2018.09.30. # magyarugar:MiX # 33 válogatott szám 1996-1988

2018.09.30. # magyarugar:MiX # 33 válogatott szám 1996-1988 >>Anima Sound System, Millenniumi Földalatti Vasút, Téli Márta, Kispál és a Borz, Peter Ogi, Faxni, Kretens, Tankcsapda, Ugatha Christie, KFT<<

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1996-1988

Anima Sound System
Hungarian Astronaut 5:29
Isten, dob, basszus 7:37
~ Hungarian Astronaut 1996
Anima 15 / Jávorszky Béla Szilárd – Népszabadság 2008
...idén tizenöt éve annak, hogy a Prieger-testvérek, Zsolt („elektronikus hangszerek”, effektek, hangszerelés, píár) és Szabolcs (multiinstrumentalista) megalapította a hazai elektronikus színtér talán legismertebb csapatát. Németh Gergely másfél évvel későbbi csatlakozásával pedig létrejött az a hármas, amely a továbbiakban alapjaiban határozta meg a zenekar fejlődési irányát. S ha van valami fix ebben a másfél évtizedes múltra visszatekintő együttesben, az az állandó változás... ezt követően úgy vélték, a hangzásnak mindenképp jót tenne egy fiatal népdalénekesnő bevonása. Ugyanabban az épületben próbáltak, ahol a Vasi Népdalstúdió működött, amit ráadásul Németh Gergő édesanyja, Tanai Erzsébet vezetett, ő ajánlotta a figyelmükbe az akkor tizennyolc éves Bognár Szilviát. Már vele készült az 1995-ös Shalom, amelyen számos olyan elemet (magyar és roma népzene, klezmer, dub) fel lehetett fedezni, ami a későbbi érett, folk/tánc ötvözetű Anima-hangzást meghatározta. Az 1996-ös Hungarian Astronaut-on a jungle, a csángó népzene és a triphop közös pontjait keresték. Az igazi áttörést pedig az 1997 végén publikált Anima hozta meg nekik...

Millenniumi Földalatti Vasút
Stalker Bár 12:26
Tavaly Marienbadban 3:19
Schnell szívem, schnell vérem 9:57
~ MILLFAV 1984-1995
Ki volt mondva az, amire általában az emberek nem mernek gondolni, vagy csak ritkán egyedül.
A zenekar ma is aktuális lehetne. A zakó, a nyakkendő, meg a hivatal, ma is üldöz, bár a módszerei kifinomultabbak.

Téli Márta
Interplay 5:15
Twisted 4:09
No More Blues 3:28
My Funny Valentine 7:50
~ Quiet Motion 1994
Téli Márta - Manapság inkább mosolyog / 1999 Jávorszky Béla Szilárd – Népszabadság 
Az egyetlen magyar jazzénekesnő, aki elvégezte a világ első számú jazzzakadémiáját. A bostoni Berklee College Of Music-on az éneklés mellett hangszerelést, zeneszerzést, zeneelméletet és instrumentális improvizációt tanult. Magyarország azonban nem az a hely, ahol a jazzénekesnők jazzből élni tudnak...
Térjünk vissza a Berkleere. Egy kezemen meg tudnám számolni, hány magyar jazzmuzsikus végezte el, énekesnő - rajtad kívül - eddig ráadásul egy sem. Hogy lehet az, hogy visszatérted után nem sikerült érvényesülnöd a kiadóknál?
- Nem volt rám igény. Körbejártam a hazai kiadókat, de amikor mondtam, hogy jazzlemezt szeretnék, csak a rázták a fejüket. Mondták, énekeljek inkább popzenét. Felkértem hát néhány szerzőt, köztük Lerch István, írjanak nekem dalokat, a kész produkcióval azonban megint nem voltak elégedettek. Túl igényes, érveltek, próbálkozzam inkább a rappeléssel. Ha még szőkére is festem a hajam, még a karrierem is beindulhat. Köszöntem szépen.

28-09-2018 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Germán Díaz 'Método Cardiofónico'

28-09-2018 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW   German Diaz, Electro Bamako, Bamba Wassoulou Groove, Skip&Die, Khaira Arby, Rozina Pátkai, Luis Peixoto, Kiran Ahluwalia, Rim Banna, Checkpoint 303, Bugge Wesseltoft, Kodjovi Kush and Afrospot All Stars, La Santa Cecilia

M U S I C

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Germán Díaz is a Spanish composer and musician. Germán Díaz studied, according to music theory studies at the Conservatory and after a private guitar training, Classical Philology at the University of Valladolid.
German Diaz
Et la roue de la vie 4:45
Pour l'enfant perdu 5:27
from Metodo Cardiofonico 2014
Music from the heart. In this case, lierally, as the recordings use, as a rhthmic base, heartbeat recorded in the 1930s by a heart specialist. German Diaz adds instrumentation - trumpet, tuba, oboe, hurdy-gurdy, tuba and clarinet - to create a uniquely organic product.

Born from the collaboration between a purist musicologist, a local singer and a French director breaking borders, the new Electro Bamako celebrates Malian music in all its aspects. More powerful, kind of psychedelic trance on computer-assisted rock mixed with traditional instruments.
Electro Bamako (Paul Sidibé, Damien Traini, Marc Minelli)
Yoro Jankibarun 4:13
Fentiki Ni Fentan 4:38
from Now 2015
Techno trad, with laptops throbbing and samples working overtime, beneath the vocals of Paul Sidibe and added guitars and percussion.

Psychedelic and bluesy electric guitars, hallucinated and hypnotic solos, inhabited voices, hot rhythms ... Between rock and funk... Bamako by night !
Bamba Wassoulou Groove
Gonifo Bourama 4:50
Lolo 6:27
Fadegnacoumba 6:38
from Farima 2015
triple-guitar fusions from Mali
Zani Diabaté, who died in 2011, was one of the great Malian guitar heroes who never quite made it in the west, despite his adventurous fusion of traditional styles and rock energy; he was compared to Hendrix when the exuberant album Zani Diabaté & The Super Djata Band was released here in 1988. But now his music and style are being resurrected, thanks to percussionist Bamba Dembélé, who played with him in Super Djata before joining the legendary Super Rail Band De Bamako, alongside drummer Maguett Diop and guitarist Moussa Diabaté – who now reappear alongside Dembélé in Bamba Wassoulou Groove. This is a band dominated by three guitarists, with Moussa taking the lead on new songs and old Super Djata favourites. On Farima he switches from a cool, drifting introduction to a driving solo, while Bina is a mellow workout featuring inter-twining guitars...

Skip & Die is a collaboration between the South African vocalist / visual artist Catarina Aimee Dahms (aka Cata.Pirata) and Dutch producer Jori Collignon (C-mon & Kypski, Nobody Beats The Drum). What started as a two-man project, has now been transformed into a full-fledged 4-piece live band.
Skip&Die
Cosmic Serpents 3:33
SKIP&DIE with Lindigo - Maloya Magic 4:27
SKIP&DIE with Chancha Via Circuito - Mañana 4:05
Sunshine Rebellion Gang 4:45
from Cosmic Serpents 2015
After setting stages on fire around the planet during their successful two-year Riots In The Jungle tour, pan-tropical future bass band SKIP&DIE are back with an exhilarating new album, entitled "Cosmic Serpents" - luring their audiences into a landscape somewhere between paradise, the apocalypse and beyond.
With its re-imagining of global music, irresistible rhythms and beats, acoustic instruments, field recordings and spacey synths, SKIP&DIE’s upcoming album, "Cosmic Serpents", reveals a poetic sonic collage that toys with ideas of transient life, looming death, and the notion that our collective DNA coils throughout eternity like a cosmic serpent...

25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965

25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965 # Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt,Larry Young, Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd

J A Z Z   M U S I C

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1959-1965

Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings
Dark Eyes 4:44
Dig Uncle Will (Jack McDuff) 3:32
Enough Said (Alvin Johnson) 6:45
from Enough Said 1959
Jennings leads a relaxed quartet which includes Jack McDuff (organ), Wendell Marshall (bass), and Alvin Johnson (drums) on this 1959 session. Jennings shows off the bluesy tone that made him a favorite of B.B. King on his composition "Tough Gain" and the group-penned "Blue Jam," but aside from these, most of the tracks are slow-to-midtempo shuffles -- edifying yet not exciting...

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Johnny Rae's Afro-Jazz Septet
St. Thomas (Sonny Rollins) 8:04
Jungle Fantasy (Esy Morales) 7:56
Sudan 3:50
from Herbie Mann's African Suite 1959
Herbie Mann's African Suite (also released as St. Thomas) is an album by American jazz flautist Herbie Mann recorded in 1959 and first released on the United Artists label. The album was originally released under Johnny Rae's leadership due to Mann's contractual relationship with Verve Records.
Herbie Mann - flute, bass clarinet
Johnny Rae - vibraphone
Bob Corwin - piano
Jack Six - bass
Philly Joe Jones - drums
Carlos "Patato" Valdes, Victor Pantoja - congas
José Mangual - bongos

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959

John Hammond Jr July 1964 Newport

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959 # John Hammond, Fred McDowell, Howlin' Wolf, John Lee Hooker, Willie Dixon, Lightnin' Hopkins, Elmore James, Champion Jack Dupree, Big Joe Williams, Curtis Amy & Paul Bryant, Brownie McGhee

B L U E S   M U S I C

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1969-1959

John Hammond, Jr. is one of a handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence.
John Hammond
Mystery Train (Junior Parker) 3:00
I'm Leavin' You (Chester Burnett) 3:21
from Southern Fried 1969
Southern Fried differed little from other early Hammond albums in its repertoire, consisting entirely of covers of blues and R&B songs. As usual, the Chicago sound came in for especially heavy tribute, with versions of songs by Howlin' Wolf, Muddy Waters, and Chuck Berry, as well as a pass at "Mystery Train," though more vocal-oriented R&B got a nod with Chuck Willis' "It's Too Late" and some of the other tunes. Where this might have a leg up on some other early Hammond efforts -- and a leg up on blues cover albums in general -- is in the stellar band, featuring Muscle Shoals stalwarts like Eddie Hinton and Roger Hawkins. Allman Brothers fans, too, will want to keep an eye out for it as it features Duane Allman playing fine lead guitar on four tracks...

...As a stylist and purveyor of the original Delta blues, he was superb, equal parts Charley Patton and Son House coming to the fore through his roughed-up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal, and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota...
Fred McDowell
Levee Camp Blues (Mississippi Fred McDowell) 3:49
My Baby Don't Treat Me Like Humankind (Mississippi Fred McDowell) 2:21
from Levee Camp Blues / Rec. 1968 (1998)
When Mississippi Fred McDowell recorded these sides in March of 1968, producer Pete Welding encouraged McDowell to recall the earliest material he had learned when he first started playing. The result is a selection of tunes that simply don't show up on his other recordings, both stylistically and because of their previously unreleased status...

A primal, ferocious blues belter with a roster of classics rivaling anyone else, and a sandpaper growl of a voice that has been widely imitated.   In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.
Howlin' Wolf
Just My Kind (Chester Burnett / Howlin' Wolf) 2:53
I'm the Wolf (Chester Burnett / Howlin' Wolf) 2:54
from More Real Folk Blues 1967
This companion volume to the Real Folk Blues album was issued in 1967 (after the Wolf had appeared on network television with the Rolling Stones, alluded to in the original liner notes) and couldn't be more dissimilar in content to the first one if you had planned it that way. Whereas the previous volume highlighted middle-period Wolf, this one goes all the way back to his earliest Chess sessions, many of which sound like leftover Memphis sides...

18-09-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2011-2007

David Lynch's strange world

18-09-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2011-2007  >>David Lynch, Karen O, Black Devil Disco Club, Martina Topley-Bird, Zaz, Bushman's Revenge, Malachai, Rival Sons, Roy Hargrove, Elvin Bishop, Back Door Slam, Radiohead<<

M U S I C

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2011-2007

The visionary director has also had a healthy musical career, as a collaborator and on his own.  In addition to his prodigious careers as a director, writer, producer, sound designer, and carpenter (to name a few), David Lynch also stretched his artistic reach to music. He collaborated heavily with his go-to composer Angelo Badalamenti on the scores and soundtracks to his projects, including the music for Blue Velvet, 1990's iconic Twin Peaks soundtrack, and Mulholland Drive...
David Lynch
So Glad (Dean Hurley / David Lynch) 3:35
Pinky's Dream feat. Karen O (Dean Hurley / David Lynch / Karen O) 4:00
from Crazy Clown Time 2011
Crazy Clown Time may be David Lynch's first solo album, but he’s far from a newcomer to music-making. He worked so closely with Angelo Badalamenti on the soundtracks to his films and television shows that the term “Lynchian” can be applied to music as well as movies, and his work with acts such as Blue Bob, Sparklehorse's Mark Linkous, and Danger Mouse as a musician and sound designer underscored that he has clear, and creative, musical ideas of his own. He continues to explore these ideas -- plus a few new ones -- on Crazy Clown Time, handling all the instrumental and vocal duties, with one notable exception: opening track “Pinky’s Dream,” which features the Yeah Yeah Yeahs' Karen O. ..

Initially a one-off "collaboration" between French producer Bernard Fevre and alleged financier Jackie Giordano -- credited, respectively, as Joachim Sherylee and Junior Claristidge -- Black Devil released a six-track album of spooky electro-disco entitled Disco Club...
Black Devil Disco Club
Fuzzy Dream feat. Jon Spencer (Bernard Fevre) 3:24
To Ardent feat. Nancy Sinatra (Bernard Fevre) 3:19
from Circus 2011
When Bernard Fevre, the soi-disant Black Devil, released 2008's Eight Oh Eight, it was allegedly the capstone to an increasingly redundant trilogy of electro-disco albums he'd begun 30 years earlier. Some might have assumed he'd slink back into his accustomed obscurity, his diabolical mission accomplished. But little about the Frenchman's career trajectory to date has been straightforward, so it's not all that surprising that now, following 2009's cobbled-together The Strange New World of Bernard Fevre, we're presented with a fourth Black Devil Disco Club album. This time, though, he's learned a few new tricks: instead of six five-minute dance tracks, Circus consists of ten three-minute pop songs, each featuring a different vocalist. For an artist who's never before enlisted collaborators, Fevre's amassed an impressive roster of guests here...

Because of a printing error on Maxinquaye, Martina Topley-Bird has often been referred to as "Martine," an error the unpredictable, low-profile, and confusion-loving singer/songwriter didn't bother correcting. The woman Vibe referred to as "the black Dietrich of Soul" grew up in London and went to schools that were mostly white and middle class...
Martina Topley-Bird
Baby Blue (Martina Topley-Bird) 2:47
Phoenix (Martina Topley-Bird) 2:45
Lying (Martina Topley-Bird) 3:49
Da Da Da (Martina Topley-Bird) 1:20
from Some Place Simple 2010
Martina Topley-Bird's Some Place Simple follows the release of her dynamite 2008 Danger Mouse-produced Blue God full-length by two years. That said, this set wasn't planned. She was actually approached by Damon Albarn who suggested recording stripped-down versions of songs from both her albums (the other is her 2003 debut, Quixotic) for his Honest Jon's imprint. What's more interesting is that the production on both of those recordings -- which were wildly different from one another -- was far from excessive. Nonetheless, Topley-Bird took Albarn up on his offer, and stripped her songs to the bone, completely recontextualizing her melodies. Some Place Simple is driven by minimal instrumentation on each of its 15 tracks. Other than her melodies, her approach is unique, even riveting...

15-09-2018 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX

15-09-2018 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX [from the recent past] # Thao & the Get Down Stay Down, Cigarettes After Sex, Halo Maud, Palm, La Luz, Tunng, Maston, Quilt, OCS aka Orinoka Crash Suite, Gorillaz, Cowboy Junkies

M U S I C

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Folk-informed indie pop guided by Thao Nguyen, whose songwriting tends toward the musically playful and lyrically heavy-hearted. 
Thao & the Get Down Stay Down
Fool Forever 3:08
Nobody Dies 3:48
from A Man Alive 2016
Having constructed prior albums with the likes of Tucker Martine (the Decemberists, Camera Obscura) and John Congleton (St. Vincent, FFS), bandleader Thao Nguyen enlisted longtime side project collaborator Merrill Garbus to produce her band's fourth LP, A Man Alive. A match that sounds as good on the final product as it does on paper, Garbus brings the musical moxie associated with her tUnE-yArDs outfit and reinforces that same quality in Thao & the Get Down Stay Down for an especially muscular outing...

Ambient pop collective started as a recording experiment in an echoey hallway.  Ambient pop collective Cigarettes After Sex were formed almost accidentally in 2008 by songwriter and bandleader Greg Gonzalez. While living in El Paso, Texas, Gonzalez was experimenting with capturing the spacious sounds of recording songs in a four-story stairwell at the University of Texas.
Cigarettes After Sex
K 5:20
Flash 4:34
from Cigarettes After Sex 2017
After a slow start, Cigarettes After Sex saw their fortunes swiftly reversed by a whirlwind of YouTube hits. Although they formed in 2008, CAS waited nearly a decade to release their debut record, and rather fittingly it unfolds at a lethargic pace. The music that Greg Gonzales and his fellow bandmates produce is slowcore in the extreme. The shimmering guitars, placid percussion, and wistfully delivered vocals also reveal their debt to dream pop and shoegaze. More than anything, early supporters of the band have praised Gonzales' unashamed sentimentality and dyed-in-the-wool romanticism. You don't have to venture beyond the opening track to experience his hazy passion...

Psychedelic pop with touches of proggy and space age indie played by French musician Maud Nadal and friends. 
Halo Maud
Wherever 5:23
Je Suis une Île 2:3
Dans la Nuit 4:11
from Je Suis Une Île 2018
Lots of bands were making ethereal, hypnotically drifting, modern psychedelic pop in 2018 and lots of them were really good at it, especially those fronted by women, like Death and Vanilla and Gloria. Add to that female solo artists like Gwenno, Jane Weaver, and Melody's Echo Chamber and the field starts to get a little crowded. To make a record that stands out next to all the high-quality work of those artists, one would need to go a little outside the lines to add something extra. On her debut album, Je Suis Une Île, the French artist Halo Maud (known to her parents as Maud Nadal) does just that. With the help of producer/multi-instrumentalist Robin Leduc, Pablo Padovani from Moodoïd -- a band she played in in the early 2010s -- Benjamin Glibert from Aquaserge, and the members of her live band (Olivier Marguerit, Stéphane Bellity, and Vincent Mougel), Nadal crafts a sound that is indebted to the epic psych-pop of the '60s, but also adds some oddball prog touches, a little bit of electronica here and there, and a hefty dose of the kind of space age indie that bands like Broadcast and Stereolab did so well in the '90s...

14-09-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1920s-1900s

Bessie Smith

14-09-2018 DOWN HEARTED BLUES ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1920s-1900s   >>Bessie Smith, Ida Cox, Original Dixieland Jazz Band, Tango, Scott Joplin, Antología del Tango, King Oliver's Creole Jazz Band Featuring Louis Armstrong & Johnny Dodds, Bessie Smith, Bix Beiderbecke And The Wolverines, Lonnie Johnson, Clara Smith, Joe Venuti, Genesis of Rock 'n' Roll<<

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1900s-1920s

The greatest female blues singer of all time, with a passionate voice and thundering delivery.   The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.
Bessie Smith
Down Hearted Blues 3:29
Aggravatin' Papa 3:16
Baby Won't You Please Come Home 2:59
from Down Hearted Blues (Columbia Recordings, Vol. 1) 1923-1924
...Listening to these recordings 80 years down the road offers us a brief glimpse of American vocal arts at ground zero. Smith’s phrasing derived from that of the Delta blues singers crossed with Vaudeville. Listening to these sides is like hearing Robert Johnson after Led Zeppelin. It is the epiphany of realizing that there is nothing new under the sun and that sometimes the original is best left alone. The sonics of these old recordings have been improved by technology, but not enough to remove the sepia tone from the music. This is music so strong and vibrant that it emerges from the murk of decades.

Ida Cox (born Ida M. Prather, 1888 or 1896 - 1967) was an American singer and vaudeville performer, best known for her blues performances and recordings. She was billed as "The Uncrowned Queen of the Blues". 
Ida Cox
Any Women's Blues 3:33
Blue Monday Blues (Eddie Boyd) 2:45
from Ida Cox Complete Recorded Works, Vol. 1 (1923)
Ida Cox was one of the most powerful blues singers of the 1920s, ranking just below Bessie Smith. The Document label has reissued all of Cox's 1920s recordings on four CDs, leaving out many of the alternate takes (since there are a great deal from 1923-24) to be put out on a later series. The first CD has the master takes of all of Cox's recordings from 1923, plus four alternates.

The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band...
Original Dixieland Jazz Band
Livery Stable Blues (1917-02-26) 3:06
At The Jazz Band Ball (1918-03-18) 2:39
from The Ultimate Jazz Archive Vol. 1
In early 1916 a promoter from Chicago approached clarinetist Alcide Nunez and drummer Johnny Stein about bringing a New Orleans-style band to Chicago, where the similar Brown's Band From Dixieland, led by trombonist Tom Brown, was enjoying success.[9] They then assembled trombonist Eddie Edwards, pianist Henry Ragas, and cornetist Frank Christian. Shortly before they were to leave, Christian backed out, and Nick LaRocca was hired as a last-minute replacement.