply Hammer.
The early '80s found Hammer working with, among others, Al DiMeola (Electric Rendezvous) and Journey guitarist Neal Schon (Untold Passions and Here to Stay), as well as supporting Jeff Beck in the studio. Hammer was becoming increasingly involved in pop/rock session collaborations, and by 1984, he had already moved into composition for television and film as well, debuting as a soundtrack composer with the film A Night in Heaven. His big break in this arena came when the producers of a new MTV-style police series called Miami Vice tapped him as weekly score composer. When a soundtrack album was released in 1985, including several Hammer compositions as well as rock songs featured in the series, Hammer's driving opening theme music hit number one on the pop singles charts, the first TV theme to do so since 1976. The album was a worldwide success, and "Miami Vice Theme" won Hammer two Grammys (Best Pop Instrumental Performance and Best Instrumental Composition).
Hammer remained involved with Miami Vice until 1988, when he retired to upstate New York to construct a home studio and return to solo recording. The first result was Snapshots, issued in 1989, another true solo album on which Hammer performed every note himself. Subsequently, Hammer rededicated himself to soundtrack composition, including 1992's acclaimed computer-animation project Beyond the Mind's Eye. 1994's Drive became Hammer's first non-soundtrack recording in five years; for the remainder of the decade, Hammer continued his profitable work for TV, film, commercials, and even video games.by Steve Huey
Παίρνοντας μέρος στο Α' Φεστιβάλ Μουσικών Ρυθμών στο '66 οι Crowns στάθηκαν με αξιώσεις στη σκηνή, ένα γεγονός που δεν πέρασε απαρατήρητο από την εταιρεία Pan Vox που τους έστειλε αμέσως μία πρόταση για την εγγραφή ενός δίσκου. Η διασκευή όμως του κλασσικού "Wild Thing", με πίσω όψη το Ύου Are My Only Love" που επέλεξαν για να ηχογραφήσουν, ελάχιστους συγκίνησε αφού η προτίμηση του κοινού είχε ήδη στραφεί προς την αυθεντική εκτέλεση. Το σχήμα είχε συσταθεί δύο χρόνια πριν στη πρωτεύουσα από τους Μπάρυ Σπυρόπουλο στη κιθάρα, Τζίμη Πολύχρονη στο μπάσο και στο τραγούδι, Γιώργο Μακρίδη στο όργανο και Κώστα Τσουκαλά στα ντραμς ενώ αρχικά είχαν συμπεριλάβει και γυναικεία φωνητικά στον ήχο τους. Όταν όμως στη διάρκεια του "67 και μετά από ένα κύκλο εμφανίσεων στο "Κίτρινο Κουνέλι" της Πλάκας, οι Τσουκαλάς και Πολύχρονης ανακοίνωσαν την απόσπαση τους από το γκρουπ για να ενταχθούν στους νεοσύστατους Semprini η μπάντα θ αποτελέσει πλέον παρελθόν και για τους υπόλοιπους...By Ντ. Δηματατης
Semprini "Κίτρινο Κουνέλι"
Semprini απο δεξια Μιχαλης Νικολουδης κιθαρα,Δημήτρης Πολυχρόνης μπάσσο,Νασος σαξόφωνο και Παύλος Λουκόπουλος πλήκτρα.
