If you like Bukowski you should watch this film because the main character is supposed to be him. If you don't know who Bukowski is you should still watch this film and then go and find out who Bukowski is. I am not a big fan of Matt Dillon but he was excellent in the leading role role. Read more about it here ---> Factotum
Get the film here ----> Factotum P.S. This one has no subtitles
Actually...Teófilo Chantre, who is one of the featured artists and a composer of songs sung by Cesaria Evora, had a concert at Πελαγινοί...December is probably not the best time to post something like that but whatever...enjoy it...or don't. :o)
If you ever heard the line "I scream, you scream, we all scream for ice cream" this is the film it came from.
The first time I watched this film was probably in 1989 or 1990 in an open air cinema in Plaka (Athens, Greece). My dear friend Γιάννης Παπαγεωργίου took me there. I miss him.
If you want more information about it click here ---> Down By Law
I think it was sometime in 1991 when I first listened to The Dirty Dozen Brass Band. I was introduced to this bar in Athens named Blue Velvet...can a person be introduced to a bar?...anyway...I don't think the people who brought me over there did so for the music but the owner of the place was playing some great tracks. I also listened to Chico Hamilton that night for the first time as well as the great Mongo Santamaria. The selections were all beautiful. A short while later I flew to London for work for a few days. Besides meeting people for work the only place I visited was a huge record store across the street from my hotel. This was the first cd I picked out. Of course I bought a ton of other cd's which I will share with you in due time. Bye for now. :o)
Thanks to the fluke hit "Fade Into You" — one of the better beneficiaries of alt-rock's radio prominence in the early '90s, a gentle descent of a lead melody accompanied by piano, a steady beat, and above all else, Hope Sandoval's lovely lead vocal — Mazzy Star's second album became something of a commercial success. All without changing much at all from where the band was before — David Roback oversaw all the production, the core emphasis remained a nexus point between country, folk, psych, and classic rock all shrouded in mystery, and Sandoval's trademark drowsy drawl remained swathed in echo. But grand as She Hangs Brightly was, So Tonight That I Might See remains the group's undisputed high point, mixing in plenty of variety among its tracks without losing sight of what made the group so special to begin with. Though many songs work with full arrangements like "Fade Into You," a thick but never once overpowering combination, two heavily stripped-down songs demonstrate in different ways how Mazzy Star makes a virtue out of simplicity. "Mary of Silence" is an organ-led slow shuffle that easily ranks with the best of the Doors, strung-out and captivating all at once, Sandoval's singing and Roback's careful acid soloing perfect foils. "Wasted," meanwhile, revisits a classic blues riff slowed down to near-soporific levels, but the snarling crunch of Roback's guitar works wonders against Sandoval's vocals, a careful balance that holds. If there's a left-field standout, then unquestionably it's "Five String Serenade." A cover of an Arthur Lee song — for once not a Love-era number, but a then-recent effort — Roback's delicate acoustic guitar effortlessly brings out its simple beauty. Tambourine and violin add just enough to the arrangement here and there, and Sandoval's calm singing makes for the icing on the cake.
While DJ Vadim -- another European hip-hop mixer whose career began on the same trajectory -- pursued breakbeat hip-hop into the realm of heavily American/underground rap, the production work of Frenchman DJ Cam has become much smoother and closer in sound and execution to the British acid jazz scene. Soulshine is his smoothest record yet, opening with a breezy jazz dancer ("Summer in Paris") with a live band sporting a crossover groove while vocalist Anggun enthuses about the unique Parisian vibes. Cam also cultivates his American R&B connection, drafting Cameo's Larry Blackmon and Nathan Leftenant for a serviceable Roy Ayers impression, while "Condor (Espionage)" features Guru (aka Baldhead Slick) relaxing over a live cut. For DJ Cam, musical maturity seems to mean arrangements utilizing a live band, and though Soulshine has them throughout, there's much less of innovation happening here than on his early work. Two tracks that work are the pair of realhip-hop tracks: "Bounce" and "Voodoo Child," the latter a tough remix by DJ Premier with Afu Ra on vocals.
Well...I decided to post some movies along with all the music. The original idea was to post one movie every weekend. This is the first one I'm posting. It's in AVI format and it has English subtitles in case you want to watch it in silent mode...although I wouldn't recommend it because it's a musical. :P
I'm not big on writing reviews so I would rather play you a little video of this particular movie. Ok? Ok! :0)
Khomsa is the heroine in the movie Bezness, and also inspires one of many musical themes from Tunisian films and theater documented on this CD. Oud player Anouar Brahem has performed these pieces across a decade with different ensembles, but for the first time they were recorded in one studio setting. The instrumentation varies in size and de-emphasizes Brahem's role as a frontman. In fact, upon listening, this could just as easily be credited under the direction of the brilliant accordionist Richard Galliano, for his role is heard more often as the lead instrument. The musicians combine here and there with the dynamic ECM signature rhythm team of bassist Palle Danielsson and drummer Jon Christensen, or in certain instances pianist François Couturier, violinist Bechir Selmi, and on rare occasion soprano saxophonist Jean Marc Larché. The themes are luxurious, rich, beautiful, and organic, with no wasted motion or excesses, and there is a feeling of being on a journey. Galliano's solo "Comme un Depart," the solo oud of Brahem in "L'Infini Jour," and Selmi's "Regard de Mouette" get the caravan slowly started. "Claquent les Voiles" sports Brahem's mysterious Middle Eastern lines and chords with the masterful bassist and drummer, while "Vague" is hymnal in Galliano's ability to stretch long tied notes with his bellows. Couturieris a delicate stylist, matching theological timbres on "Vague," and working in tandem with Brahem during "Seule" and on the light 6/8 rhythm of "Nouvelle Vague" with Galliano. He also plays a little synthesizer, specifically during the circular "Un Sentier d'Alliance" aside overdubbed echoed piano and soprano sax. Most of the collective play on "Ain Ghazel," a sensitive and sensual musical sketch, features contrasting soprano sax from Larché, atypically animated drumming by Christensen, and Brahem's pensive oud as the period on a sentence. "Souffle un Vent de Sable" shows a group design in breathing, balanced tones led by Galliano, and Brahem coming in after the fact with the bass and drums. The title track displays a unified whole in the ECM spirit with Brahem, Galliano, Couturier, and Danielsson. Closest to jazz is "Des Rayons et des Ombres," a fast trio number with Galliano and the rhythm section approaching bop. "Comme une Absence" concludes the project with two overdubbed violin tracks from Selmi. The buyer should be aware that the personnel listed on the booklet cover does not reflect the entire combo at any one time. Otherwise, this is a beautiful contemporary statement reflecting the cinematic forms Brahem loves, mixed with European classical and improvisational sensibilities, professionally rendered, and well within the tradition of world jazz and the clean ECM concept.
