Dylan LeBlanc / Cast The Same Old Shadow Жанр : Country/Folk/Americana Носитель : WEB Страна-производитель диска (релиза) : USA Год издания : 2012 Страна исполнителя (группы) : USA Аудиокодек : FLAC (*.
(Country/Folk/Americana) [WEB] Dylan LeBlanc - Cast The Same Old Shadow - 2012, FLAC (tracks+.cue), lossless
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Interlocking Lombok, Pt. 2: Return to Klentang
Location: Montong Betok, East Lombok
Sound: Klentang (also spelled kelentang)
It’s not often I return to a music I’ve already shared - there’s too much new stuff out there waiting to be heard. Klentang is a worthy exception, though. I first wrote about this unique form of gamelan a year and a half ago, fresh off my latest trip to Lombok (an island, it’s turned out, I keep coming back to for more.) Information and documentation of this art form is few and far between, so I felt it pressing to share, but in the end I had a nagging feeling that it wasn’t the best example. The group I’d recorded was thrown together in ten minutes, and the musicians themselves admitted they were out of practice. Since then, I’d dreamed of recording another klentang group, a fuller, more representative sample. Finally, here it is: the second in the ongoing Interlocking Lombok series.
I don’t want to repeat myself too much for those who’ve read the original; if you haven’t, check that post out now and return for more.
There's a handful of new insights to share. First is that there is likely no united terminology shared amongst the scattering of klentang groups still playing across Lombok. Whereas the group I’d recorded in Timbanuh had called the five tones of their ensemble penglima, pengempat, ceroncong, gegonteng, and pemotok, the group in Montong Betok seconded pengempat, penglima (calling it pelima), and pemotok, but also added the terms penengak and trompong (itself a name for various metallophones and gong chimes across Java, Bali and Lombok.) Each musician ideally knows the patterns required for each note, but that wasn’t always the case: I saw musicians calling their buddies to switch out when it came to a section in a gending that they were less familiar with.
The Montong Betok klentang also had the neat addition of an instrument they simply called gong. It's actually not a gong at all, but a row of instruments similar to the single-note klentang but with doubled-up iron bars hit by a special double-headed soft mallet. The twin bars of each instrument are slightly detuned to create that special acoustic beating called ombak or “wave.” The bassier tones of the gong play out a kind of bass line or frame melody, an added layer in the colotomic structure of the music.
The group was fleshed out in other ways: compared to the dozen or so individual metallophones in the Timbanuh group, this group had twenty-one, with multiple octaves and doubled notes represented (the group claims there can be as many as twenty-five in one group.) Also adding to the richer melodic texture is the addition of a suling, or bamboo flute, roughly following the melody being sketched out by the interlocking klentang.
Names of the klentang tunes or gending also begin to illuminate a connection to Balinese gamelan, with the piece “Mergepati” sharing the name and melody with a popular Balinese gending and dance form ("Margapati"), and the piece “Semarandana” may take its name from a variety of gamelan from the Island of the Gods next door. The more that I think about it, the more these Balinese roots are obvious. As was illuminated in my explorations of rebana reong, these Sasak interlocking arts seem to have roots especially in the interlocking figurations of the reong in the Balinese gamelan, right down to those intense tone clusters which shake the air when all notes ring out at once.
While the klentang remains on the periphery of modern musical life in Lombok, it became even clearer on this recent trip that it is a kind of touchstone for a variety of interlocking arts across the island, from rebana reong to tongkek and slober (those last two to come soon!) This deconstructed gamelan may be hard to find these days, but its legacy still sings out across Lombok.
Context:
The village chief was a good man to know in these parts. Pak Kamrul, the kepala desa of Montong Betok, was doing everything he could to accomodate us in his one-street village deep in the heart of Lombok, even giving us a bed each and a full chicken to feast on for lunch. Kamrul’s son had uploaded a video of the Montong Betok klentang group to YouTube, and I’d quickly gotten in touch, as I do. Now here we were (my friends Logan, Jo, and I) being treated to the finest hospitality that Lombok has to offer.
Kamrul was an interesting man himself, a tough looking guy with a sleepy way of talking and a young wife who he told me, braggingly, was his late wife’s cousin. He’d made a decent fortune in the business of setting up jobless Sasak men with hard labor jobs in Malaysia -a big deal, we later realized, when we started to take in the sheer extent of unemployment and poverty in Lombok and the remarkable number of men we met who had done a stint in the neighboring country.
Perhaps because of this powerful position of making or breaking the fortunes of desperate young men across the island, it seemed that all Pak Kamrul had to do was ask for something and it would be done. We arrived on a Thursday, not a day where the klentang group would generally have their routine practice. No matter, they’ll play tonight, we were told. You came here to hear klentang, he was saying, and I’ll make it happen.
That night we went to a nearby home where the dozens of anvil-like instruments were already strewn across a narrow indoor space. As we set up our recorders, men filed in one after another, all sarongs and secondhand baseball caps. Jidor drums were tuned and the men switched about, trying to find the klentang whose patterns they were most familiar with. We recorded a bit inside before somebody decided it was too claustrophobic: more musicians were coming, and we couldn’t even fit them all in the room.
At Pak Kamrul’s word, the whole huge ensemble migrated, lugging instruments to a dirt courtyard. Woven grass floormats and instruments were arranged in a nice, easily recordable oval, with the suling guy sitting outside it all, trying desperately to get his flute to sound through a questionable tangle of cables.
As Pak Kamrul told it, the band had only just decided to start playing again, as just like the group I met in Timbanuh, these guys hadn’t played klentang in years until recently. As Kamrul fancies himself a patron of the arts, he got the band together again (or at least, all the old guys in the village who remember how to play) and started routine practices again. The sound was still a bit sloppy, and understandably so: this is really quite difficult music to play. Melodic sections require musicians to hit their single iron bar at precisely the right moment to complete the melodic puzzle piece. Sometimes they did, sometimes they didn’t. But when they did, it sounded spectacular. Here was the klentang I’d always wanted to hear, in its full, fleshed-out glory.
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Recordings mixed and mastered by Jo Lamont, with recording help from Logan Hallay. Thank you to Pak Kamrul, Yan, and the musicians of Montong Betok.
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Jally Kebba Susso – Banjul-London (2017)
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Matt Winson – Woodfalls (2017)
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Re: [CD] Al Mouraria - Fado Tango (2014) *J24*
:s...
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Nguyễn Thanh Thuỷ: Jakob Riis - Tranh Improvisation (Ngẫu Hứng Tranh)[FLAC]
Link download:http://adf.ly/1ka0HV
Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: it.hanguyen@gmail.com
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Jally Kebba Susso – Banjul-London (2017)
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Various Artists - Relax Music - Chrysanthemum [APE]
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Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: it.hanguyen@gmail.com
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Various Artists - Relax Music - Orchid [APE]
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Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: it.hanguyen@gmail.com
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Various Artists - Relax Music - Bamboo [APE]
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Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: it.hanguyen@gmail.com
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Various Artists - Relax Music - Plum [APE]
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Bài được thực hiện bởi Hà Nguyễn, mọi chi tiết liên hệ qua email: it.hanguyen@gmail.com
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Austin Hanks – Alabastard (2017)
320 kbps | 123 MB | UL | OB | TB
Austin Hanks is a left handed guitar slinger and singer- songwriter from the Hillcountry of Alabama. He is touring 2017 with ZZ Top, and has opened for Lynyrd Skynyrd over 40 times, as well as countless other legendary acts like Bad Company and Ted Nugent. His new album ALABASTARD is an ode to growing up in the most rural part of the Deep South and relocating to Nashville and ultimately Southern California. He had 6 songs on the hit show Sons Of Anarchy, and many other shows and movies, as well as writing the last single with Billy Gibbons for the most recent ZZ Top album.
ALABASTARD is Pure American Music featuring Billy Gibbons of ZZ Top, Rickey MedLocke of Lynyrd Skynyrd, Jimmy Hall of Jeff Beck Group, Steve Ferrone of Tom Petty, Grammy winning producer David Bianco (Tom Petty, U2, David Bowie,Fleetwood Mac, Bob Dylan, ect) and many more!
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WINGFIELD, REUTER, STAVI, SIRKIS fusion παικταράδες
Εδώ, στο “The Stone House” [WRSS/ MoonJune, 2017], συναντιούνται τέσσερις παικταράδες. Ο κιθαρίστας Mark Wingfield, ο touch κιθαρίστας Markus Reuter (παίζει και με τα δύο χέρια στο μπράτσο), ο άταστο-μπασίστας Yaron Stavi και ο ντράμερ Asaf Sirkis – όλοι με μεγάλη πορεία και συνεργασίες μέσα στις δεκαετίες. Το αποτέλεσμα είναι ένα δυναμικό άλμπουμ έξι συνθέσεων, μέσης και μεγάλης διάρκειας, ηχογραφημένο ζωντανά στο στούντιο και μάλιστα άνευ overdubs. Φυσικά όλα τα tracks είναι γραμμένα και από τους τέσσερις, με την συμπαραγωγή του Leonardo Pavkovic να προσθέτει κι άλλα creditsσε τούτη την αγέρωχη ηχογράφηση.
![ajazz%2Bwingfield.jpg]()
Ως progressive fusionθα χαρακτήριζα τη μουσική στο “The Stone House”. Ένα κράμα, γεμάτο με seventies vibes των King Crimson των Quiet Sun και του John McLaughlinμε τη Mahavishnu Orchestra. Εντάξει, στο περίπου, για να δώσουμε κι ένα στίγμα, καθότι στη βάση της η μουσική τής τετράδας έχει μιαν αισθητική αυτοτέλεια – ιδίως όταν το σχήμα χαμηλώνει το volume, παίζοντας με… ακουστή δεξιοτεχνία και ορίζοντας ένα κάπως space περιβάλλον (“Fjords de Catalunya”).
Αν και σε ορισμένα tracks κάποιοι ύστεροι τεχνοκρατικοί Floyd-ισμοί δείχνει να υπερτερούν (“Tarasque”), είναι τελικά το 14λεπτο “Bona nit señor Rovira” που συμμαζεύει όλα τα επιμέρους στοιχεία της μουσικής των Wingfield/ Reuter/ Stavi/ Sirkis – έναν διπλό κιθαριστικό κυκεώνα, τοποθετημένον πάνω σ’ ένα ηράκλειο μπάσο-ντραμς.
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Darandi
There’s no doubting that Aurelio Martinez of Honduras is the reigning king of Garifuna roots music. Ever since the death of pioneering maestro Andy Palacio in 2008, Aurelio—already a brilliant composer, performer and recording artist at the time—has blossomed to fill a gaping hole in the hearts of all who love Caribbean music. Aurelio’s fourth album, a live studio session recorded at Real World Studio in the U.K., is perhaps his most direct and passionate work to date. It revisits songs from his three well-crafted studio albums with energy and spontaneity rare in any live recording.
The combo backing Aurelio here is stripped down and superb, with nothing extra. Two Garifuna drummers define the rhythm section with nimble, percolating grooves that flow through these 12 mostly up-tempo tracks. Lead guitarist Guayo Cedeno’s precise and melodious picking is prominent in the mix, whether in luminous quavering riffs close to Hawaiian lap steel, or in the punchy twang of propulsive, low-end riffs reminiscent of Duane Eddy. There are funny echoes of country Americana in Garifuna music, especially evident in this guitar-centric format, with Aurelio’s deft nylon-string fingerpicking subtly underpinning the mix. Cedeno’s solos and accompaniments are consistently tasty, deeply in tune with the songs’ brisk arrangements and arresting vocal performances.
Aurelio’s searing solo voice is fittingly the star here, exuding clarity and moral authority track after track, no translation needed. On “Yalifu,” a wistful ode to a pelican—“Pelican, lend me your wings”—he perfectly mimics the tone of a muted trumpet. On “Dugu,” a song about ceremonies honoring Garifuna ancestors, Aurelio begins singing alone, his voice nearly breaking with emotion before the band sweeps in like a stiff wind to carry him forth. New reads on Aurelio classics like “Laru Beya” and “Landini”—both love songs to the sea, tinged with heartbreak and sadness—hold up well without all the embellishments and guest appearances featured on the original recordings. In fact, the simplicity and directness of these live band performances takes these songs out of the realm of pop music, revealing them as rugged folk songs bound to endure for anyone with connections to Garifuna culture.
The Garifuna peoples’ unique history of descent from shipwrecked African slaves and embattled Arawak Indians is beautifully presented in the album booklet, one of the most impressive packages of the year so far. The text is written by Afropop Worldwide veteran producer Marlon Bishop, and evocative graphics include photographs of young Aurelio finding his artistic voice on the beaches of Honduras. Garifuna songs are filled with stories of loss, death, nostalgia and longing. This is an embattled people, marginalized in their Central American nations and overwhelmed by foreign influences. For Aurelio, a central life mission is to preserve Garifuna language and culture. It is hard to imagine any more powerful way to achieve that end than through the timeless songs so powerfully rendered on this album.
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Roots Radics – Check For You Once Dubwise (2015)
Roots Radics – Check For You Once Dubwise (2015)
Check For You Once Dubwise | 2015 | Musical Ambassador
reggae, dub | Mp3, 320 kbps / FLAC (tracks, Vinyl, LP, Album) | 40:06 | 101 MB / 742 MB
Tracklist:
01. Roots Radics – Check Dis Ya Dub (3:40)
02. Roots Radics – African Queen Dub (3:53)
03. Roots Radics – Young Girl Dub (4:08)
04. Roots Radics – Dreadlocks Party Dub (4:15)
05. Roots Radics – First Class Citizen Dub (3:53)
06. Roots Radics – Informer Dub (3:57)
07. Roots Radics – Bandulu Dub (3:51)
08. Roots Radics – Work On Mr. Farmer Dub (4:30)
09. Roots Radics – People Dem A Suffer Dub (4:07)
10. Roots Radics – Penitentiary Dub (3:52)
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Orchestra De Martini – Relax Musicali (1973)
Orchestra De Martini – Relax Musicali (1973)
Relax Musicali | 1973 | Studio 7
Instrumental | CBR 320 kbit/s | 35 min | 106MB
Tracklist:
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A1. Evergreen (2:22)
A2. Grazy Words (3:07)
A3. Free And Easy (2:50)
A4. Sunset In Bahia (3:20)
A5. Drops (2:46)
A6. Titty And Sony (2:40)
B1. Racconto (5:10)
B2. Anche Domani (3:25)
B3. Scherzetto (3:03)
B4. Ispirazione (5:05)
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Re: [CD] Al Mouraria - Fado Tango (2014) *J24*
Agradeço a partilha, mas os links estão quebrados ...
Resolvido!...
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Best of The Beat on Afropop: The Exodus of the Garifuna
Who are the Garifunas? You may have heard the distinctive music of the late Andy Palacio or Aurelio Martinez without knowing about the unique history, roots and culture that produced it.
A black ethnic group that originated in the late 17th century on the Caribbean island of St. Vincent, the Garifuna people are the result of a shipwrecked slave ship. The captured Africans escaped and joined with the local Arawak and Carib Indians to withstand the French and British colonizers, and over time the cultures intermingled. The Garifunas are proud to say they were never enslaved, but they suffered greatly during the colonial struggles to dominate the Caribbean islands. The British ultimately took control of St. Vincent in 1796 and forcibly deported thousands to the Honduras coast of Central America, from which they settled throughout Belize, Guatemala, Nicaragua, and eventually migrated to North America.
Assimilation into modern Western life has threatened the survival of this UNESCO-designated World Heritage Culture. Andy Palacio had made it his mission to keep the legacy alive by educating the youth about the language, music, dances, rituals and traditions; his protege Aurelio Martinez has continued this crusade following Andy’s untimely demise in 2008. Other groups—the Garifuna Women’s Project and the Garifuna Collective—have gained international recognition through the efforts of Ivan Duran at Stonetree Records, and Cumbancha Records.
Read this comprehensive chronicle of Garifuna life and history in this “Best of The Beat’ feature published in 1986 to explore the fascinating music, culture and heritage of the Garifuna people.
Read more from “Best of The Beat” about Andy Palacio.
Aurelio Martinez has a new album, Darandi, reviewed by Banning Eyre here.
READ OR DOWNLOAD PDF: Beat5#2Garifuna
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VA – Casey Kasem Presents All-Time Christmas Favorites (2004)
VA – Casey Kasem Presents All-Time Christmas Favorites (2004)
Casey Kasem Presents All-Time Christmas Favorites | 2004 | Top Sail Productions
Soul, Pop, Jazz | Mp3, 320 kbps / FLAC (tracks) | 1:26:04 | 197 MB / 492 MB
Tracklist:
CD1
01. Johnny Mathis – It's Beginning to Look a Lot Like Christmas (2:17)
02. Nat King Cole – The Christmas Song (Merry Christmas to You) (3:15)
03. Dean Martin – Winter Wonderland (1:55)
04. Doris Day – Here Comes Santa Claus (2:41)
05. Sammy Davis Jr – Jingle Bells (2:18)
06. Andy Williams – It's the Most Wonderful Time of the Year (2:32)
07. Lena Horne – Let It Snow Let It Snow Let It Snow (2:27)
08. The Beach Boys – Frosty the Snowman (1:56)
09. Burl Ives – A Holly Jolly Christmas (2:14)
10. Al Martino – I'll Be Home for Christmas (2:37)
11. Brenda Lee – Rockin' Around the Christmas Tree (2:05)
12. Lou Rawls – Have Yourself a Merry Little Christmas (3:44)
13. The Glenn Miller Orchestra – (There's No Place Like) Home for the Holidays (2:46)
14. The Supremes – Silver Bells (3:01)
15. Ella Fitzgerald – Joy to the World (1:38)
CD2
01. Bing Crosby and The Andrew Sisters – Santa Claus is Coming to Town (2:41)
02. Perry Como – White Christmas (3:12)
03. Amy Grant – Hark! The Herald Angels Sing (2:56)
04. Harry Belafonte – The Twelve Days of Christmas (3:49)
05. Elvis Presley – Blue Christmas (2:09)
06. Bobby Helms – Jingle Bell Rock (2:13)
07. Natalie Cole – Silent Night (5:04)
08. Gene Autry – Rudolph, The Red-Nosed Reindeer (3:11)
09. Martina McBride – Do You Hear What I Hear (3:59)
10. Bobby Vinton – Deck the Halls (3:04)
11. Eartha Kitt – Santa Baby (3:27)
12. The Boston Pops Orchestra – Sleigh Ride (3:02)
13. Frankie Valli And The Four Seasons – The Little Drummer Boy (2:22)
14. Vanessa Williams – The First Noel (4:28)
15. Jose Feliciano – Feliz Navidad (3:02)
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Sachal – Slow Motion Miracles (2015)
Sachal – Slow Motion Miracles (2015)
Slow Motion Miracles | 2015 | Okeh
Vocal jazz, Lounge, Pop | Mp3, 320 kbps / FLAC (tracks) | 00:36:07 | 83.9 MB / 203 Mb
Tracklist:
01. Sachal – No More Tears (3:31)
02. Sachal – Denim Lights (3:20)
03. Sachal – Marie (2:53)
04. Sachal – Slow Motion Miracles (2:58)
05. Sachal – Haystacks (4:55)
06. Sachal – Can't Talk (3:22)
07. Sachal – Cover The Water (3:28)
08. Sachal – Afternoon Sun (4:32)
09. Sachal – Waiting On The Roof (3:04)
10. Sachal – Neither One Of Us (Wants To Be The First To Say Goodbye) (4:13)
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