mixtapes for weathers and moods / music for good days and bad days


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2021. október 30., szombat

30-10-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 2009-2019 (2h 19m)


30-10-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 2009-2019 Tinsley Ellis, Boo Boo Davis, Chris Duarte Group, Albert Castiglia, Micke Bjorkloff & the Blue Strip, Tyrone Vaughan, Josh Knight, Steve Earle & The Dukes, Sari Schorr, Left Lane Cruiser, The Reverend Shawn Amos, The Cash Box Kings


B L U E S    M U S I C (2h 19m)

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2009-2019



A hard-rocking, high-voltage blues guitarist most often compared to Stevie Ray Vaughan, Tinsley Ellis is hardly one of the legions of imitators that comparison might imply.
Sunlight of Love (Tinsley Ellis) 4:14
Speak No Evil (Tinsley Ellis) 5:08
The Other Side (Tinsley Ellis) 4:14
from Speak No Evil 2009
Tinsley Ellis has worked hard since the early 1980s to establish himself on the contemporary blues scene. As a result, he has become one of the most consistent, and therefore quintessential, electric blues men. Ellis is a an excellent guitar player and a terrific showman. He's a good songwriter in that he stretches the blues form as far as it will go, and occasionally he crosses into solid hard rock territory... What seems to be at work on Speak No Evil is Ellis trying to push the blues form in a decidedly more rockist direction without losing its emotional feel. And he's done his job... Speak No Evil is an ambitious album from Ellis; he's continued to grow musically and aesthetically without losing an ounce of his own identity in the process...



James "Boo Boo" Davis is an American electric blues musician. Davis is one of the few remaining blues musicians who gained experience singing the blues in the Mississippi Delta, having sung to help pass the time while picking the cotton fields.
Undercover blues (J. Davis) 4:59
Turkey walk (J. Davis) 3:41
Train my baby is on (J. Davis) 4:15
During the Fall 2010 tour Boo Boo and the guys got a lot of idea’s and decided to record them on one of the off days. As usual all original songs and with Boo Boo you never know what will happen. .. For the recording they picked a funky (but full analog) studio in rural Switzerland; nothing beats the sound of warm tubes and real tape. All tracks were recorded in six hours / one take with all three guys in the same room. Raw, loud and simple, just like they sound live on stage. The mixing and mastering is done by miX&dorp; a music freak that Boo Boo met a few times during his recent tours. He happened to be in the area and was happy to help out.


...He enjoyed a spell with Bobby Mack before bursting onto the blues scene in 1994 with the release of Texas Sugar/Strat Magik, on which he was backed by John Jordan (bass) and Brannen Temple (drums). The album brought immediate acclaim for the band’s gritty, intense southern blues sound, with Duarte singled out for his technique... Indeed, in the 1995 Guitar World magazine Readers’ Poll, he was voted fourth best blues guitarist behind the much more established and esteemed company of Eric Clapton, Buddy Guy and B.B. King.
Another Man (Chris Duarte) 5:10
Bottle Blues (Chris Duarte) 5:03
Hold Back the Tears (Monji Kadowaki / Toshihiro Sumitomo) 7:02
...Duarte has made some exciting contributions to blues-rock -- specifically, blues-rock of the Texas variety, and that Lone Star spirit is alive and well on Blues in the Afterburner. Texas, of course, has been a leader in different areas of the blues. Lightnin' Hopkins, Texas Alexander, and Blind Lemon Jefferson are among the icons of pre-rock Texas blues, while the recordings of Vaughan and Johnny Winter are the essence of loud-and-proud Texas blues-rock... Duarte maintains some Jimi Hendrix influence (Hendrix was from Seattle, not Texas) along with his fondness for Vaughan and Winter, but then, Hendrix was also a major influence on Vaughan. And true to form, Duarte is as expressive with his vocals as he is with his electric guitar playing. Blues in the Afterburner is another memorable, inspired album from Duarte.


Blues guitarist Albert Castiglia was born in New York on August 12, 1969. Five years later his parents moved to Miami, where Castiglia began learning guitar. By the age of 12, he began playing local gigs and did so consistently throughout high school. Following completion of his college education, Castiglia worked as a social service investigator while playing gigs at night and on weekends around South Florida...
Living the Dream (Albert Castiglia) 3:52
Freddie's Boogie (Freddie King) 4:48 (Call 
Parchman Farm (Mose Allison) 5.57
Albert Castiglia earned his blues cred as a member of Junior Wells' band, but his resumé is irrelevant at this point in his career. His muscular vocal style, incendiary guitar work, and fine songwriting are all the signs of an artist who's in it for the love of music, a fact he wryly acknowledges on this album's title track. With John Ginty's big Hammond B-3 lending support to his chattering rhythm guitar work, Castiglia sings "The road to riches is playing guitar, that's why I'm living inside my car" before laying down another stinging guitar solo. .. 

2021. október 28., csütörtök

10-28-2021 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX [2019-2021] (2h 16m)

10-28-2021 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX [2019-2021] Sharon Van Etten, Field Music, Oceanator, Sue Foley, Routine, Juliana Hatfield, G. Love & Special Sauce, Pearl Charles, Still Corners, Little Barrie, Malcolm Catto, Circles Around the Sun


M U S I C (2h 16m)

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A singer of distinct, controlled passion, Sharon Van Etten carved out a loyal audience with her hushed, intense albums... A dedicated choir student during her childhood, Van Etten studied clarinet, violin, and piano before moving on to guitar. She began writing songs in high school and sang in a choir group, the Madrigals. She credits her choral experiences as indispensable in learning to musically notate, as well as to sing harmonies.
No One's Easy to Love 4:38
Memorial Day 4:27
Malibu 3:23
from Remind Me Tomorrow 2019
For a decade, Sharon Van Etten specialized in understatement. From her 2009 debut Because I Was in Love through 2014's Are We There, she mined the tension generated by murmuring instrumentation clashing with her passionate delivery, a balance that proved quietly compelling. Van Etten maintains that sense of drama on Remind Me Tomorrow, her fifth full-length album, but she's radically shifted her presentation. Working with producer John Congleton, she's expanded her sonic palette, incorporating vintage synthesizers and drum loops while occasionally cranking up her amplifiers. Some of the sounds are conscious throwbacks, but they don't play like retro nostalgia, not in the context of Remind Me Tomorrow, which juxtaposes fearless aural adventure with keenly observed observations of easing into a satisfied life. ..



Singer, songwriter, and multi-instrumentalist Michael Nau crafts reflective indie rock tinged with folk, psychedelic, and vintage pop influences. He's known for leading the like-minded projects Page France and Cotton Jones from the mid-2000s to the early 2010s before beginning to record under his own name in 2016.
Look Into Dance 5:22
Hoops 4:27
Grow My Wave 3:38
Still a collaborative effort, and even more bustling than 2018's Michael Nau & the Mighty Thread in terms of arrangements, Less Ready to Go is Michael Nau's fourth album under his own name. Recorded at a studio in Joshua Tree, it was produced by Dr. Dog's Scott McMicken. As for its particularly colorful sound, Nau has explained that each song was recorded live with guests, who would then "switch instruments and do a live overdub on top." Alongside extra touches and sound effects, the results are often wonky and woozy on an album whose otherworldly quality extends to reaching back to the '60 and '70s for R&B, pop, and psychedelic influences. Rather than ever playing like a tribute, these elements seep into Nau's dreamy songs...



Hailing from Sunderland, England, indie/art rockers Field Music emerged in the middle part of the 2000s with a distinctive blend of smartly crafted pop hooks and an ambitious nature that pulled from a variety of rock subgenres. Helmed by brothers Peter and David Brewis, the group earned critical acclaim and a devout fan base...

Field Music 
Coffee or Wine 3:03
A Shot To The Arm 2:32
Only In a Man's World 2:46
...Their distinctive brand of indie pop has been constantly refined over the years as they smartly thread between bits of clever guitar rock, synth pop, soul, disco, and chamber pop, this time adding in some light prog-rock sophistication and the sort of aerodynamic new wave that harkens back to Thomas Dolby's early work. Like each of their previous releases, Making a New World is an ambitious, original, and exquisitely crafted work, full of rich details and compelling songs that translate the past into modern new shapes.


The stage moniker of Brooklyn-based singer/songwriter and multi-instrumentalist Elise Okusami, Oceanator emerged in 2016 with a sound that combines heavy grunge, fuzzed-out indie rock, and deeply personal lyrics with synth pop-laced, incisive pop hooks. 
Goodbye, Goodnight 4:03
Hide Away 6:11
Walk with You 4:20
The debut full-length effort from Brooklyn-based singer/songwriter and multi-instrumentalist Elise Okusami, who operates under the moniker Oceanator, Things I Never Said is a delightfully understated grunge-pop paean to the disillusionment of early adulthood. Okusami is a nimble pop architect who knows how to bait a hook, and her songs, which marry the riot grrrl ethos of Sleater-Kinney with the neatly wrapped emo-pop earworms of Jimmy Eat World, frequently take abrupt instrumental detours that lead the listener into new sonic headwaters...

2021. október 24., vasárnap

24-10-2014 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1995-1999 (2h 26m)


24-10-2014 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1995-1999  >>King Crimson, Monster Magnet, Beck, dEUS, Nick Cave and the Bad Seeds, Mick Harvey, Portishead, Lauryn Hill, Tindersticks, Sleater-Kinney<<


 M U S I C  (2h 26m)


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1995-1999



Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities...
Dinosaur (Adrian Belew / Bill Bruford / King Crimson / Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto) 6:37
Coda: Marine 475 (Adrian Belew / Bill Bruford / King Crimson / Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto) 2:41
Walking on Air (Adrian Belew / Bill Bruford / King Crimson / Robert Fripp / Trey Gunn / Tony Levin / Pat Mastelotto) 4:38
from THRAK 1995
...King Crimson returned from a ten-year exile in 1995 with THRAK, their first album since 1984's Three of a Perfect Pair. As with the '80s band, guitarist/ringleader Robert Fripp recruited singer/guitarist Adrian Belew, bassist Tony Levin, and drummer Bill Bruford for this incarnation of his classic band. However, he added to this familiar quartet two new members: Chapman Stick player Trey Gunn and ex-Mr. Mister drummer Pat Mastelotto. Effectively, Fripp created a "double trio," and the six musicians combine their instruments in extremely unique ways. The mix is very dense, overpoweringly so at times, but careful listens will reveal that each musician has his own place in each song; the denseness of the sound is by design, not the accidental result of too many cooks in the kitchen... King Crimson came back in a major way with THRAK, and proved that, even in its fourth major incarnation, Fripp and company still had something to say. High-quality prog.


New Jersey retro-rockers who delivered sludgy, drug-fueled, and feedback-heavy hard rock from their debut in the late '80s. Retro-rock visionaries Monster Magnet spent much of the 1990s struggling against the prejudices imposed upon image and sound by the alternative rock elite...
Dopes to Infinity (Dave Wyndorf) 5:44
Look to Your Orb for the Warning (Dave Wyndorf) 6:32
Ego, the Living Planet (Dave Wyndorf) 5:07
Expecting Monster Magnet to change from art-sludge-psych monsters into sweet cuddlebunnies from album to album clearly demonstrates a loss of reason. Wyndorf himself doesn't need to worry about losing his reason in particular, given how psychotically entertaining his band already is, and Dopes to Infinity is about as far apart from Superjudge as the original Siamese twins were to each other. Maybe "Dopeheads to Infinity" would have been the better title, but as the title track fires up into another rampage of excessively flanged guitar, storming lead riff, and steady drum stomp, all criticisms get left behind along with any sort of sanity. Wyndorf's singing is a touch crisper in the mix this time out, while the guitar playing is even more powerfully direct and epic amidst all the space-out swirl and rockets to the moon. ..


One of the most inventive, eclectic figures of the alternative era, the epitome of post-modern chic in an era obsessed with junk culture. Initially pegged as the voice of a generation when "Loser" turned into a smash crossover success, Beck wound up crystallizing much of the postmodern ruckus inherent in the '90s alternative explosion, but in unexpected ways. Based in the underground anti-folk and noise rock worlds, Beck encompassed all manner of modern music, drawing on hip-hop, blues, trash rock, pop, soul, lounge music -- pretty much any found sound or vinyl dug up from a dusty crate -- blurring boundaries and encapsulating how '90s hipsters looked toward the future by foraging through the past...
Devils Haircut (Beck / James Brown / Phil Coulter / John King / Bernard Purdie / Thomas Scott / Mike Simpson) 3:14
Hotwax (Beck / Alexandra Brown / George Douglas / Monk Higgins / John King / Horace Ott / Bernard Purdie / Mike Simpson) 3:49
Lord Only Knows (Beck / Mike Millius / Don Thomas) 4:15
from Odelay 1996
Unlike Stereopathetic Soul Manure and One Foot in the Grave, the indie albums that followed his debut Mellow Gold by a mere matter of months, Odelay was a full-fledged, full-bodied album, released on a major label in the summer of 1996 and bearing an intricate, meticulous production by the Dust Brothers in their first gig since the Beastie Boys' Paul's Boutique... Like Mellow Gold, Odelay winds up touching on a number of disparate strands -- folk and country, grungy garage rock, stiff-boned electro, louche exotica, old-school rap, touches of noise rock -- but there's no break-neck snap between sensibilities, everything flows smoothly, the dense sounds suggesting that the songs are a bit more complicated than they actually are... Like a mosaic, all the details add up to a picture greater than its parts, so while some of Beck's best songs are here, Odelay is best appreciated as a recorded whole, with each layered sample enhancing the allusion that came before.

2021. október 22., péntek

2021. 10. 22. 11:21 > magyarugar:MiX > FALLOW/HU:MiX # 33 válogatott szám / 2h 55m


2021. 10. 22. 11:21 > magyarugar:MiX > FALLOW/HU:MiX # 33 válogatott szám / 2h 55m Syntax Cinema Orchestra, Monchichi Potenciál, Yellow Spots, Péter Szendőfi, Gary Willis, Nyócker!, Ogli-G, Ludditák, Ganxsta Zolee, El-Horto, Balkan Fanatik, Amorf Ördögök, Karányi, Deutsch Gábor, Nulladik Változat, Eichinger Band, Korai Öröm


Z E N E  /  M U S I C 2h 55m
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Tódor Nagy Krisztián - guitar, Zsolt Feke - double bass, Márton Palatinszky - bass clariner, Gábor Weisz - sax, András Halmos - drums
New Home 6:06
Homage a Philip Glass 6:25
Mozizom 4:06
My Name Is Nobody 3:49
~ Mozizom 2008




Bicsánszky Panna: ének, fuvola, Szűcs Zsófia: ének, Mészáros Ádám: gitár, Subicz István: billentyűs hangszerek, gitár, Subicz Gábor: fúvósok, programozás, Süli András: basszusgitár, Laskai Viktor: dob, ütőhangszerek
Só Bors Vágy 4:23
Tes yeux 4:11
~ Só Bors Vágy EP 2007



Yellow Spots
 
Oké Májkül! 1:43
Rituális vacsora (Ritual Dinner)
Zombi Presszó (Zombie Pub)

2021. október 15., péntek

15-10-2021 WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 2005-2014 (2h 53m)


g l o b a l  m u s i c a l   v i l l a g e
15-10-2021 WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 2005-2014 # WmW: Amadou & Mariam, Cheikh Lo, Rabih Abou-Khalil, Lantos Zoltán Mirrorworld, Nils Kercher, Terrakota, Graveola, Aziza Brahim, Gulili Mankoo, Lajkó Félix, Sally Nyolo

M  U  S  I  C / WmW 2h 53m

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2005-2014



This Malian afro-pop duo combines spare Malian blues with Latin, Middle Eastern, and Western influences. A musical husband-and-wife duo who got their start in Mali, Amadou & Mariam met in 1975 at Mali's Bamako Institute for the Young Blind.
Beaux Dimanches (Amadou Bagayoko) 3:31
Coulibaly (Amadou Bagayoko) 3:18
Taxi Bamako (Manu Chao) 3:44
Amadou & Mariam, the blind couple from Mali, have certainly paid their dues over the last 30 years, and it's about time they received their big break. Certainly given the excellent reviews in Europe, Dimanche a Bamako could be it, thanks to the production and participation by the elf prince of world music, Manu Chao. He brings a playful lightness to their soulful, bluesy Malian sound, letting in plenty of sunshine, and drawing in a sense of place through the ambience of traffic sounds and snippets of conversation... Even if you don't understand the words, however, the entire disc is an absolute aural joy, poppy enough to be exquisitely memorable, yet with layers of resonance underneath. Likely to be one of the world music albums of 2005, it can hopefully find the kind of wide audience it surely deserves.



Acclaimed artist from Burkina Faso who has incorporated a wide array of influences, including reggae, Latin, jazz, funk, and soul. Mbalax, the intricate dance music of Senegal, has been made more accessible to Western listeners by Cheikh Lô (born Cheikh N'Digel Lô). Softening the hard edges of mbalax and incorporating elements of salsa, Zairian/Congolese rhumba, folk, and jazz, Lô has created an infectious, hook-laden style of pop music.
Sou (Bembeya Jazz National) 3:03
Lamp Fall 4:32
Sénégal-Brésil 4:24
from Lamp Fall 2006
Lamp Fall is the first international release from the Senegalese singer/songwriter and guitarist Cheikh Lô. Issued on World Circuit, it is a collection of traditional and original songs that heavily showcase his trademark mbalax drums, reggae grooves, and funky polyrhythms, with a host of colors and textures added by widely varying instrumentation. This time out, Lô goes to Brazil for inspiration -- about half the album's tracks were recorded in Bahia... In sum, Lamp Fall is a further extension of the already heady mix of styles, rhythms, and harmonics Lô has amassed over the past decade and a half. It's an utter joy in that it's so dense that most of its secrets won't be revealed until many repeated listenings are undertaken. That said, its sunny sheen and easy, airy atmosphere are intoxicating and elegant. This is early candidate for one of the best recordings of 2006.


Lebanese-born oud player who mixes traditional Middle Eastern folk with jazz improvisation. The musical traditions of the Arabic world are fused with jazz improvisation and European classical techniques by Lebanese-born oud player and composer Rabih Abou-Khalil. The CMJ New Music Report noted that Abou-Khalil has "consistently sought to create common ground between the Arab music mileau of his roots and the more global musical world of today." Down Beat praised Abou-Khalil's music as "a unique hybrid that successfully spans the world of traditional Arabic music and jazz."
Mourir Pour Ton Décolleté 7:29
Best If You Dressed Less 7:29
Para O Teu Bumbum 6:55
Le Train Bleu 6:
After twenty-five years and eighteen albums, it is unlikely that Rabih Abou-Khalil is going to spring any great surprises; long ago he found a distinctive individual style and has stuck to it since – with sufficient variations to keep it fresh and interesting. One need only hear this music for a few seconds to identify its creator. Aficionados will find everything that keeps them coming back for more; the characteristic blend of jazz-inflected Arabic melody with subtle rhythms combines into a hypnotic whole, as ever with Abou-Khalil’s fluent oud playing in a central role. On this album, the variation that stops the music becoming formulaic is the inclusion of guest artist Gevorg Dabaghyan, who plays duduk, a Georgian instrument similar to an oboe. In Dabaghyan’s hands, it has a haunting, mournful sound that dominates the album. The opening track, “Mourir Pour Ton Décolleté” is a prolonged showcase for Dabaghyan, and one of the album’s highlights...

2021. október 12., kedd

12-10-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2008-2018 (3h 16m)


12-10-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2008-2018 (3h 16m)# S.M.V., Crimson Jazz Trio, Bushman's Revenge, Avishai Cohen, Dave Douglas Quintet, Matana Roberts, Nir Felder, Stanley Clarke, Bireli Lagrène, Jean-Luc Ponty, Mike Dillon, Tobias Meinhart, Wolfgang Muthspiel


J A Z Z   M U S I C (3h 53m)

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JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
2008-2018




S.M.V. is a jazz supergroup featuring the talents of bassists Stanley Clarke, Marcus Miller, and Victor Wooten. Individually, the members of S.M.V. are widely accepted as innovative, creative, and technically proficient musicians who have performed in a variety of genres. The trio released its debut self-titled album on Heads Up in 2008.
S.M.V.
Thunder (Marcus Miller) 6:37
Los Tres Hermanos (Marcus Miller) 5:25
from Thunder 2008
Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two... Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners.


The trio was conceived by Wallace, who recruited Tim Landers (bass) and Jody Nardone (piano) in 2004.
The Court of the Crimson King (Robert Fripp / Peter Giles / Greg Lake / Ian McDonald / Peter Sinfield) 6:16
Frame By Frame (Adrian Belew / Bill Bruford / Robert Fripp / Tony Levin) 5:30 Soprano Saxophone, Alto Saxophone: Mel Collins
Heartbeat (Adrian Belew / Bill Bruford / Robert Fripp / Tony Levin) 8:56
King Crimson founder Robert Fripp approved of the group, stating: "The CJ3 have respectfully and irreverently taken eight Crimson classics, repositioned them in the musical spectrum, and delivered their first songbook with superb musicianship in service to wit and invention".


This Norwegian power trio melds jazz improvisation with prog rock composition and heavy metal's dynamics.
Always in Motion the Future Is (Even Helte Hermansen) 9:59
While My Guitar Gently Breaks (Even Helte Hermansen) 6:33
Personal Poltergeist (Even Helte Hermansen) 7:48
Waltz for My Good Man (Even Helte Hermansen) 4:48
from Jitterbug 2010
Rune Grammofon's contributions to the Norwegian jazz scene (and that of the world at large) continues with Bushman's Revenge's third album, finding the trio again exploring their own variety of garagey psych fusion... Jitterbug is at once a product of its time -- namely a worship of a lot of things going down sonically at the dawn of the '70s -- and something that doesn't quite fit into any easy description of that; they're a power trio and a jazz trio without settling for being specifically one or the other, as the excellent opener "Always in Motion the Future Is" shows...