Archive for mars 7th, 2010

mars 7, 2010

Jesca Hoop – Hunting My Dress

https://i2.wp.com/musosguide.com/public_html/musos.wp/wp-content/uploads/2009/11/jesca_hoop.jpgNote : +

http://www.myspace.com/jescahoop

Sortie : 2009
Style : Alternative , Folk , Pop

Tracklist :
1. Whispering Light
2. The Kingdom
3. Feast Of The Heart
4. Angel Mom
5. Four Dreams
6. Murder Of Birds
7. Bed Across The Sea
8. Tulip
9. Hunting My Dress
10 – Silverscreen
11 – Big Fish

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http://www.youtube.com/v/0Vi0IJlej8E&hl=fr_FR&fs=1&

« Tom Waits’s babysitter » seems a fairly arresting way to describe a new singer-songwriter. In Californian Jesca Hoop’s case, it’s bizarrely true. Thankfully, that’s not the most interesting thing about her. Hunting My Dress is a nine-song collection of beautiful, pastoral compositions that sounds as if it could be the soundtrack for an autumnal Scandinavian vampire movie. Natural elements rear their head throughout – in the lyrics and literally, as in the case of The Kingdom, which features twittering birdsong. It’s good enough to compare to the more wholesome elements of The White Album, Joanna Newsom’s Ys and Elbow’s quieter moments (Guy Garvey actually lends subtle backing vocals to the gingerbread-sweet Murder of Birds). Enchanting in parts, Hunting My Dress sounds like the sprouting of a wondrous new talent.
Will Dean
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mars 7, 2010

Christian Scott – Yesterday You Said Tomorrow

https://i1.wp.com/www.track4-info.de/blog/wp-content/uploads/2009/12/Christian-Scott-_Yesterday-You-Said-Tomorrow_cover-300x300.jpgNote : ++

http://www.christianscott.net
http://www.myspace.com/christianscottmusic

Sortie : 2010
Style : New Jazz , Electro Jazz

Tracklist :
1. K.K.P.D.
2. The Eraser
3. After All
4. Isadora
5. Angola, LA & The 13th Amendment
6. The Last Broken Heart (Prop 8)
7. Jenacide (The Inevitable Rise And Fall Of The Bloodless Revolution)
8. The American’t
9. An Unending Repentance
10. The Roe Effect (Refrain In F# Minor)
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Neveu du saxophoniste Donald Harrison, Christian Scott s’affirme comme un trompettiste de jazz avec lequel il faut compter. Ce quatrième enregistrement pour Concord est son plus abouti. « C’est la première fois que je travaille aussi dur sur un album » confie-t-il dans le dossier de presse qui l’accompagne. Enregistré par Rudy Van Gelder dans son célèbre studio d’Englewood Cliffs, “Yesterday you Said Tomorrow“ s’ouvre sur un accord de guitare électrique, l’instrument participant à une véritable mise en rythme de la musique. Jamire Williams fouette ses cymbales et martèle ses tambours. Christian Scott esquisse une brève mélodie puis improvise “sous la mitraille“. On est d’emblée séduit par la sonorité chaude et moelleuse de sa trompette. Le souffle se fait souvent chuchotement, le son devient respiration et se rapproche de la voix humaine. « J’essaye d’imiter la voix de ma mère lorsqu’elle chantait » a-t-il déclaré dans un entretien avec un journaliste. La branche d’embouchure inversée du modèle de trompette qu’il utilise, une Getzen Katrina, lui permet d’obtenir une sonorité plus douce. Jenacide repose sur les accords obsédants du piano de Milton Fletcher dont le jeu bluesy et élégant éclaire Isadora, une des ballades de ce nouvel opus, et After Hall semble construit autour de la contrebasse de Kris Funn. On notera le jeu en blockchords du pianiste avant la coda. Le jazz de Christian Scott se nourrit de rock, de funk et de hip-hop. Le trompettiste parvient à fondre toutes ces influences au sein d’une musique qui possède une véritable dimension orchestrale. « J’ai voulu créer une toile de fond musicale faisant référence à la musique des années 60 que j’aimais, le second quintette de Miles Davis, le quartette de John Coltrane, le groupe de Charles Mingus et la musique créé par Bob Dylan et Jimi Hendrix. » Outre The Eraser, une ballade brumeuse de Thom Yorke de Radiohead, seule reprise du disque, certains morceaux ressemblent à des chansons sans paroles, la guitare de Matthew Stevens leur donnant une coloration rock moins prononcée que par le passé. Dans Roe Effect, elle égraine les accords d’un thème chanté par la trompette. Le disque bénéficie également d’un important travail sur le son. Dans The Eraser, des objets placés sur les cordes métalliques du piano modifient sa sonorité. Une guitare volontairement sale, brouillée comme les ondes d’un émetteur radio, introduit An Unending Repentance. Soigneusement arrangé, “Yesterday you Said Tomorrow“ s’ouvre à des métriques inattendues (plusieurs types de mesures cohabitent parfois au sein d’un même morceau) et innove sur le plan du rythme. Le jazz bouge et Christian Scott est de ceux qui le font évoluer.

Par Pierre de Chocqueuse

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mars 7, 2010

Various Artists – T’zeta, Ethiopian Blues

https://babylonburnradi0.files.wordpress.com/2010/03/ethiopianblues.jpg?w=300Note : ++

Style : World , Music Ethiopia

Tracklist :
1 Bezawork Asfew – T’zeta
2 Mahmoud Ahmed – Tezeta
3 Mulatu Astatqe – Tezeta
 4 Sèyfou Yohannès – Tezeta
5 Menelik Wèsnatchèw – Tezeta
6 Either/Orchestra – Soul Tezeta
7 Tèsfa-Maryam Kidané – Tezeta
8 Mahmoud Ahmed – Tezeta, long version
9 Gétatchèw Kassa – Tezeta, slow
10 Gétatchèw Kassa – Tezeta, fast

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Do you know that 1989 BBC double CD, ‘Under African Skies’? When it first came to my ears I was blown away by one song specially. It is the last track on the album but it made an incredible impression. The voice of Bezawork Asfew is the most extraordinary, first time I heard it, it sent shivers down my spine, spontaneous goosebumps, tears, words can’t express how that felt, ever since I’ve been looking around to find her music. All paths seem to lead to the CD this track comes from. If anyone can help us to find something, anything she made, that would be super. With the help of the great series on Buda Musique, ‘éthiopiques’, I made a compilation of different versions of ‘T’zeta’ or ‘Tezeta’, a traditional that practically all Ethiopian musicians seem to have played, listen. After receiving all your tips, it seemed appropriate to post this fantastic Youtube movie, thank you very very much for enlightening me !!!
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Thanks : http://globalgroovers.blogspot.com

mars 7, 2010

Ethiopiques Vol. 21 – Tsegué-Maryam guèbrou – Ethiopia song , piano solo

https://i0.wp.com/i25.tinypic.com/10r8nqf.jpgNote :

Sortie : 2006
Style : Jazz World , Piano

Tracklist :
01 The Homeless Wanderer
02 The Last Tears of a Deceased
03 A Young Girl’s Complaint
04 The Mad Man’s Laughter
05 Presentiment
06 Mother’s Love
07 Ballad of the Spirits
08 The Song of the Sea
09 Homesickness
10 Golgotha
11 The Jordan River Song
12 The Garden of Gethesemanie
13 The Song of Abayi
14 The Story of the Wind
15 Evening Breeze
16 Tenkou! Why Feel Sorry?
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Découvrez la playlist Ethiopiques, Vol. 21

Une pianiste éthiopienne qui a enregistré des disques dans les années 60, ça vous dit quelque chose ? Si oui, bravo ! Moi, je ne connaissais pas, mais je me réjouis de combler cette ignorance. En 1963, Tsegue Maryam Guebrou avait 40 ans. Elle était issue de la haute société d’Addis-Abeba… La suite de l’histoire est à reconstituer via internet, si vous le souhaitez. Mais vous pouvez aussi laisser votre imagination inventer les choses. Ecoutez le morceau ci-joint, une composition personnelle, “The homeless wonderer”, une petite merveille qui ne ressemble à rien d’autre pour moi. Et dieu sait que je suis fan de piano solo ! Elle a le genre de phrasé qui vous enveloppe les jours où il fait trop gris et trop froid pour faire autre chose que de se draper dans une couverture avec un thé à portée de main. Bien aussi quand le soleil tape si dur que l’on se sent anesthésié. Bref. À écouter sous toutes les latitudes.
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The 21st volume in the grand Ethiopiques series (that reflects how deeply the country’s popular music traditions are steeped in American and European colonial sources) is dedicated to the solo piano works of the outstanding composer and performer Emahoy Tsegué-Maryam Guèbrou, a daughter of Ethiopian high society who chucked it all to become a nun in the nation’s Orthodox Church. Tsegué-Maryam Guèbrou was educated in Europe. She played violin (under the tutelage of Polish émigré Alexander Kontorowicz). She took up her piano studies while in the convent and teaching at an orphanage. Her first recordings — two LPs — were issued in 1963, when she was 40. The first nine cuts here come from these two albums. Guèbrou showcased her classical training on much of the first offering. But the opening cut also displays her incredible ability to play an extremely melodic blues piano as read through the great jazz masters of the instrument. One can hear a bit of Albert Ammons, a bit of Count Basie and Oscar Peterson, and even a trace of Art Tatum in « The Homeless Wanderer. » She sticks to her wonderfully haunting classical compositions until « Presentiment » (track five), where she returns to the deep blues, which are nonetheless played light and airy in the middle and upper registers of the piano. Jazz injects itself deeply into her playing on the second recording, beginning with « Mother’s Love. » There is a spaciousness in her playing that is remarkable, and it is very much like song. « Ballad of the Spirits » may be an obvious example, but it is far from the only one. Her sense of phrasing is rhythmically complex; she shape-shifts, straying from standard time signatures into something more mercurial without losing form. On this tune one can hear Beethoven and Teddy Wilson. « The Song of the Sea » is the longest composition here. Clocking in at just under nine and a half minutes, it is complex yet utterly engaging. Here, scalar forms and ostinati assert themselves in the theme, which returns over and over again throughout. But the improvisation on the original changes is remarkable; it feels as if the piece is in three movements, and a different kind of improvisation is featured in each. The harmonic invention and the melodic interplay between her hands are seductive. There are three other tracks here from an album Guèbrou recorded in 1970 while in Jerusalem on pilgrimage. These, « Golgatha, » « The Jordan River Song, » and « The Garden of Gethesemanie, » are among the strongest works here. Even as they engage classical themes, especially on « Golgatha, » the early jazz of Fats Waller and Jelly Roll Morton is whispered into the body of these compositions. The final four cuts here come from an album issued in 1996 while she was living in the convent. These four pieces are evidence of the complete realization of her craft. Guèbrou’s meld of blues, classical, and gospel music filtered through a jazz pianist’s sense of time and voicings is unlike anything anyone has ever heard. It’s ethereal yet rooted in the Ethiopian Orthodox sung tradition; it’s gauzy and fluid, yet worldly in its command of the musical languages she has chosen to display. It’s precise and ordered, yet unfettered and free to drift. It feels like songs of praise, prayer, charming conversation, and partying all rolled into a single exquisite voice that contains many. Fans of Abdullah Ibrahim’s township-informed solo work will find this set intoxicating and irresistible, yet she sounds nothing like him, or anyone else. The Ethiopiques series has unearthed other soloists, but this volume stands out for its lyricism, its mysterious emotional depth, and its utter musical mastery.
Thom Jurek, All Music Guide
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mars 7, 2010

Ethiopiques Vol. 04 – Ethio Jazz and Musique, Instrumentale 1969 – 1974 Mulatu Astatke

http://jazzatelier.files.wordpress.com/2009/10/ethiopiquesv4.jpgNote :

http://www.myspace.com/mulatuastatke

Sortie : 1998
Style : Jazz World , Music Ethiopienne

Tracklist :
1 Yèkèrmo Sèw (A Man of Experience and Wisdom) (4:15)
2 Mètché Dershé (When Am I Going to Reach There?) (4:00)
3 Kasalèfkut Hulu (From All the Time I Have Passed) (2:45)
4 Tezeta (Nostalgia) (6:16)
5 Yègellé Tezeta (My Own Memory) (3:18)
6 Munayé (My Muna) (5:03)
7 Gubèlyé (My Gubel) (4:40)
8 Asmarina (My Asmara) (4:58) by Fèqadu Amdè-Mesqel 9 Yèkatit (February) (3:57)
10 Nètsanèt (Liberty) (5:36)
11 Tezetayé Antchi Lidj (Baby, My Unforgettable Remembrance) (6:04)
12 Sabyé (My Saba) (5:28)
13 Ené Alantchi Alnorem (I Can’t Live Without You) (5:02) by Girma Hadgu
14 Dèwèl (Bell) (4:16)

Line Up :

* Mulatu Astatke – Arranger, Keyboards
* Fedadu Made-Mesqel – Flute, Tenor Sax
* Mogus Habte – Tenor Sax
* Yohannes Tekolla – Trumpet
* Felleque Kindane – Guitar
* Andrew Wilson – Guitar
* Tekle “Huket” Adhanom – Guitar
* Giovanni Rico – Bass
* Tesfaye “Hodo” Mekonnen – Drums
* Girma Zemaryam – Drums
* Temare Haregu – Drums

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Découvrez la playlist Ethiopiques Vol. 04

Musically trained in London and schooled in the club scene of mid-’60s New York, Mulatu Astatke stands as the exceptional musical innovator of the Ethiopian groove. Starting in 1969, he created the first bands independent of the military, which had previously dominated the country’s music scene. Having immersed himself in Caribbean music, funk, jazz and Latin grooves during his lengthy stint abroad, Mulatu returned to his native land to give rise to a brand new sound. An album of instrumentals, Ethiopiques Volume 4 is a case study in the inventive blending of influences that comprised the Ethiopian groove. Strains of funk and reggae timings permeate the thick and chunky bass lines, which are pushed prominently forward in the mix. Multiple saxophones swirl with the hypnotic, snake-charming sounds of the East, while at the same time resonating with jazzy tones reminiscent of John Coltrane and Lester Young. Guitar is a main ingredient here, growling with funky distorted wah-pedaled fuzz riffs that sound like they were lifted straight out of an early ’70s black-exploitation flick. Drums and percussion combine the punchy funk of James Brown and the Meters with the heavy Latin rhythms of Mongo Santamaria and Willie Bobo. Fusing all of these elements together, Mulatu unleashes a potent brew of afro-jazz grooves that pull you in and leave you in a mystical trance-like state. Whew! Even when the record stops, these mood-inspiring sounds linger on like a drug. Get your head on right, light a candle, sit back, and you too will understand… Tropical in its roots, funky and intoxicating in its impact, Mulatu Astatke’s distinct brand of Ethiopian music features some of the most soulful hip-grinding instrumentals ever recorded in Mother Africa.

mars 7, 2010

Indigo Jam Unit – 2×2

https://i1.wp.com/www.basisrecords.com/indigo/disco/infdata/2.jpgNote :

http://www.basisrecords.com/indigo
http://www.myspace.com/indigojamunit

Sortie : 2006
Style : New Jazz

Tracklist :
1. Sakura
2. Car Chase
3. Ibuki
4. Charlie
5. Alert
6. Gekko
7. Spin A Top
8. 2×2.
9. 5 AM

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A killer combo from Japan — a club jazz unit that mixes warm, round bass with hard-hitting piano — all held together nicely with two drummers on the bottom, and some very crisp production! The sound is totally great — a stripped-down take on the mix of modal and soul jazz styles that have been coming from some of the Japanese and European club jazz groups of late — and without any horns to get in the way, there’s an added focus on the acoustic bass and heavy drums, which makes for a nicely funky sound overall! These guys are totally great — way better than the “jam unit” name might make you think — steeped in classic jazz roots, but coming across with a very fresh, very contemporary groove. Titles include “Car Chase”, “Ibuki”, “Charlie”, “Alert”, “Gekko”, “Spin A Top”, “2 X 2″, and “5AM”.
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mars 7, 2010

Igor Markevitch – Musique Russe

https://babylonburnradi0.files.wordpress.com/2010/03/label1.jpg?w=300Note :

Style : Classique

Tracklist :
(1) Alexandre BORODINE
Danses Polovtsiennes du « Prince Igor »

(2) Modeste MOUSSORGSKY
Une Nuit sur le Mont-Chauve

(3) Piotr Ilitch TCHAIKOVSKY
Roméo et Juliette, ouverture-fantaisie

Igor Markevitch
Orchestre National de la Radiodiffusion Française
Choeurs de la Radiodiffusion Française (1)
(chef des choeurs : René Alix)

Enregistré à Paris (Salle de la Mutualité),
les 10-11 mars 1954 (1, 3) et le 15 mars 1954 (2)

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http://www.youtube.com/v/hKYLJR-nZX0&hl=fr_FR&fs=1&

Vous remarquerez que les parties chorales des Danses Polovtsiennes sont chantées en français par un choeur qui a bien mal vieilli… Markevitch réenregistra les mêmes oeuvres en stéréo quelques années plus tard avec différents orchestres : Roméo et Juliette dès 1959 avec le Philharmonia Orchestra (Columbia) ; les Danses polovtsiennes avec l’Orchestre du Concertgebouw en 1964 (Philips) ; et la Nuit sur le Mont-Chauve avec l’Orchestre du Gewandhaus de Leipzig en 1973 seulement (Eterna). C’est très regrettable que cette anthologie de 1954 n’ait jamais été rééditée en CD — j’espère me tromper — car l’Orchestre National sonne merveilleusement bien dans la musique russe à cette époque.

Edition originale : 33t Columbia FCX 349 (France) utilisé pour ce transfert / 33t Columbia 33CX 1208 (UK).
Les célèbrissimes Danses Polovtsiennes ont connu des édition séparées en 45t : Columbia ESBF 151 et ESBF 17039 (France) / SEL 1591 (UK), etc…
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Thanks : http://quartier-des-archives.blogspot.com