24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943

Radio DJ Alan Freed in the 1950s.

24-06-2018 12:07 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1952-1943   >>Bill Haley, Wally Mercer, Merrill Moore, John Lee Hooker, Les Baxter, Ray Charles, Sarah Vaughan, Lowell Fulson, Thelonious Monk, Alberta Hunter, Cecil Gant, Big Joe Turner, Sister Rosetta Tharpe, Four Clefs, Lester Young, Tommy Dorsey, Lena Horne, Xavier Cugat<<

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1952-1943

Wally Mercer - Rock Around the Clock (Wallace Mercer) 2:42
Bill Haley - Rock the Joint (Doc Bagby / Harry "Fats" Crafton) 2:56
John Lee Hooker - Walkin' the Boogie (John Lee Hooker) 2:44
 from Roots of Rock N' Roll Vol 8 1952
This is the eighth volume in a series of double-disc anthologies from French label Fremeaux Records that chronicles the years that led up to the birth of rock & roll. While the magic year of 1954 is usually accepted as the dawn of the rock & roll age, the whole matter has always generated a good deal of debate, and this installment in the Fremeaux series only muddies the waters, since the year it covers, 1952, shows things rocking along pretty well... Whether these tracks contain the musical DNA that begat rock & roll or not is, in the end, fairly irrelevant, since these records rock, pedigree or no.

Exotica pioneer whose blend of Polynesian forms and orchestral arrangements appealed to the bachelor pad set of the 1950s and '60s. 
Les Baxter
Jalousie (Jacob Gade) 2:59
Venezuela (Alfredo Corenzo) 2:38
La Cumparsita (Gerardo Matos Rodríguez) 2:29
from Arthur Murray's Favorites: Tangos 1951
"Personally recommended for dancing by Arthur Murray." 

A brilliant, towering musical figure who through his singing and piano playing helped invent
soul and R&B music. Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

Ray Charles
I Love You, I Love You (I Will Never Let You Go) (J. Lee Lawrence) 2:40
Rockin' Chair Blues (Aaron McKee) 2:44
Sitting on Top of the World (Lonnie Chatmon / Walter Vinson) 2:15
from Blues & Rhythm Classics 1949-1950
1949-1950 highlights the earliest Ray Charles sessions for the Swingtime and Downbeat labels, featuring 15 tracks from 1949 and six from 1950. Anyone with the slightest interest in Charles should investigate this material. It's amazing to hear Charles' metamorphosis from silky-voiced pop crooning (imitating his idols Charles Brown and Nat King Cole) into his passionate gospel-powered voice shortly after he signed with Atlantic Records in 1952.

2018. 06. 21. 8:55 # magyarugar:MiX # 33 válogatott szám / 2ó 19p

2018. 06. 21. 8:55 # magyarugar:MiX # 33 válogatott szám / 2ó 19p >>Jazzékiel, Belmondo, Müller Péter Sziámi AndFriends, The Qualitons, Európa Kiadó, Kaktus, Papaver Cousins, Anima Sound System, SmokeFish, Én meg az Ének, Bérczesi Robi, Darvas Benedek, Czitrom Ádám, Elkövetlek Projekt<<

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Jazzékiel
Porcelán 5:12
Hallo 4:51
~ Belle Époque 2016
Jazzékiel: Ha már beleőszültünk, legyen valami haszna is

Belmondo
Pár piálás 2:59
Várlak a kocsinál 3:11
~ Pár piálás 2017

Müller Péter Sziámi AndFriends
Államosítani kéne 3:16
Így lesz jó 2:47
Kicsi, kicsiszolt kő / Roszik Hella - ének hegedű, vokál  4:11
~ Nevess Magadra! 2018
A helyzet tragikus - de nem komoly…

The Qualitons
Fading 4:05
Conte 4:07
Echoes 4:39
Doubt 9:19
~ Echoes Calling 2018
The Qualitons: Echoes Calling (lemezkritika) - Recorder
...soulfunk-beatgarázs-progjazz-afrosurf elegyük legnagyobb erőssége pont maga a stíluskavalkád stílusos elővezetése volt a 2010-es debütön (Panoramic Tymes). A 2012-es iránymódosítás – nagyon leegyszerűsítve: a hatvanas évek beatprogjából határozottan pszichedelikus lett a megszólalás – a 2014-es második albumon (Tomorrow’s News) karakteresebb dalokban jelent meg,.. Az Echoes Calling ezen az úton megy tovább, már inkább a hetvenes évek esztétikája uralkodik, de az sem viszi el a fókuszt a sokrétű és korszakok felett lebegő összhatásról. Harmadszor is egyben játszották fel az anyagot, utóénekkel, ami ismét jót tett a sodró hangzásnak... A többször hét-kilenc perc fölé kúszó-elszálló-hullámzó dalok (maga)biztosan az eddigi legjobbak, üresjáratoktól mentesek és végig hatásos ötleteket visszhangoznak.
Index - Kultúr - A fejünkben visszhangzik az új Qualitons
Igen, muszáj megemlíteni, hogy a Qualitons volt az a zenekar, aminek a koncertjére lenézett két évvel ezelőtt a Red Hot Chili Peppers, miután meghallották a szállodájuk ablakából. De jelen pillanatban azt is meg kell említeni, hogy a Qualitons nemrég tért vissza a neves austini South By Southwestről is, ahol például egyik nap ők voltak a fesztivál napi ajánlott zenekara. És most ennek a hullámán szörfözve megjelent a harmadik nagylemezük, az Echoes Calling...

19-06-2018 11:41 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Terakaft

19-06-2018 11:41 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW   Terakaft, Meridian Brothers, The Klezmatics, Duo Milla Viljamaa & Johanna Juhola, Piirpauke, Damon Albarn, Justin Adams, Kolinda, Lila Downs, Lo'Jo

M U S I C

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Terakaft is a gang of guitarists, in the same vein as Tinariwen. Nothing astonishing about that if you consider that Terakaft was founded by Kedou and Diara, two formative and historical guitarists from Tinariwen.
Terakaft
Bismilla 2:24
Rastaman Aridal 3:58
Ter Simawan 4:53
from Bismilla (The Bko Sessions) 2007
Guitar, Vocals – Diara, Kedou Ag Ossad, Liya Ag Ablil, Rhissa Ag Ogham, Sanou Ag Ahmed
Recorded at Studio Bogolan, Bamako, Mali, in January 2007.
Edited at La Fontaine du Mont, Mûrs-Erigné, France.

Bogota's the Meridian Brothers are the creation of Eblis Álvarez, who writes, arranges, produces, plays, and sings everything on their recordings, though when the band plays live he is aided by other musicians. Their music is almost unclassifiable, a bracing meld of electronic and organic instruments, influenced by Latin rock, psychedelia, Frank Zappa, the Residents, modern vanguard electronic music, and South American and Caribbean folk traditions and rhythms.
Meridian Brothers
La Industria del Deporte 4:09
El Cantinero Experimental 5:41
Jornada Nacional Contra La UtilizacióN de AntíDotos 4:14
El Enamorado 4:33
from El Advenimiento del Castillo Mujer 2006
Traditional instruments, electronics and distorted vocals are dragged through an array of influences to create a world that is as original as it is unclassifiable.
Originally released back in 2006 by Colombian label La Distritofonica, the limited CD-only album showcased a rare style of "Abstract folk music" inspired on the experiments of some Bogota collectives from the time (2005-2006).

Inimitable N.Y.C. band blends klezmer music and socially conscious lyrics with contemporary rock, funk, and avant-garde jazz. / The Klezmatics take one of the wildest approaches to klezmer, the traditional dance music of the Eastern European Jews. Although their music is heavily influenced by the recordings of Abe Ellstein and Dave Tarras in the 1940s and 1950s, their lyrics comment on a wide variety of political and social issues and have led the group to be labeled "the planet's radical Jewish roots band." The original members of the Klezmatics -- Dave Lindsay (bass), Rob Chavez (clarinet), Alicia Svigals (fiddle) -- were recruited through an ad in the Village Voice in 1985. Trumpet player Frank London of the Klezmer Conservatory Band joined the group soon afterward. Within a few weeks, the band was expanded with the addition of Lorin Sklamberg (vocals, accordion), Margot Leverett (clarinet), and David Licht (drums). Initially calling themselves "Hortzeplotz," they soon renamed themselves the Klezmatics, a play on words inspired by the rock band the Plasmatics.
The Klezmatics

Joshua Nelson

with Joshua Nelson and Kathryn Farmer
Eyliyohu Hanovi 2:38
Elijah Rock with Joshua Nelson 9:17
Ki Loy Nue with Kathryn Farmer 6:40
Didn't It Rain with Joshua Nelson and Kathryn Farmer 5:01
from Brother Moses Smote The Water 2005

Kathryn Farmer

The Klezmatics are arguably the most genre-bending performers on the klezmer scene today (and perhaps of any day). Here, they combine with an up-and-coming singer from the South. That singer just happens to be of an ancient order of Judaism and is African-American, and he attempts to fuse gospel soul with traditional Jewish works. Of course, they got along marvelously. The album focuses on the similarities and ties between Jews and blacks, particularly in the aspects of slavery, the shared songs from Passover and gospel services, and the vibrant cultures. There are notes of pure klezmer and of pure gospel, but the concert from which the album was recorded is really a masterpiece of fusion. The styles are crunched together nearly seamlessly, the languages used (alternately Hebrew, Yiddish, and English) being the only differential in some parts. Joshua Nelson (the gospel singer) tends toward a Mahalia Jackson sound, and the Klezmatics themselves do what they always do. Slapped together, it's a joyous, powerful affair. For fans of musical cross-pollination, this album is a godsend. It's cross-cultural fusion done right. For an added bonus, the CD includes a short bit of video footage from the Berlin concert.

14-16-2018 19:25 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m

Wallace Roney

14-16-2018 19:25 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m # Wallace Roney, Joe Henderson, Ron Carter / Cedar Walton Duo, Steve Coleman and Five Elements, Allan Holdsworth, Anderson Ray, Abdullah Ibrahim, Joe Zawinul,  Willem Breuker Kollektief, Mark King, David Friesen, Claus Ogerman / Michael Brecker

J A Z Z   M U S I C

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1994-1982

Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw.
Wallace Roney
Mistérios (Joyce Maestro / Mauricio Maestro) 4:52
Meu Menino (Danilo Caymmi / Ana Terra) 6:17
from Misterios 1994
Trumpeter Wallace Roney avoids the standard repertoire altogether on this CD, playing pieces by Pat Metheny, the Beatles, Egberto Gismonti, Jaco Pastorius and even Dolly Parton among others but, try as hard as he may, he still sounds like Miles Davis every time he hits a long tone or plays a doubletime passage. Backed by a small orchestra that mostly interprets Gil Goldstein arrangements, Roney is the main soloist throughout this interesting ballad-dominated set.

A remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. / Joe Henderson is proof that jazz can sell without watering down the music; it just takes creative marketing. Although his sound and style were virtually unchanged from the mid-'60s, Joe Henderson's signing with Verve in 1992 was treated as a major news event by the label (even though he had already recorded many memorable sessions for other companies).
Joe Henderson
Isfahan feat: Christian McBride (Duke Ellington / Billy Strayhorn) 5:58
Lotus Blossom (Billy Strayhorn) 4:30
Drawing Room Blues feat: Christian McBride (Billy Strayhorn) 7:32
from Lush Life: The Music of Billy Strayhorn 1992
With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended.

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets.
Ron Carter / Cedar Walton Duo
One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes...
Heart and Soul (Hoagy Carmichael / Frank Loesser) 3:02
Back to Bologna (Cedar Walton) 4:12
from Heart & Soul 1991
Bassist Ron Carter and pianist Cedar Walton both became active on the New York jazz scene around 1960. Walton was soon to gain popularity working with Art Blakey's Jazz Messengers; meanwhile, Carter would become an important anchor in what is arguably Miles Davis' most influential ensemble. In 1981, Timeless Records documented the great rapport between these two giants of post-bop jazz. Heart & Soul is certainly not a loose "blowing session"; it's clear that the duo's repertoire had carefully developed during a year of gigging together in Manhattan. At the same time, the music never feels overarranged and stiff; there is always room for spontaneity. The piano and bass duo is a challenging setting, and there are relatively few successful recordings in the jazz literature...

M-Base founder, composer, and alto saxophonist Steve Coleman hails from Chicago. His earliest years were spent playing in R&B and funk bands in emulation of his first hero, Maceo Parker. Coleman had heard all the greats in his hometown and changed his focus from R&B to jazz, precipitating his move to New York. He gigged with the Thad Jones-Mel Lewis big band, followed by Sam Rivers' All-Star Orchestra and, eventually, Cecil Taylor's big-band project. He began working with other leaders as well: David Murray, Abbey Lincoln, Michael Brecker. But Coleman was restless; he began listening to other music, particularly that of West Africa (he later traveled to Ghana to study). His music evolved and he continued to play side gigs, honing his sound and compositions -- he has a totally original alto tone -- by playing in the street.
Steve Coleman and Five Elements
Rhythm People 7:13
No Conscience 5:31
Dangerous 4:58
The Posse 4:34
from Rhythm People (The Resurrection of Creative Black Civilization) 1990
The music on this "M-Base" recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman's harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile. Two tunes include angry raps that lower the quality of the record. Steve Coleman's CD is obviously not "The Resurrection of Creative Black Civilization" (its immodest subtitle) for how can one resurrect something that has never died? However it does contain plenty of creative (if disturbing) improvisations.

11-06-2018 12:42 BLUES:MiX # 33 blues songs from the BLUES circle 2002-1991

Guy Davis

11-06-2018 3:42 BLUES:MiX # 33 blues songs from the BLUES circle 2002-1991 # Guy Davis, Michael Coleman, John Mayall And The Bluesbreakers, Joanna Connor, Taj Mahal, Steve James, Tommy Castro, Phillip Walker and Otis Grand, The Jon Spencer Blues Explosion, Luther 'Guitar Junior' Johnson, Johnny Winter

B L U E S   M U S I C

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

2002-1991

Acclaimed American blues singer, songwriter, actor, and teacher. / Updating the rural blues tradition for the modern era, Guy Davis was among the most prominent ambassadors of African-American art and culture of his generation, additionally winning great acclaim for his work in the theater. 
Guy Davis
Good Liquor 3:06
Lay Down by My Side 5:26
Watch Over Me (Guy Davis) 5:05
from Give In Kind 2002
Guy Davis has developed into a consummate bluesman. He's listened hard to classic Delta blues and based his style on it, without ever becoming a carbon copy of the greats... This is the tradition reborn and revitalized. Davis' support is wonderfully sympathetic, but he's completely at the center of things, the motivator and mover of this music, and a purveyor of the real blues. His lineage is obvious, and he's the new generation, doing it right and keeping it real.

Before becoming one of Chicago's hottest electric blues guitarists, Michael Coleman began his career playing alongside James Cotton for nearly a decade. The guitarist joined Cotton's band in 1979 at the age of 23...
Michael Coleman
The Train (Michael Coleman) 4:38
Do Your Thing! (Isaac Hayes) 7:25
You Don't Have to Go (Jimmy Reed) 7:36
from Do Your Thing! 2000
Do Your Thing! demonstrates that a bluesman doesn't have to be a fantastic vocalist to provide a meaningful album. Best known in Chicago blues circles for his ten years as James Cotton's guitarist, Michael Coleman isn't a singer's singer. He is an adequate singer with a relaxed, laid-back vocal style that owes a lot to Jimmy Reed, but as a guitarist, Coleman obviously has sizable chops. And thankfully, he takes a lot of guitar solos on Do Your Thing!, which has as much to do with pre-1980 soul and funk as it does with electric Chicago blues...

Major British blues bandleader who, starting in London in 1963, featured some of the most successful rock musicians of the '60s and '70s. 
John Mayall And The Bluesbreakers
Don't Turn Your Back (John Mayall) 5:13
Padlock on the Blues (John Mayall) 6:59
Always a Brand New Road (Buddy Whittington / Joe Yuele) 4:07
from Padlock On the Blues 1999
John Mayall's career may be distinguished but it's also been checkered, as he's swung from a celebrated talent scout to a journeyman bandleader. At times, he's in fashion, at others he's not. The late '90s was one of the times when he wasn't in fashion. Because of this, he was one of the first artists who Cleopatra signed when they began to move into high-profile new releases. Padlock on Blues, his first effort for the label and his first album in four years, finds Mayall pulling out all the stops, contributing 11 new tunes and lining up an impressive array of guest stars, including John Lee Hooker, Coco Montoya, and Ernie Watts...

09-06-2018 2:01 ~ FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2009-2013

09-06-2018 2:01 ~ FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2009-2013  >>Kurt Vile, Lydia Lunch, Chromatics, The Dead Weather, Le Butcherettes, Cambodian Space Project, Grinderman, Andrea Schroeder, Lydia Lunch, little hurricane<<

M U S I C

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2009-2013

From lo-fi roots and compulsive recording, this fuzzy Philly songwriter grew a huge body of strong and constantly evolving solo work. / Philadelphia songwriter Kurt Vile was already recording himself at home by age 14, shortly after his bluegrass-loving father purchased him a banjo to encourage his youthful creativity. By age 17, Vile was self-releasing cassettes of his home recordings, which in the earliest days were strongly influenced by the raw slacker pop of the Drag City roster. He would continue to record prolifically, releasing cassettes and CD-Rs of his solo material while holding down a day job as a forklift operator.
Kurt Vile
Overnite Religion (Kurt Vile) 5:15
Dead Ali Ve (Kurt Vile) 3:47
Hunchback (Kurt Vile) 4:50
from Childish Prodigy 2009
Don't judge a book by its cover. Kurt Vile's long-haired hippie appearance may suggest West Coast roots -- even though he's actually a Philadelphian -- but his sound comes straight out of the underbelly of the Big Apple. With a slack-singing style reminiscent of Lou Reed or Alan Vega, and his vocals doused in slap-back reverb, the songs on Childish Prodigy shift between gritty numbers driven by guitar fuzz and steady ballads backed by one-key baritone drones...

A pivotal figure in the late-'70s no wave scene, a punk poet/actor who recorded confrontational, sexually charged music. / After leaving the seminal New York no wave outfit Teenage Jesus and the Jerks, poet/actress/vocalist Lydia Lunch (b. Lydia Koch) embarked on a solo career marked by frequent collaborations and band changes, plus an attitude of confrontational nihilism expressed in both her sound and her often violent and/or sexually oriented subject matter.
Lydia Lunch
Gospel Singer 2:55
Baby Faced Killer (Lydia Lunch) 4:19
Kill Your Sons (Lou Reed) 4:15
from Big Sexy Noise 2009
Big Sexy Noise follow up their vinyl mini album, released in summer of 2009, with a full blown CD album. The band, fronted by Lydia Lunch and Gallon Drunk alt-rockers James Johnston, Terry Edwards and Ian White, have recorded a further five Johnston/Lunch originals plus a Lynyrd Skynyrd cover to complement the original six tracks.

Glamorously heartbroken purveyors of evocative electropop. / Beginning as a no wave band with an equally volatile lineup and sound, Chromatics evolved into one of the most influential electro-pop acts of the 2000s and 2010s. On albums such as Night Drive and Kill for Love, the group's evocative mix of Italo-disco, post-punk, and '80s pop was glamorous, heartbroken, and utterly distinctive.

Chromatics 

In the City 7:13

Dark Day 6:17

from In The City 2010

Insomniacs often appreciate boredom in a tranquil, morbid and sometimes depressed sort of way. Watching the sun rise after a night of consciousness is thrilling in a some forms. Beautifully, your eyes heavy with the anxiety of depression and stress seem to stay wide to witness the death and birth of our star... This album was released proceeding the Italians Do It Better debut, ‘Night Drive’, which was much more dreamy than the proceeding albums which would sometimes be labeled as post-disco... String leads, driving bass melodies, guitar lines and drum programming make ‘In The City’ an intricate and dreamy listen. The first track instantly pulls the auditor into a deep psychedelia, tranquil and, in a hidden way, ambiguous and scary...