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.
Joining her equally stunningCompact Jazzentry, Sarah Vaughan's Jazz 'Round Midnight disc makes for a very fine introduction to the singer's extensive catalog. As is the case with the entire 'Round Midnight series, the emphasis here is on the ballad-heavy, after-hours end of the spectrum, which Vaughan handled with the utmost class and skill. The 15 tracks mostly cover her prime '50s and '60s sessions, including combo, strings, and big band dates featuringClifford Brown, Cannonball Adderley, J.J. Johnson, and top-notch arrangers like Ernie Wilkins and Thad Jones. So, turn down the lights, pour the Remy Martin, and enjoy.
A terrific reissue of two early-'70s Perry masterworks, Scratch the Upsetters Again and Eastwood Rides Again. The inclusion of the latter is especially significant, for upon its release in 1970 it was considered too outside for mainstream reggae tastes, as it was one of the first attempts by Perry to use dub remixing to explore the outer limits of sound. Compared to some of the work he would release years later, it sounds positively tame. However, despite the understated quality of this release, it's in many ways quintessential Perry in its representation of Perry's significant production skills. If it's way-out, total space vibe you're looking for, these 26 tracks won't offer you enough meat. But if it's quality skank you want, where the riddims are tuff, the playing is cool and slick, and the production is flawless, you won't want to go another day without owning this. Worth it just to hear Dave Barker's great version of the Shirelles' "Will You Still Love Me Tomorrow".
The instrumentation on these two albums was more than likely provided by the classic Upsetters line-up of Glen Adams on keyboards, Aston 'Family Man' Barrett on bass, his brother Carlton Barrett on drums and alva 'Reggie' Lewis on rhythm and lead guitar, although it is possible other musicians, such as Winston Wright (organ), Gladstone Anderson (piano), Jackie Jackson (bass), and Hugh Malcom (drums) are featured on some of these sides. Among the handful of vocal tracks is Dave Barker's upbeat version of the Shirelles' "Will You Still Love Me Tomorrow" and Val Bennett's stomping "Baby Baby", which in fact was recorded some two years earlier, before the advent of Reggae.
