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A következő címkéjű bejegyzések mutatása: James Blood Ulmer. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: James Blood Ulmer. Összes bejegyzés megjelenítése

2021. október 2., szombat

02-10-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 2001-2011 (2h 38m)


02-10-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 2001-2011 Buddy Guy, Tommy Bankhead, James Blood Ulmer, Rodolphe Burger, Joe Louis Walker, Larry McCray, Carl Weathersby Special Guest: Lucky Peterson, Lil' Ed & the Blues Imperials, Sue Foley, Deborah Coleman, Roxanne Potvin, The Mannish Boys, Tinsley Ellis, Boo Boo Davis, Chris Duarte Group


B L U E S    M U S I C (2h 38m)

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.BLUES_circle on deezer

BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

2001-2011



Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers. Buddy Guy is one of the most celebrated blues guitarists of his generation (arguably the most celebrated), possessing a sound and style that embodies the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll.
Tramp (Lowell Fulson / Jimmy McCracklin9 6:47
Baby Please Don't Leave Me (Junior Kimbrough) 7:22
She Got the Devil in Her (CeDell Davis) 5:10
from Sweet Tea 2001
...So, after a bit of a break, Guy returned in 2001 with Sweet Tea, an utter anomaly in his catalog. Recorded at the studio of the same name in deep Mississippi, this is a bold attempt to make a raw, pure blues album -- little reliance on familiar covers or bands, no crossover material, lots of extended jamming and spare production. That's not to say that it's without its gimmicks. In a sense, the very idea behind this record is a little gimmicky -- let's get Buddy back to the basics -- even if it's a welcome one, but that's not the problem... This may not showcase the showmanship of the artist live, the way Damn Right did, but it does something equally noteworthy -- it illustrates that the master bluesman still can sound vital and can still surprise.



Before he was old enough to legally take a drink, Tommy Bankhead was playing the blues with a long list of legendary musicians that included Howlin' Wolf, Elmore James, Sonny Boy Williamson, Joe Willie Wilkins, Robert Nighthawk, and Joe Hill Louis.

I'm Not Your Alley Cat (Tommy Bankhead) 4:22
Everything Gonna Be Alright (Little Walter) 4:08
He started in his teens and for half a century remained a high-caliber bluesman. A Mississippi native, he settled in St. Louis at the end of the '40s. Bankhead made a name for himself with his guitar, but he also possessed refined skill on the bass, drums, and harmonica.


Free jazz has not produced many notable guitarists. Experimental musicians drawn to the guitar have had few jazz role models; consequently, they've typically looked to rock-based players for inspiration. James "Blood" Ulmer is one of the few exceptions: an outside guitarist who has forged a style based largely on the traditions of African-American vernacular music.
Rodolphe Burger is a French experimental rock icon whose most notable achievements include a two-decade tenure as the singer/guitarist of Kat Onoma, plus acclaimed solo albums and a wide range of collaborations. Born on November 26, 1957, in Colmar, Haut-Rhin, France, he first garnered musical fame in the experimental rock band Kat Onoma.
House People (James Blood Ulmer) 3:44
Cheering (James Blood Ulmer) 5:29
Are You Glad to Be in America? (James Blood Ulmer) 4:33
from guitar music 2003
Hendrix meets the Velvet Underground is the best way to describe this amazing release. Blood is of course James Blood Ulmer who had avoided for decades to fulfill the promise to continue where Hendrix has ended it with the Band of Gypsies although many saw him as legitimate heir. Burger is the French singer and guitarist Rodolphe Burger, formerly leader of Kat Onoma and rooted in the Velvet Underground sound of White Light White Heat... 

2021. augusztus 12., csütörtök

TRY TO REMEMBER BLUES:MiX # 33 blues(y) songs from the BLUES circle 1995-2004 (2h 36m)


TRY TO REMEMBER BLUES:MiX # 33 blues(y) songs from the BLUES circle 1995-2004 Thornetta DavisJimmy Johnson, Tommy Castro, Phil Guy & Lurrie Bell, Eric Bibb & Needed Time, Jimmy Johnson, Buddy Guy, Tommy Bankhead, James Blood Ulmer, Rodolphe Burger, Joe Louis Walker


B L U E S    M U S I C (2h 36m)

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.BLUES_circle on deezer

BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

1995-2004




One of the Midwest's leading blues and soul divas; has also worked with Bob Seger, Kid Rock, and Big Chief.
Try to Remember (Mike Danner / Thornetta Davis / Phil Dürr / Matt O'Brien / Al Sutton) 4:13
Cry (Mike Danner / Thornetta Davis / Phil Dürr / Matt O'Brien / Al Sutton) 4:11
The Deal (Mike Danner / Phil Dürr / Matt O'Brien / Eric Oblander) 3:44
Working with her previous employers from Big Chief, specifically bassist Matt O'Brien, guitarist Phil Durr, and drummer Mike Danner, turned out to be the perfect approach for Thornetta Davis' solo debut. It's not quite Big Chief with a different lead singer, happily, with Sunday Morning Music showcasing her affinity for the blues while not losing the powerful punch of that band. Davis' singing is just wonderful -- she's got a rich, warm voice that she doesn't show off with, avoiding pointless vocal high jumps and wails for confident, often soaring delivery... Black Crowes member Eddie Harsch also adds keys and clavinet at various points, easily slotting into the band's smoky sound. Through it all, Davis sounds on top of her game, and the whole album makes for a worthwhile, invigorating listen.



Chicago guitarist Jimmy Johnson didn't release his first full domestic album until he was 50 years old. He's determinedly made up for lost time ever since, establishing himself as one of the Windy City's premier blues artists with a twisting, unpredictable guitar style and a soaring, soul-dripping vocal delivery that stand out from the pack.
Jimmy Johnson 
Black and White Wall (Jimmy Johnson) 3:59
My Ring (Jimmy Johnson) 4:19
Jockey (Jimmy Johnson) 5:40
from I'm A Jockey 1995
It shouldn't have taken Johnson a full decade to find his way back into a studio, but such are the injustices of the record business. The wait was worth it, though -- backed by his touring trio of the timeframe, Johnson mixes blues and soul, originals (a heartfelt "Black & White Wall" and the soaring ballad "My Ring") and covers (his takes on McKinley Mitchell's "End of a Rainbow" and Wilson Pickett's "Engine Number 9" hit home), in decidedly solid contemporary form.




Contemporary blues star known for his passionate, fiery guitar playing and powerful vocals.
Tommy Castro 
Can't Keep a Good Man Down (Tommy Castro) 4:00
Suitcase Full of Blues (Steve Schuffert) 4:10
Hycodan (Keith Crossan) 4:31
There's a clean San Francisco sheen to Tommy Castro's second album for Blind Pig, and it's not just the glossy production work of Jim Gaines (Santana, Huey Lewis and Stevie Ray Vaughan) that's responsible for it. Castro and his band have long been local favorites of the Bay area bar crowd, and his blues-rock/soul-pop synthesis with the occasional slow blues thrown in makes him another young contender for the yuppie throne of modern bluesdom.. 


Phil Guy
didn't eclipse his older brother Buddy's status as a blues superstar, and in reality, Phil's funky brand of blues was not captured correctly for posterity. But he remained an active attraction on the Chicago circuit, following in his sibling's footsteps and patiently waiting for his own star to rise up until his death.
What Can a Poor Man Do - Phil Guy feat: Lurrie Bell 4:53
Wine Headed Woman - Phil Guy 4:07
Going Back to Louisiana (Lurrie Bell) - Phil Guy feat: Lurrie Bell 4:38
Lurrie Bell was born on December 13, 1958, in Chicago. His famous father, harpist Carey Bell, had him working out on guitar as a wee lad. By 1977, he was recording with his dad and playing behind a variety of established stars, tabbed by many observers at the time as a sure star on the rise.
Phil Guy and Lurrie Bell



New York singer/songwriter and guitarist at the forefront of the 1990s country-blues revival. Like Josh White, Jr. -- son of folksinger Josh White -- singer, songwriter, and guitarist Eric Bibb was raised in the folk tradition, the son of folksinger Leon Bibb. Bibb's uncle was the world-famous jazz pianist and composer John Lewis, part of the Modern Jazz Quartet.
Eric Bibb & Needed Time
Lonesome Valley (Woody Guthrie / Traditional) 3:55
Needed Time )Traditional) 5:17
Woke Up This Mornin' (B.B. King / Jules Taub / Traditional) 4:22
Braggin' (Eric Bibb / Göran Wennerbrandt) 3:02
Eric Bibb grew up in New York City, surrounded by a plethora of cultural variety from Leadbelly to Villa-Lobos wafting in from the radio and the streets. By the time little Bibb got his first guitar, his father, the eminent Leon Bibb, was making the rounds as a respected folk singer. Leon removed Eric from school in favor of packing him along to rehearsals, where he consorted with the likes of Judy Collins, Odetta, Bob Dylan, Earl Robinson and many others. Spirit and the Blues is a funky folk-blues delight: a bubbling pot of authentic bottleneck spirituals and memorable hum-alongs, especially for hardcore Deacons fans. Bibb blends the muddy-river vocal style of Delta gospel and the drive of white vagabond balladeers like Woody Guthrie and Pete Seeger... A modern and beautifully mixed record, graced with spirit and a real timelessness factor.


Chicago guitarist Jimmy Johnson didn't release his first full domestic album until he was 50 years old. He's determinedly made up for lost time ever since, establishing himself as one of the Windy City's premier blues artists with a twisting, unpredictable guitar style and a soaring, soul-dripping vocal delivery that stand out from the pack.
I Used to Be a Millionaire (Jimmy Johnson) 5:38
Livin' the Life (Jimmy Johnson) 4:16
The Sky Is Crying (Elmore James / Morgan Robinson) 5:40
from Livin' The Life 2000


Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers. Buddy Guy is one of the most celebrated blues guitarists of his generation (arguably the most celebrated), possessing a sound and style that embodies the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll.
Done Got Old (Junior Kimbrough) 3:23
Baby Please Don't Leave Me (Junior Kimbrough) 7:22
Tramp (Lowell Fulson / Jimmy McCracklin9 6:47
She Got the Devil in Her (CeDell Davis) 5:10
from Sweet Tea 2001
...So, after a bit of a break, Guy returned in 2001 with Sweet Tea, an utter anomaly in his catalog. Recorded at the studio of the same name in deep Mississippi, this is a bold attempt to make a raw, pure blues album -- little reliance on familiar covers or bands, no crossover material, lots of extended jamming and spare production. That's not to say that it's without its gimmicks. In a sense, the very idea behind this record is a little gimmicky -- let's get Buddy back to the basics -- even if it's a welcome one, but that's not the problem... This may not showcase the showmanship of the artist live, the way Damn Right did, but it does something equally noteworthy -- it illustrates that the master bluesman still can sound vital and can still surprise.





Before he was old enough to legally take a drink, Tommy Bankhead was playing the blues with a long list of legendary musicians that included Howlin' Wolf, Elmore James, Sonny Boy Williamson, Joe Willie Wilkins, Robert Nighthawk, and Joe Hill Louis.

I'm Not Your Alley Cat (Tommy Bankhead) 4:22
Please Accept My Love (Tommy Bankhead) 4:13
Everything Gonna Be Alright (Little Walter) 4:08
He started in his teens and for half a century remained a high-caliber bluesman. A Mississippi native, he settled in St. Louis at the end of the '40s. Bankhead made a name for himself with his guitar, but he also possessed refined skill on the bass, drums, and harmonica.


Free jazz has not produced many notable guitarists. Experimental musicians drawn to the guitar have had few jazz role models; consequently, they've typically looked to rock-based players for inspiration. James "Blood" Ulmer is one of the few exceptions: an outside guitarist who has forged a style based largely on the traditions of African-American vernacular music.
Rodolphe Burger is a French experimental rock icon whose most notable achievements include a two-decade tenure as the singer/guitarist of Kat Onoma, plus acclaimed solo albums and a wide range of collaborations. Born on November 26, 1957, in Colmar, Haut-Rhin, France, he first garnered musical fame in the experimental rock band Kat Onoma.
House People (James Blood Ulmer) 3:44
Cheering (James Blood Ulmer) 5:29
Are You Glad to Be in America? (James Blood Ulmer) 4:33
Huit Couché (Rodolphe Burger) 4:08
from guitar music 2003
Hendrix meets the Velvet Underground is the best way to describe this amazing release. Blood is of course James Blood Ulmer who had avoided for decades to fulfill the promise to continue where Hendrix has ended it with the Band of Gypsies although many saw him as legitimate heir. Burger is the French singer and guitarist Rodolphe Burger, formerly leader of Kat Onoma and rooted in the Velvet Underground sound of White Light White Heat... 


Award-winning blues singer/guitarist/songwriter/producer who rose to prominence in the 1980s. It took Joe Louis Walker a while to establish himself as a force of his own -- nearly 20 years, to be precise -- but once he released his debut, Cold Is the Night, in 1986, he quickly became a staple in contemporary blues.
Do You Love Me? (Joe Louis Walker) 5:22
New Direction (Joe Louis Walker) 6:43
Messed My Mind Up (Joe Louis Walker) 6:58
from New Direction 2004
Joe Louis Walker is quite the triple threat. Not only is he a superb blues guitarist, with remarkable fluency and imagination, he's also an excellent singer (as you might expect from someone who came up through gospel groups), and an excellent writer with a strong penchant for soul music...  With "Soldier for Jesus" his blues mixes with gospel, and some wonderful guitar work. With a small band -- bass, drums keys -- that truly swings, he keeps center stage, which is what he needs... A superb record from someone who might just be the best contemporary bluesman.











2018. július 4., szerda

04-07-2018 9:06 - JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1986-1974

Joe Zawinul


04-07-2018 9:06 - JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1986-1974 / 3:47 
# Joe Zawinul,  Willem Breuker Kollektief, Mark King, David Friesen, Claus Ogerman / Michael Brecker, James Blood Ulmer, Herbie Hancock, Chick Corea and Gary Burton, Jack DeJohnette New Directions, Keith Jarrett, Zbigniew Seifert, Joe Diorio, Flora Purim

J A Z Z   M U S I C



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JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1986-1974

An outstanding jazz pianist/keyboardist who worked with artists such as Cannonball Adderley and Miles Davis.  Joe Zawinul belonged in a category unto himself -- a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He was one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul's example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he preferred to improvise compositions spontaneously onto tape rather than write them out on paper.
Joe Zawinul 
The Harvest (Joe Zawinul) 6:02
Zeebop (Joe Zawinul) 4:52
Carnavalito (Joe Zawinul) 6:19
from  Dialects 1986
If Joe Zawinul was out to prove that he didn't need Weather Report anymore, he succeeded spectacularly in this virtual one-man show. Zawinul recorded many of the vocals (assisted now and then by Bobby McFerrin and a vocal trio) and all of the synthesizer and rhythm machine tracks himself in his Pasadena home studio, yet the results are anything but mechanical. Zawinul in fact achieves a rare thing: He manages to get his stacks of electronics to swing like mad in these pan-global grooves that pick up where WR was about to leave off... This is an important, overlooked album because it proves that electronic instruments can reach your emotions and shake your body when played by someone who has bothered to learn how to master them.


The Willem Breuker Kollektief is a jazz group formed in 1974 by 10 musicians leaded by Dutch bandleader Willem Breuker. The band plays unconventional jazz mixed with different styles, from latin to (contemporary) classical to theater and vaudeville.
Willem Breuker Kollektief
Like Other People Say 1:43
Hap Sap (But Not From Jaffa) 5:59
Driebergen-Zeist 10:00
from To Remain 1985
...There's a sense of wonder combined with the glee of a kid in a candy shop that he exploits with passion and humor, going so far to have composed sections with some band members "misplaying" their parts while others exasperatedly wait for them to get it right...


Virtuoso bass player and singer of English pop band Level 42 known for his bass-slapping technique. 
Mark King
Essential (Mark King) 18:36
I Feel Free (Pete Brown / Jack Bruce) 4:50
from Influences 1984
EXCLUSIVE! Level 42’s Mark King speaks to movingtheriver.com about his classic solo album Influences, released by Polydor in July 1984.


Talented and prolific jazz bassist who has continually experimented yet remained decidedly accessible.  A technically adept, immensely intuitive bassist and pianist, David Friesen is a forward-thinking performer whose albums touch upon spiritually minded contemporary jazz, folk, world traditions, and acoustic post-bop.
David Friesen
Amber Skies 8:16
Voices 7:17
from Amber Skies 1983
One of bassist David Friesen's better jazz sessions as a leader, this set (which has been reissued by other labels on CD) has some excellent playing by tenor saxophonist Joe Henderson on "Amber Skies" and "Underlying," a rare opportunity for flutist Paul Horn to take a solo in a straight-ahead setting ("Blue and Green"), and was the first opportunity that pianist Chick Corea and drummer Paul Motian had to work together; percussionist Airto completes the sextet. The diverse originals, all by Friesen, feature each of the players quite favorably, and the overall results are stimulating.


The prolific arranger and orchestrator, Claus Ogerman moved from Europe to the United States in 1959 and began an association with the Verve label, where his arrangements were featured on albums by Frank Sinatra and Antonio Carlos Jobim (1967's Francis Albert Sinatra & Antonio Carlos Jobim -- the first of two collaborative albums by the pair), Astrud Gilberto, Bill Evans, Wes Montgomery, Stan Getz, Cal Tjader, and other leading artists
Claus Ogerman / Michael Brecker
A remarkable technician and a highly influential tenor saxophonist (the biggest influence on other tenors since Wayne Shorter), Michael Brecker took a long time before getting around to recording his first solo album. He spent much of his career as a top-notch studio player who often appeared backing pop singers, leading some jazz listeners to overlook his very strong improvising skills.
Cityscape (Claus Ogerman) 8:46
Nightwings (Claus Ogerman) 7:45
from Cityscape 1982
...This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably -- his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight....