320 kbps | 131 MB | LINKS
Virginia is well-known in Omaha and Council Bluffs as a highly talented performer of traditional folk and blues music, as well as for writing and performing her own songs and compositions.From the bluesy opening melodies to the rich jazz tones of oboe and upright bass, these songs hearken back to the folk-rock tradition that arose in 1960s Britain, sweeping through the smooth sounds of bossa nova into the territory of folk guitar.
FLAC | 268 MB | LINKS
The guitarist’s first album away from Chess — and to be truthful, it sounds as though it could have been cut at 2120 S. Michigan, with Guy’s deliciously understated guitar work and a tight combo anchored by three saxes and pianist Otis Spann laying down tough grooves on the vicious “Mary Had a Little Lamb,” “I Can’t Quit the Blues,” and an exultant cover of Mercy Dee’s “One Room Country Shack.”
320 kbps | 104 MB | LINKS
Patriarch of a West Country musical powerhouse, Father of Folk Dynasty, Geoff Lakeman, who is also father of the hugely talented Seth, Sean and Sam Lakeman and father-in-law to folk stars Kathryn Roberts and Cara Dillon. So it’s no surprise to find all his musical family, plus a galaxy of other folk world luminaries – including the legendary Nic Jones – guesting on the aptly-named “After All These Years”.
Newlyn-born Geoff, patron of the Cornwall Folk Festival, has lived on Dartmoor for more than 40 years and been described as a “stalwart of West Country folk and father of a folk dynasty.” A leading exponent of the rare Crane duet concertina his musical repertoire ranges from self-written and West Country songs to English, Irish and Scottish folk material and music as diverse as Jimmie Rodgers, The Louvin Brothers, Richard Thompson, Randy Newman and Buddy Miller. He’s also one of the few concertina players to perform Tin Pan Alley jazz on an authentic 1920s instrument.
Keeping it in the family – special guests on debut album include the Lakeman brothers, Cara Dillon & Kathryn Roberts and notable neighbour Nic Jones.
His mellow tenor voice and fluent concertina steers every track on this engaging album but the assembled cast include Sean (who also produced) on guitar, Seth on violin and viola and Sam on piano. Kathryn – married to Sean – and Cara (wife of Sam) add their much extolled vocals. Folk legend Nic Jones, a village neighbour of Geoff and Joy, has a rare singing outing. The record is augmented by fellow Dartmoor singer Jim Causley (vocals and accordion), rising Cornwall-based star Sam Kelly (The Changing Room/Sam Kelly Trio/The Lost Boys) on guitar and vocals and Jamie Francis on banjo; Ben Nicholls (Seth Lakeman Band/The Full English/Kings of the South Seas) on bass, harmonium and jaw harp; Dan Crimp on whistle (MadDog McCrea) and acclaimed cellist Gill Redmond.
2017 sees the release of Geoff’s debut album ‘After All These Years’. With a stellar line up of musical family and friends it showcases his talents perfectly and illustrates the high regard and affection in which he is held.
Today we have another album with Eba Aka Jerome. It is ‘La Verité’
from around 1980 which contains that song many people know from
the first Sound d’Afrique brought by Island in 1981. Check here.
The song was ‘Massoua Mo’ and not ‘Trahison’ like Mo commented.
Thank you Gerrit for pointing this out. The title song ‘La Vérité’ is a
killer too, maybe it was too long to put on the 1981 collector by
Island, that’s why today the complete album, enjoy..
Vandaag hebben we nog zo’n pracht plaat met Eba Aka Jerome.
Het is ‘La Verité’, de Waarheid een welk die song bevat die velen
kennen van de in 1981 uitgebrachte verzamelaar Sound d’Afrique
op Island Records volume één. Kijk zelf maar eens hier.
Het nummer was natuurlijk ‘Massoua Mo’ en niet ‘Trahison’ zoals
Mo beweerde in zijn commentaar deze week. Dank je Gerrit voor het
opfrissen van m’n geheugen. De titel song op deze elpee, ‘La Vérité’
is trouwens ook een killer, misschien was ie te lang om op die Island
verzamelaar te zetten, vandaar vandaag het hele
werk, luister ernaar met veel plezier..
tracks ;
01 – La vérité
02 – Massoua mo
03 – Nanan kacou adon
As one of U.K. radio and club culture’s worldliest and most seasoned DJs, Gilles Peterson’s long been fascinated with connecting the old and the new, and he takes that passion a step further with his focus towards the avenues between classic and wildly contemporary Latin American music. He’s hopped around Brazil for years, releasing worldly compilations and remix albums; since 2007 he’s also shaped a variety of exciting musical moments on the island of Cuba. Operating somewhere between the roles of musical researcher and band- leader, Peterson’s efforts were instigated by iconic rum maker Havana Club, who first invited him to come down and dig into the city’s underground. It was there he began plans for recording a new album around the company’s…
…initiative to focus on contemporary music from the island. Following the last iteration of the series in 2016, an album of rumba-focused music — and far-out dance remixes by a pack of house, techno, and world-jazz luminaries like Motor City Drum Ensemble and Max Graef (from Peterson’s Havana Cultura Band)—he’s returned to the island for a new album, ¡Súbelo, Cuba!
On the album, Peterson focuses again on forward-thinking bass-infused rhythms from a creative medley of treasured local Cuban and sound-skewing British artists. He shares organizational efforts on the LP with fellow countryman Will LV, an artist with ties to ever-evolving bass havens like Hyperdub and Keysound, and DJ Jigüe, a treasured Cuban producer and DJ who has been pushing shapeshifting Afro-Cuban dance music on the island for decades. The result is an uptempo LP filled with gyrating energies that drip of Havana’s lush streets and sounds, and its beautifully chaotic energy. You’ll find the drum beats of Yissy García, a prodigious musician from the region; Yasek Manzano, a trumpeter schooled at Julliard who’s long collaborated with other Cuban beatsmiths; a few MCs and singers, who provide brash lyricism; and others who have long sent Havana’s legendary discos into bedlam.
There’s staccato-like, almost-techno sounding drum rhythms filled with echo and stabs of bass on one of Jigüe’s standalone cuts, “Compañeros Tropicales,” the follow-up to one of his two collaborations with Yissy García—this one’s a drowsier, emotive horn cut that one can imagine fueling some low-lit, slo-mo dance embrace. Other cuts, like “Bomba (Feat. El Individuo),” run under two minutes, dropping higher-energy MC street knowledge amid sparse electronics laced with clicks and clave. In fact, most of the album offers short tracks, like the closer “Hasta Pronto,” which contribute to a continuous vibe that takes listeners through Havana’s fluctuating energies and attitude-filled city bustling alleyways. Tracks like the horn-fueled “Blues De Mi Barrio (Feat. Yasek Manzano)” takes the neighborhood connotation a step further. The album’s a portrait of a night out in Havana’s future underground, which might explain the album title—“súbelo” translates to “upload it,” a possible nod to the infamous Cuban Paquete, a weekly upload of music, movies, and TV that locals use to absorb contemporary culture from around the world.
Coming at a deeply controversial time for Cuba’s musical and cultural connectivity, with Trump’s new travel restrictions in place, Peterson has once again succeeded in helping the island’s devoted and open-minded musicians get heard. — daily.bandcamp.com
American-Canadian Abenaki artist Alanis Obomsawin is perhaps best known as a highly regarded documentary filmmaker, whose work has largely focused on issues affecting First Nation peoples. In addition to her film career, Obomsawin has also sung since the Sixties, often performing in aid of humanitarian causes, and in 1985 she recorded her first and only album. However, she was dissatisfied with the original recording of Bush Lady, so in 1988 reclaimed the masters and remixed the record, as well as re-recording the title track. The album featured traditional songs of the Native American Abenaki people as well as original compositions for a record that skilfully merged her heritage with an avant-garde approach.
The record has been long out of print, but…
…Canadian post-rock label Constellation have re-issued a remastered version of the album following Obomsawin’s one and only performance of it at Le Guess Who festival last year. To listen to her work is to realise that both the label and the festival had immense foresight in giving people the opportunity to discover, or rediscover, an extraordinary work that is so much more than mere heritage release.
‘Odana’ opens the album with the pastoral flutter of wind instruments, but as the track progresses and the bass notes of cello add a mournful tone that contrasts to the light opening. It’s also the first encounter with Obomsawin’s tremendous voice whose little details, like the subtle vibrato she applies, are bewitching. The production is equally striking, as it offers a warmth and clarity that really forefront her vocal.
‘Bush Lady, Pt. I’ is sparsely layered with instrumentation, with a single drum beat providing the heartbeat of the song, but the arrangement is nonetheless powerful. Much of that power rests on Obomsawin’s voice, her masterly cadence and original approach. The impressionistic vocal, punctuated by her evocations of the bush lady in question, are both mythical and earthy. And it’s perhaps this song that most readily conjures her Abenaki Nation heritage, but she has moulded it into something utterly timeless and unique to her. Without bombast, she dynamically summons cultural divides and displacement, which feel like trying to mix oil with water (“I walk around with the sorrows of my race engraved upon my face”), yet musically she easily marries the traditional with the experimental effortlessly.
Conversely, ’Bush Lady, Pt. II’ is the most melodically poignant moment on the record and is softer and more nurturing in tone: “I know this place where no one cries/I know this place where no one dies.” In addition to highlighting the destructive nature of cultural gulfs, she is also quick to underscore what unites. On ‘Of the Earth and of the Sea’ she begins in English before weaving French into the middle, then singling wordlessly but rhythmically creating a multicultural tableau, and arguing, “we are the children of the earth and sea.”
The a cappella closer ‘Nziwaldam’ is a hugely affecting way to conclude the record with her lone voice left ringing in your ears. It’s remarkable that someone can conjure so much from such a limited palette. With vinyl sales on the rise, in particular, each week sees a glut of re-releases, many of which feel utterly pointless, but this record is an exemplary instance of an essential repressing. As a true rediscovered treasure it sounds as radical as it must have done on its release over 30 years ago. Bush Lady is a thoroughly magical record that is also deeply compassionate and strikingly real.
320 kbps | 96 MB | LINKS
This is my dream-come-true album. I wanted to say what i wanted to say, and mostly, I did. Its got the drive and stomp I love, plus some sweet reflections. And killer musicians.
Julia Kasdorf – vox, rhythm guitar “Leon” Kasdorf – bass, pedal steel, backing vox Buddy Dunlap – flat top rhythm, lead, fiddle, backing vox Gary Ferguson – telecaster, flat top, mandolin Dwayne Nitz – drum kit, mike ault – electric guitar brian symmes – organ Walter Tates – saxaphone Jon Carroll – keys, guitar, backing vox, percussion
![Chris Rea - Still So Far To Go... The Best Of Chris Rea [2CD] (2009)](http://lossless-galaxy.ru/uploads/posts/2018-06/thumbs/1529427711_00.jpg "Chris Rea - Still So Far To Go... The Best Of Chris Rea [2CD] (2009)")
