Hay sucesos que agitan el mundo.
Recorremos la geografía y sus músicas.
Para más detalles:
https://slumdar2.wordpress.com/
TIME AND TRACK LIST
01.-00:03:17 richie havens - freedom
02.-00:04:45 sweetwater - two worlds
03.-00:14:20 bert sommer - jennifer
04.-00:17:01 bert sommer - smile
05.-00:21:49 tim hardin - hang on to a dream
06.-00:26:04 tim hardin - simple song of freedom
07.-00:30:19 ravi shankar - raga puriya-dhanashri
08.-00:41:17 melanie - beautiful people
09.-00:45:12 arlo guthrie - coming into los angeles
10.-00:50:31 joan baez - hickory wind
11.-00:53:55 quill - they live the life
12.-01:03:24 quill - that's how i eat
13.-01:08:28 country joe mcdonald - i feel like i'm fixin' to die rag
14.-01:13:57 john b. sebastian - rainbows all over your blues
15.-01:16:02 santana - persuasion
16.-01:20:22 santana - soul sacrifice
..
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326 Música sin usura 31-07-2017 El giro de Woodstock I
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JEANNE MOREAU (1928-2017) – H Ζαν Μορό στην Ελλάδα τον Οκτώβριο του 1965
Δεν ήταν η πρώτη φορά που η Ζαν Μορό θα ερχόταν στην Αθήνα, τον Οκτώβριο του 1965. Θα ήταν όμως η πρώτη, που θα ερχόταν για το γύρισμα μιας ταινίας, τον Ναύτη του Γιβραλτάρ του άγγλου σκηνοθέτη Τόνι Ρίτσαρντσον, με σενάριο δανεισμένο από τη νουβέλα τής Μαργκερίτ Ντυράς με τον ίδιο τίτλο.
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| Ζαν Μορό-Γιώργος Ζαμπέτας, φθινόπωρο '65 |
Όπως είχε γράψει και η εφημερίδα Ελευθερία, στο φύλλο της 22ας Οκτωβρίου 1965:
«Ο Όρσον Ουέλλες και η Ζαν Μορώ αναμένονται στην Αθήνα. Είναι οι πρωταγωνιστές της ταινίας Ο Ναύτης του Γιβραλτάρ του Τόνι Ρίτσαρντσον, που σκηνές της θα γυριστούν στην Ελλάδα και συγκεκριμένα σε ορισμένα νησιά του Αιγαίου. Υπολογίζεται ότι το γύρισμα αυτών των σκηνών θα διαρκέσει 20 μέρες. Την Ζαν Μορώ και τον Όρσον Ουέλλες θα συνοδεύουν οι ξένοι ηθοποιοί Ίαν Μπάνεν, Φάουστο Τότσι, και Μάσσιμο Σερκιέλι. Θα έρθει επίσης και ο διευθυντής φωτογραφίας του συνεργείου Ραούλ Κουτάρ. Στην ταινία θα παίξει και ο νέος έλλην ηθοποιός Θ. Ρουμπάνης.
Η Ζαν Μορώ έχει ξαναέλθει πριν από τρία χρόνια στην Ελλάδα, με την συνοδεία του διευθυντού του μεγάλου παρισινού οίκου ραπτικής Πιέρ Καρντέν. Είχε τότε πραγματοποιήσει μεγάλη κρουαζιέρα στα ελληνικά νησιά, όπου η παρουσία της μαζί με τον Πιέρ Καρντέν είχε απασχολήσει τις στήλες του διεθνούς Τύπου. Ο Όρσον Ουέλλες έρχεται στην Ελλάδα για πρώτη φορά».
Τα γυρίσματα της ταινίας τού Τόνι Ρίτσαρντσον ήταν περιπετειώδη, αφού κάποια στιγμή η Ζαν Μορό αρρώστησε, ενώ χαρακτηρίστηκαν και από τις διάφορες ερωτικές ιστορίες που συνέβησαν ή εξελίχθηκαν κατά τη διάρκειά τους.
Αυτά τα «σκάνδαλα» δεν περνούσαν ούτε τότε απαρατήρητα από τον Τύπο και για να φτάσει, μάλιστα, να τα σχολιάσει ακόμη και ο Γιάννης Μπακογιαννόπουλος στην κριτική του για την ταινία (5 Απριλίου 1967), και πάλι στην Ελευθερία, φανταστείτε τι έκταση είχαν πάρει…
Η συνέχεια εδώ…
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Pierce Edens – Stripped Down, Gussied Up (2017)
320 kbps | 102 MB | LINKS
Stripped Down Gussied Up is a heaping handful of intriguing juxtapositions; paradoxical natures set to play against one another. The result is a complex work that defies easy classification. Lyrics about rage, love, murder, loss, and rebirth all play out over a lushly treated yet spare musical backdrop that is both acoustic and not; distinctly rooted in Appalachian traditions, yet unmistakably modern, sweetly nostalgic, and urgently current.
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Santana – Lotus: Complete Edition (2017)
…Seven unreleased tracks, which had been sealed for 44 years long, are included in this set, and finally listed on the original order. These seven are: “Japan”, “Bamble”, “Ummu Uum”, “Sacred Light”, “The Creator Has a Master Plan”, “Savor”, and “Conga Solo” (about 35 minutes total).
Legendary engineer Tomoo Suzuki, who was responsible for recording & mixing of the original work, is responsible for mixing these seven tracks, using the original master tapes stored in Japan.
Recorded in Japan in July 1973, this massive, three-LP live album was available outside the United States in 1974 but held back from domestic release in the U.S. It features the same “New Santana Band” that recorded Welcome, and combines that group’s jazz and spiritual influences with performances of…
…earlier Latin rock favorites like “Oye Como Va.” — AMG
CD1
1.01 Meditation [01:40]
1.02 Going Home [02:53]
1.03 A-1 Funk [03:12]
1.04 Every Step of the Way [11:28]
1.05 Black Magic Woman [03:37]
1.06 Gypsy Queen [03:57]
1.07 Oye Como Va [05:44]
1.08 Japan [04:49]
1.09 Bambele [04:51]
1.10 Um Um Um [06:51]
1.11 Yours Is the Light [05:37]
CD2
2.01 Batukada [00:58]
2.02 Xibaba (She-Ba-Ba) [04:12]
2.03 Stone Flower (Introduction) [01:10]
2.04 Waiting [04:12]
2.05 Castillos De Arena, Part 1 (Sand Castle) [02:53]
2.06 Free Angela [04:47]
2.07 Samba De Sausalito [03:33]
2.08 Mantra [07:14]
2.09 Kyoto [09:55]
2.10 Castillos De Arena, Part 2 (Sand Castle) [01:12]
2.11 Light of Life [03:28]
2.12 Se A Cabo [05:29]
CD3
3.01 Samba Pa Ti [09:34]
3.02 Mr. Udo [03:12]
3.03 The Creator Has a Master Plan [09:02]
3.04 Savor [04:14]
3.05 Conga Solo [02:45]
3.06 Toussaint L’overture [08:02]
3.07 Incident at Neshabur [16:22]
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Nouri - Ma Monia (2003)
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Inna Feat Juan Magan - Un Momento (2011) (FLAC)
Inna Feat. Juan Magan - Un Momento (2011) (FLAC)
Released: 2011 | Track: 4 | Country: Romania | FLAC | Time: 00:18:34 | Label: Airplay Records - 279 015 9 | Artwork Included | 3% Recovery Added | 159 MB
Genre: Electronic, House, Latin, Synth-pop
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Mastermix DJ Beats 56 July (2017)
Artist: Mastermix
Title: DJ Beats Vol 56
Label: Music Factory
Style: Reggae, Urban, Dancehall, Funk, Disco, New Wave, Synthpop, Latin, Dance
Release Date: 25-06-2017
Format: CD, Compilation
Quality: 320 Kbps/Joint Stereo/44100Hz
Tracks: 15 Tracks
Size: 142 Mb / 01:00:52 Min
Title: DJ Beats Vol 56
Label: Music Factory
Style: Reggae, Urban, Dancehall, Funk, Disco, New Wave, Synthpop, Latin, Dance
Release Date: 25-06-2017
Format: CD, Compilation
Quality: 320 Kbps/Joint Stereo/44100Hz
Tracks: 15 Tracks
Size: 142 Mb / 01:00:52 Min
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Hans Kennel - Mytha Horns Three – An Alphorn Polyphony and Songbook (2004)
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VA - House Clubhits Megamix 2017.2 (2017) FLAC
Artist: VA | Album: House Clubhits Megamix 2017.2 | Released: 2017 | Label: Selected (Alive) | Genre: Electronic, Deep house, Dance
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VA - Jazz Sexiest Ladies (2017) FLAC
Artist: VA | Album: Jazz Sexiest Ladies | Released: 2017 | Label: Music Brokers | Genre: Jazz, Lounge
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VA - Poolside Ibiza (2017) FLAC
Artist: VA | Album: Poolside Ibiza | Released: 2017 | Label: Toolroom Longplayer | Genre: Disco, House
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The Earls Of Leicester – Rattle & Roar (2016)
FLAC | 233 MB | LINKS
The Earls of Leicester are set to release their sophomore album, Rattle & Roar, this summer. The award-winning sextet — Jerry Douglas, Barry Bales, Shawn Camp, Charlie Cushman, Johnny Warren and Jeff White — will release the project on July 15 via Rounder Records.
Rattle & Roar features re-imagined versions of tracks originally performed by bluegrass legends Lester Flatt and Earl Scruggs, just as the Earls did with their 2014 self-titled debut record. Among Rattle & Roar‘s 17 tracks are “Steel Guitar Blues,” “You Can Feel It in Your Soul,” “The Train That Carried My Girl From Town” and “All I Want Is You.” A complete track listing is below.
“I hope people who don’t know Flatt & Scruggs hear this and think it’s totally new music,” Douglas says in a press release. “Then, I hope they find out what we’re doing and go out and buy every Flatt & Scruggs record they can find.”
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Becca Stevens – Regina (2017)
FLAC | 373 MB | LINKS
Drawing upon elements of pop, indie-rock, jazz, and traditional Appalachian folk, Stevens has been hailed for her unique ability to craft exquisite compositions both for her own band, and for artists who run the gamut of genre from the legendary David Crosby, to singer José James to classical pianist Timo Andres.
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Benny Havens Band – Songs That Save Our Lives (2017)
320 kbps | 108 MB | LINKS
Tracklist:
01. Small Town Skyline
02. That’s When America’s Beautiful
03. Unfriendly Fire (with Ryan Weaver)
04. American Beauty
05. Let Freedom Ring
06. Living the High Life
07. Don’t Want You to Go
08. Young as I’ve Ever Been
09. When America Dreams
10. Hold the Line
11. God Bless the Mother
12. Songs That Save Our Lives
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Billy Droze – To Whom It May Concern (2017)
320 kbps | 103 MB | LINKS
Billy Droze has acquired the title of “hit songwriter” over the years co-writing such songs as; “Kentucky Blue” (#1 for two weeks on Bluegrass Today Weekly Chart) – Billy Droze, I Know Better” (#1 on Bluegrass Today Weekly Chart) – The Grascals, “Her Memory Again” (#5 on Bluegrass Today Weekly Chart) – Flatt Lonesome, “Bottle Was a Bible” – Junior Sisk, ”Big Pain” – Marty Raybon, “Free Again” –Shenandoah, “Sunday Clothes” – Randy Kohrs, “That’s Why I Run” – Billy Yates (#1 in Europe),“You Never Know” – Darryl Worley, “Like I Do” – Jamie O’Neil and more.
Just released, Droze’s second single from the album titled “Better With Time”, Droze explains, “I feel like “Better With Time” dropped right out of the sky, like it was destined to be included on this record. I initially felt this song to be my own life experience, that faith in God and perseverance will get you through all things. With the help of two close friends, veteran songwriters Jim Parker and Ronnie Bowman, the song was sculpted into, what I believe will be very impactful and enlightening to the listener. In other words, I think it will help many to understand It All Gets Better with Time”.
TO WHOM IT MAY CONCERN shows that Billy Droze is truly a unique artist and hit songwriter, with lyrics that dig deep into the heart of life, melodies and a guitar style that combine his traditional roots with a modern twist that’s all his own, and a voice so soulful, earthy and sincere that every song seems to draw you in to believe and enjoy his brand of American Music.
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Geraldo Pino & The Heartbeats – Let’s Have a Party (1974, Reissue 2017)
It’s no exaggeration to say that Geraldo Pino and his band the Heartbeats kickstarted the whole soul/funk/afrobeat scene in West Africa. Mixing highlife, funk and jazz, and using the latest equipment, they laid waste to all before them. In 1966 Fela Kuti was a jobbing musician, seeking out a living with highlife bands. When Gerlado Pino came to town, it changed his life. “Pino tore up the scene,” he recalls in an interview with Carlos Moore. “I knew I had to get my shit together. And fast!”
Produced by Odion Iruoje and engineered by Emmanual Odenusi, Let’s Have a Party is Geraldo Pino’s masterpiece. It’s slick and heavy, tough and uncompromising, with musicianship that will blow your mind. It’s all killer, no filler, with ‘Heavy Heavy Heavy’ and ‘Let Them Talk’ bonafide,…
…nailed on funk classics.
The Heartbeats are exactly that, a tight and efficient engine that keeps the groove moving. This is US-style funk, with an emphasis on extended percussion workouts and organ wigouts. You can’t listen to ‘Power to the People’ without being impressed – or compelled to dance. The extended call out to each Heartbeat in ‘Let’s Have a Party’ is well deserved.
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The Mana'o Company - Spread A Little Aloha (2001)
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The Gruffs – Not The Full Shilling (2017)
320 kbps | 101 MB | LINKS
Tracks:
1. Chicken Nak Scratch
2. Onion Head
3. Desmond Brainstorm
4. Zombie Lover
5. Gruff
6. Sniff
7. Bamboo Boogie Man
8. Planet Doom
9. Lily-White Bush
10. Stumpy And Skunk Eye
11. Cactus Acid
12. Golden Furrow
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Avi Avital and Omer Avital – Avital Meets Avital (2017)
It’s understandable but unjustified to assume that Avital Meets Avital, the debut collaboration between classical mandolinist Avi Avital and jazz bassist Omer Avital, is a commercial ploy. True, the unusual yet dazzling pairing of mandolin and bass has seen traction in recent years with excellent recordings by Chris Thile and Edgar Meyer, as well as Jesse Jones and Craig Butterfield. Likewise, there is inherent crossover appeal whenever musicians from the jazz and classical worlds join forces, although this does not always guarantee artistically inspiring unions. Considering Avi’s conservatory-trained background against Omer’s years in the Greenwich Village jazz scene (in particular at the legendary Smalls jazz club), the two seem to have little common ground other than acoustic…
…instruments and a shared last name.
However, the closer one looks, the more they find connective musical tissue between the two. Notably, Avi and Omer dedicated part of their careers expanding their respective repertoire with new compositions and commissions that explore their native Israeli musical roots in the context of contemporary classical and jazz. Avi blends traditional folk melodies and rhythms alongside Baroque repertoire, while Omer explores similar ideas in his own recordings, notably with his Yemen Blues project. Likewise, both are fearless improvisers, perhaps not surprising with Omer but a notable factor with Avi considering modern classical musicians’ relative fear of the unknown. Collaborating here with pianist Yonathan Avishai and percussionist Itamar Doari (with a brief appearance from accordionist Uli Sharlin), Avi and Omer have produced a recording that beautifully blends traditional Israeli folk influences with song structures and aesthetics not far removed from modern jazz and contemporary acoustic music.
The opening track “Zamzama” honors their musical roots with an alluring melody and 7/4 time signature. The harmonically static hypnotic groove builds underneath solos from Avi and Yonathan like meditations on the song’s modal trance. With their improvisations, the two build intensity in concert with the rest of the group, both musicians developing a beautiful slow burn rather than an overt virtuosic tirade. Borrowing elements from folk music and jazz, “Zamzara” is a reflection on the meeting of the old world with the new, something of a thesis statement for the album as a whole.
The straightforward ballad “Lonely Girl” is a minor key affair that codifies melancholy in musically complex ways. Avi’s melody feels cinematic in scope, emoted with an artful application of dynamics while the core trio gracefully follows his lead with airtight precision. “Ballad for Eli”, another sorrowful track with slight peaks and valleys in intensity, exhibits a mood that somehow feels both tragic and nostalgic. Both works, compositions by Omer, exemplify his ability to write music that honors melodic folk traditions without feeling painfully pastiche.
The album’s pulse picks up with “Ana Maghrebi” and “Avi’s Song”, original tunes that showcase Avi and Omer as improvisers. The energy of these works naturally contrast with their slower counterparts throughout the album, and their arrangements help them feel richer and more complex than simple audience-baiting, fast-tempo burners. The vivaciousness of “Maroc” makes it a pulsing highlight of the album, a dancing adventure for the group that likely makes it an excellent closer in concert. When Avi and Omer lock in on the tune’s rhythmic motif at the conclusion, their drive is heavy without feeling overbearing, a propulsion that reveals two brilliant musicians from different backgrounds who’ve found excellent common ground.
Aside from bluegrass, the mandolin doesn’t often lead modern ensembles, but Avital Meets Avital does well to rectify this. It’s striking how well this ensemble, recording for the first time, mines these compositions for their musical qualities rather than focus on style over substance. All nine tracks on this record sound like reflections on both the introspective nature of folk simplicity as well as the inherent dance in its rhythms. Avital Meets Avital is not an album that languishes in obvious and painful pastiche for the sake of commercial potential. While Avi takes most of the melodies, the rest of the group deserves laude for keeping the musical landscape clear and effective, free of any modernist showboating or needless dissonance.
Avi and Omer perform as a duo on the closing track, “The Source and the Sea” by Moshe Vilenski, the album’s only non-original composition. After the explorations and energy from the preceding eight works, this feels like a satisfying conclusion to the record, a solemn reading of a humble song that needs no added complications. Free from any obligatory solos or mindless elaboration, Avital Meets Avital is a brilliant meeting of two musicians with divergent background but unified musical goals.
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Southern Avenue – Southern Avenue (2017)
FLAC| 256 MB | LINKS
Memphis, Tennessee, is one of the outstanding music cities of America. Southern Avenue runs from East Memphis due west, where it turns into E. McClemore Avenue, home of Soulsville, better known as Stax Records. This young Memphis group named themselves and their self-titled debut release, Southern Avenue, in a deliberate undertaking to continue and expand upon the soul, blues, and gospel tradition associated with this fabled city.
Fronted by the vivacious and vigorous vocalist Tierinni Jackson, the band has the recognizable throwback sound of Stax, but also adds a distinctive contemporary essence, giving them a razor sharp modern identity. Originally started by guitarist Ori Naftaly as a blues band, they morphed into their current lineup with the addition of Tierinni’s sister Tikyra Jackson on drums, Daniel McKee on bass, and keyboardist Jeremy Powell. The Jackson sisters sang and played in the local churches, tuning them into the inherent qualities required to perform soul music in Memphis; the other members proving just as proficient in their capabilities.
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