Archivos Mensuales: agosto 2013

Lama + Chris Speed – Lamaçal (Clean Feed, 2013)

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ANTES QUE NADA QUIERO AGRADECER A CAYETANO LOPEZ DEL BLOG AMIGO DARK WAS THE NIGHT (Jazz y otras músicas en el siglo XXI), POR HABERME DADO PERMISO DE POSTEAR SU ENTRADA EN EL BLOG

Lo mejor que se puede decir de la nueva escena portuguesa es que está logrando una identidad propia a base de no dejarse llevar por la imitación de ninguna corriente en particular y no sonar a nada familiar, buena parte de lo que he comentado en este aspecto acerca del contrabajista Hugo Carvalhais es igualmente aplicable a Lama, banda con la que mantiene una cierta afinidad.

Lama es un trío que lidera el contrabajista Gonçalo Almeida junto al baterista canadiense Greg Smith y la joven trompetista Susana Santos Silva, verdadera revelación para mí que en estos días ve también publicado un dúo con el contrabajista sueco Torbjörn Zetterberg en el que se sumerge en las procelosas aguas de la libre improvisación y del que pude disfrutar de su espléndida presentación en el reciente festival de jazz de Liubliana.

Tras un prometedor debut, Oneiros, esta segunda entrega grabada en vivo en Portalegre ha contado con el refuerzo del saxo y clarinete de Chris Speed, que lejos de actuar de invitado ocasional ha encajado a la perfección en el concepto de la banda con su estilo sosegado y profundo. Susana hace gala en este contexto de un lirismo que me recuerda a aquel Dave Douglas camerístico que tanto echo en falta en sus últimos proyectos. Lo más característico de Lamaçal es la creación de atmósferas que sorprenden con inesperados giros, un espíritu muy libre sin perder el gusto por la melodía, y todo ello aderezado de un sutil uso de la electrónica que le confiere un sonido muy contemporáneo. Una escucha sumamente disfrutable.

FUENTE DE LA ENTRADA: http://oscuraeralanoche.blogspot.com.ar/2013/07/lama-chris-speed-lamacal-clean-feed-2013.html#comment-form

AL BLOG LO PUEDEN VISITAR DESDE NUESTRA BARRA LATERAL DE “AMIGOS” PERO IGUALMENTE LA DIRECCION: http://oscuraeralanoche.blogspot.com.ar/

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Ford Theatre – Trilogy for the Masses (1968)

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Ford Theatre fue una banda de rock psicodelico surgida en Boston a finales de los 60’s y que se disolvería en 1971. A diferencia de tantas otras bandas de la escena psicodelica de Boston, Ford Theatre tenia un sonido bastante genuino.

Con una influencia a un temprano Arthur Brown, unos tintes de Love, algo de The Beatles y de The Byrds, con unos teclados que muchas veces suenan a un rock progresivo arcaico, “Trilogy for the masses” lanzado por ABC Records y producido por Bob Thiele, es sin duda una obra maestra (y para muchos oculta) del genero psicodelico y porque no, proto-progresivo.

Compuesto de una cierta forma para que quede como un disco que busque contar una historia, sin llegar a ser conceptual, este album es un incunable para cualquier discoteca.

PUNTAJE PSICODELICO: 5/5

LISTADO DE TEMAS

01 (00:00) Theme for the Masses
02 (02:53) 101 Harrison Street/Excerpt (From The Theme)
03 (13:21) Back to Philadelphia/The Race
04 (18:03) The Race (From A Black Door Window (The Search) /Theme for the Masses
05 (35:20) Postlude: Looking Back

(los tiempos estan en relacion al video de youtube)

BANDA

Harry Palmer – guitarra
John Mazzarelli – teclados, voces
Butch Webster – guitarra lider
Joey Scott – voz principal
Jimmy Altieri – bajo, voces
Robert Tamagni bateria, voces

The Band – 1983

Estándar

1976 había sido el año de despedida de The Band, el documental “The Last Waltz” mostraba un concierto en el Winterland que significaba el final de una de las bandas más interesantes y geniales de los últimos años.

Los años siguientes solo traerían fracasos comerciales de la mayoría de sus miembros por separado, adicciones a las drogas y diversos tipos de problemas.

1983 señalaría el año del retorno para The Band, en donde casi todos sus miembros (Robertson decidirá no participar), se reunirían a realizar un tour que quedaría documentado por suerte.

Earl Cate, de los Cate Brothers reemplazaría a Robbie Robertson, a mi gusto de una forma correcta, sumándose otros miembros de los Cate Brothers a la banda.

Y por mas que ya les hayan aparecido algunas canas, o muchas como a Garth Hudson, The Band suena solida y tan genial como 1976.

Un documental/recital fantástico para todos los fanáticos

PUNTAJE PSICODELICO: 5/5

1 Introduction 1:05
2 Rag Mama Rag 4:15
3 Long Black Veil 5:39
4 Shape I’m In 4:27
5 It Makes No Difference 6:56
6 Milk Cow Blues 3:58
7 Mystery Train 5:53
8 King Harvest (Has Surely Come) 3:59
9 Stage Fright 4:15
10 The W.S. Walcott Medicine Show 3:56
11 You Don’t Know Me 3:10
12 Caldonia 7:37
13 Chest Fever 6:39
14 Java Blues 4:57
15 Willie And The Hand Jive 5:57

BANDA

Rick Danko – bajo, guitarra acustica, voces
Levon Helm – bateria, mandolina, armonica, voces
Richard Manuel – piano, bateria, voces
Garth Hudson – organo, piano, sintetizador, acordion, saxofones
Earl Cate – guitarra electrica, coros
Ernie Cate – teclados
Ron Eoff – bateria, coros
Terry Cagle – bateria

Notas agregadas de Wolfgang Vault (en ingles)

After nearly 18 years of live performing, as both backing musicians and as headliners, the Band had reached a crossroads in 1976. The group’s seemingly effortless virtuosity and Robbie Robertson’s literary gift for conveying a deep sense of Americana (despite being Canadian) in his songwriting, resulted in a wonderfully organic sound that made the Band one of the most admired and respected musical institutions on the planet. Having created some of the most gloriously rich and influential music of the late 1960s and early 1970s, the group’s Thanksgiving 1976 performance at San Francisco’s Winterland, immortalized in the Martin Scorcese film The Last Waltz, would become both a celebration and a fond farewell from one of the most revered groups ever.

Following The Last Waltz, the various band members would pursue separate career paths, never failing to create intriguing music, but never experiencing the commercial success of their work together. Although members would contribute their talents to each other’s album projects and even turn up as guests at various live performances, the Band as a performing entity would cease to exist for nearly seven years. In 1983 that finally changed when all but songwriter/lead guitarist Robbie Robertson reunited and began touring again as the Band. Robertson’s shoes were big ones to fill and in the process of recruiting a new lead guitarist, they ended up bringing an entire other group into the fold. That group, the Cate Brothers, was an ideal choice, with the talented guitarist Earl Cate having the most daunting job of replacing Robertson’s distinctively clean biting leads. Cate turned out to fit the bill perfectly, adding his own flair to the proceedings while displaying a healthy reverence for Robertson’s style. His brother Ernie supplemented the group on additional keyboards and the rhythm section of Ron Eoff and Terry Cagle provided multi-instrumentalists Rick Danko and Levon Helm the ability to play additional instruments onstage without diluting the core sound of the group. This new expanded lineup toured the globe over the course of 1983 to overwhelmingly positive response and proved that despite Robertson being the primary songwriter, it was Levon Helm, Rick Danko, Richard Manuel, and to a large extent, Garth Hudson who were the chief architects of the group’s distinctively organic sound.

One of the most anticipated gigs of 1983 came at the very end of the year, when the Band returned to the city of The Last Waltz when invited to open for the Grateful Dead at their annual New Year’s Eve extravaganza. Before a sold-out crowd at San Francisco’s Civic Auditorium, the Band proved they were still one of the best sounding groups on the planet, delivering a performance that not only delighted the San Francisco audience, but the Band members themselves. Performing classic original material as well as a smattering of choice covers, this performance was captured by the Bill Graham Presents crew and is presented here in its entirety.

Following Graham’s introduction and a minute or so of tuning up, the Band kicks off their set with the rollicking “Rag Mama Rag.” Right off the bat, this performance is cooking, with Helm fronting the group on lead vocals and mandolin. Meanwhile, pianist Richard Manuel takes Helm’s seat at the drums; bassist Rick Danko keeps rhythm on a telecaster, and Garth Hudson contributes wonderfully frantic piano work. This switch on some the band members’ traditional instrumentation works exceedingly well, with the Cate Brothers providing a solid groove throughout. The performance of “Long Black Veil,” featuring Danko and Helm sharing vocals and Hudson’s mournful accordion work, is equally compelling. However, it is on the next song, “The Shape I’m In,” when the original sound of the Band becomes more realized. Assuming their traditional roles, with Danko pumping out propelling bass lines and Manuel pounding the piano and taking lead vocal, this is an enticing performance that rivals the group’s glory days.

A remarkable version of “It Makes No Difference” follows. Always a showcase for Danko’s impassioned vocal, here it is quite extraordinary, with Hudson switching over to sax and guitarist Earl Cate providing tight vocal harmony and penetrating lead guitar work. Perhaps because Ron Eoff is providing the superb bass lines, it frees Danko up to really concentrate on his vocal delivery, which is quite engaging on this standout performance.

With Manuel again taking over Helm’s drum seat, Helm again fronts the group on lead vocals and harmonica for a great percolating version of Kokomo Arnold’s “Milk Cow Blues.” Following this, the same instrumentation, with the exception of Danko switching from acoustic guitar to a telecaster, fuels a sizzling performance of “Mystery Train.” This features strong solo spots from Cate on lead guitar, followed by Helm on harmonica, and finally Hudson on his arsenal of keyboards.

Then it’s a return to familiar instrument roles as they explore several vintage Band numbers, with Manuel leading the way through “King Harvest,” Danko steering the group through “Stage Fright (featuring double bass players) and finally “W.S. Walcott Medicine Show, which serves as a showcase for Hudson’s outstanding keyboard and sax work.

An extraordinary performance by Richard Manuel occurs next in the form of “You Don’t Know Me,” a country classic written by Cindy Walker and Eddy Arnold, but best remembered for Ray Charles interpretation. Everyone in the group seems to sense how special this is, and they display tasteful restraint, allowing Richard’s voice to totally carry the performance. On this anthem of unrequited love, his emotional vocal, despite showing the ravages of time, is utterly compelling.

After this, Manuel again takes over Helm’s drum seat, while Helm sings lead and blows harp on an excellent cover of Louis Jordan’s “Caldonia.” During this extended workout, Helm engages the San Francisco audience to get involved in a call and response, and Hudson delivers a deliciously gritty R&B style solo on sax. Although considerably shorter than his extended workouts in the ’70s, Hudson next delivers a barrage of sound from his keyboard arsenal. Known as “The Genetic Method,” this segues directly into a wild ride through “Chest Fever,” featuring great piano work from Manuel and another standout solo from Hudson. Here, with all three front men sharing vocals and Earl Cate duplicating Robertson’s guitar work to a tee, one could easily mistake this for a performance from 10 years prior, as it contains all the exuberance of the Band in their prime.

They head toward the finish line by dipping into Danko’s solo catalogue. This performance of “Java Blues” is quite interesting, with Helm, Manuel, and Hudson all strongly contributing and Earl Cate again adding a Robertsonesque sensibility to his solos. In the hands of these musicians, especially Hudson who is particularly inspired here, this also takes on that classic organic sound that defined the Band’s style. To wrap things up, Helm thanks Bill Graham and the San Francisco audience. Taking his drum seat again, he and Danko launch the ensemble into Johnny Otis’ “Willie And The Hand Jive,” which becomes the Band’s final workout of the evening and gets much of the San Francisco audience up on its feet and dancing to its infectious Bo Diddley beat.

The Band always had the innate ability to seem loose and relaxed, while playing in an incredibly tight manner. That cohesiveness is still very much intact here, with each member contributing to the collective whole with little grandstanding or superfluous soloing. All in all, this is an impressive performance that remains one of the most satisfying Grateful Dead openers ever.

Grateful Dead – Skull and Roses (1971)

Estándar

Frontal

Casi siempre luego de un éxito icónico, los albunes siguientes suelen ser menos valorados.

Skull and Roses, lanzado en 1971 y producido por la banda conjuntamente con Betty Cantor y Bob Matthews para la Warner Bros. , quizás pueda no ser tenido en cuenta para muchos, segundo album en vivo de la banda, disco doble, que realmente no tiene ningun desperdicio.

¿Por que?

Bueno, no suena como “Live/Dead”, el tinte ultra psicodelico se deja de lado y se puede notar una banda mucho mas consolidada bajo un sonido mas “folk rock” de acuerdo con algunos pero me aventuraría a decir un “rock country” aunque quizas suene ambiguo, porque todos conocemos el “country rock”. Para mí se pueden notar temas con una gran veta de rock, jam (ya la banda era conocida por este tema de la improvisación), con unas dulces pinceladas de country. Tambien algo de rock and roll pueden encontrar aquí, “Johnny B. Goode” es sinónimo del genero o “Big railroad blues”. Tambien se pueden escuchar versiones de canciones que serán grabadas en el corto tiempo como “Playing in the Band”.

El lado psicodelico no desaparece del todo, porque el lado dos esta dedicado al lisérgico tema “The Other One”.

A tener en cuenta que Mickey Hart ya había dejado la banda y volvería recién un par de años más tarde

En síntesis, “Skull and Roses” es un album distinto, refrescante y que abre la puerta al sonido que los Dead tendrían a partir de entonces.

PUNTAJE PSICODELICO: 4/5

LISTADO DE TEMAS

LADO 1

    “Bertha” (Jerry Garcia and Robert Hunter) – 5:27
    “Mama Tried” (Merle Haggard) – 2:42
    “Big Railroad Blues” (Noah Lewis) – 3:34
    “Playing in the Band” (Hunter and Bob Weir) – 4:39

LADO 2

    “The Other One” (Bill Kreutzmann and Weir) – 18:05

LADO 3

    “Me and My Uncle” (John Phillips) – 3:06
    “Big Boss Man” (Luther Dixon and Al Smith) – 5:12
    “Me and Bobby McGee” (Fred Foster and Kris Kristofferson) – 5:43
    “Johnny B. Goode” (Chuck Berry) – 3:42

LADO 4

    “Wharf Rat” (Garcia and Hunter) – 8:31
    “Not Fade Away” (Buddy Holly and Norman Petty) / “Goin’ Down the Road Feeling Bad” (traditional) – 9:14

BANDA

    Jerry Garcia – guitarra lider, voz, producción
    Bill Kreutzmann – bateria, producción
    Phil Lesh – bajo, voz, producción
    Ron “Pigpen” McKernan – organo, armonica, voz, producción
    Bob Weir – guitarra ritmica, voz

Additional musicians

    Merl Saunders – organo en “Bertha”, Playing in the Band”, y “Wharf Rat”

Porque la musica sigue viva

Estándar

Banda

Realmente no se como lo hice, pero los otros días escuchando música desde youtube me dí con un enigmático video de una banda que no conocía, The Barr Brothers.

Con algo de información aprendí que son un cuarteto canadiense de folk y que solo tienen un solo disco editado hasta el momento. Pero ese no es el punto, el video que encontré fue una versión del clásico “Lord I Just Can’t Keep from Crying sometimes”

Una muestra pura y dura que cosas fantasticas sin demasiados artilugios tecnológicos pueden encontrarse hoy en día, porque la música sigue viva…

¿Que les parece?