jueves, 11 de agosto de 2016
Rachel Barton Pine: NPR Music Tiny Desk Concert
by TOM HUIZENGA • The music of Johann Sebastian Bach is essential, like air and water, for many classical musicians. Pianist András Schiff starts every day with Bach — sometimes before breakfast. "It's like taking care of your inner hygiene. There's something very pure about it," he says. Cellist Matt Haimovitz notes that he's been playing and thinking about the Bach Cello Suites for more than 30 years. He even plays them in bars.
Violinist Rachel Barton Pine began playing Bach in church at age 4. Ever since, she's been mastering and re-mastering Bach's set of six Sonatas and Partitas—more than two hours of solo violin music that looms like a proverbial Mount Everest for any serious fiddler. The trick is getting the details down. Bach left us with the notes but not much else. Pine recently analyzed every measure of these works, and prepared a new edition of the music with her own dynamic markings, phrasing indications, bowings and fingerings.
For this performance, Pine chose three contrasting movements from the set and plays them on her Guarneri del Gesu violin, which was built in 1742 — eight years before Bach died. She highlights the spirit of the dance in the "Tempo di Borea" (a Bourée from the First Partita). She unfolds a serene melody, just lightly accompanied, in the "Largo" (from the Third Sonata), and she closes with the intertwining "Fuga" (from the First Sonata), which sounds like three violinists in deep discussion.
Although the Sonatas and Partitas brim with technical demands, Pine says that every time she plays them, it's as if she's "conversing with the very best of friends."
Testament: Complete Sonatas & Partitas For Solo Violin By J.S. Bach is available now:
iTunes: https://itunes.apple.com/us/album/tes...
Amazon: https://www.amazon.com/Testament-Comp...
Set List:
J.S. Bach: "Tempo di Borea" (from Partita No. 1)
J.S. Bach: "Largo" (from Sonata No. 3)
J.S. Bach: "Fuga" (from Sonata No. 1)
miércoles, 10 de agosto de 2016
Simple Minds - Book of Brilliant Things
Sparkle in the Rain is the sixth studio album by Scottish rock band Simple Minds, released in February 1984[1]by record label Virgin in the UK and A&M in the US.
A breakthrough commercial success for the band, the record peaked at number 1 in the UK Albums Chart on 18 February 1984,[2] and reached the top 20 in numerous other countries around the world, including New Zealand,[3] Netherlands,[4] Sweden,[5] Canada,[6] Switzerland,[7] Germany,[8] Norway,[9] and Australia. Receiving mostly positive reviews in the United Kingdom and the United States,[10] Sparkle in the Rain was ultimately certified double platinum in the UK by the British Phonographic Industry, and significantly increased media interest in the band.[11]
Simple Minds are a Scottish rock band formed in 1977. They achieved commercial success in the 1980s and, despite various personnel changes, continue to record and tour.
The band scored a string of hit singles, and are best known internationally for their 1985 hit "Don't You (Forget About Me)" (UK #7, US #1, CAN #1), from the soundtrack of the John Hughes film The Breakfast Club. Their other more prominent hits include "Alive and Kicking" (UK #7, US #3, CAN #3) and "Belfast Child" (UK #1, IRE #1, NLD #1). In 1986, the band was nominated for the Brit Award for Best British Group.[3] In 2016, they won theIvor Novello Award for Outstanding Song Collection.[4]
The core of the band is the two remaining founding members – Jim Kerr (vocals, songwriting) and Charlie Burchill (guitars, keyboards after 1990, other instruments, songwriting). The other current band members are Andy Gillespie (keyboards), drummer Mel Gaynor (who first joined the band in 1982) and Ged Grimes (bass guitar). Former members include bass guitarist Derek Forbes, drummer Brian McGee, and keyboardist Mick MacNeil.
Real Scenes: Johannesburg
RA tells the remarkable story of the South African city's thriving house scene.
South Africans are the biggest consumers of house music in the world, and Johannesburg is the beating heart of their scene. If you're looking for proof, there is no need to visit a nightclub. In turning on a television, listening to the radio or walking down the street, it's clear that a 4/4 pulse is the metronome of everyday life. The city's preferred sound—vocal-led, percussive, melodic—is largely at odds with what's popular in other international markets; this coupled with cripplingly slow internet speeds goes someway to explaining SA's absence from the global house music conversation.
Visit the feature page on RA:
http://www.residentadvisor.net/featur...
Subscribe to the RA channel on YouTube:
http://www.youtube.com/residentadvisor
Music in order of appearance:
Culoe De Song- Webaba [Soulistic Music] 2010
Black Motion- The Documentary [Kalawa Jazmee] 2013
TKZee- Palafala (Midnight Lover Mix) [BMG Records Africa] 1998
Vinny da Vinci- We Love House Music [House Afrika Records] 2004
Culoe de Song- Ambush (Culoe De Song's Voyage Dub) [Soulistic Music] 2010
TKZee- Dlala Mapantsula [BMG Records Africa] 2012
Black Motion- Manghoro [Kalawa Jazzmee] 2013
Infinite Boys ft Coco- Teka Teka [Kalawa Jazmee] 2012
Black Coffee- Trip To Lyon [Soulistic Music] 2010
Black Motion- Thrills [Kalawa Jazzmee] 2013
Jullian Gomes ft Bobby- Love Song 28 [Soul Candi Records]2011
DJ Shimza- Never Loved Anyone [Soul Candi Records] 2012
lunes, 8 de agosto de 2016
Marquis Hawkes
It’s possible that Mark Hawkins has several different groups of fans. If you were buying tough, jacking techno in the early-to-mid 2000s, you might have picked up his 12-inches for the iconic Dutch label Djax-Up-Beats, among others. Hawkins explored techno’s extremities, with grinding, fast-paced tracks that folded in influences from ghetto house. More recently, you may have enjoyed Hawkins’ dusky releases as Juxta Position. It hasn’t been his most prolific alias, with three releases since 2013, but the music has made an impact, particularly Juxta Position Vol.1, which came out on DVS1’s Mistress Recordings. You might even know him as ###, a pseudonym he used in the late ‘00s for a couple of minimal outings.
Then, of course, there’s Marquis Hawkes, the name he’s best know for. This is Hawkins’ outlet for interpreting classic house blueprints—in a string of releases since 2012, he’s tipped his hat to the sounds of Chicago, New York and New Jersey. Respected labels like Dixon Avenue Basement Jams, Clone, Aus Music and Crème Organization have signed his tracks, and Social Housing, his recent album, was the result of his ongoing relationship with fabric’s in-house label Houndstooth. (The album also reopened a debate surrounding appropriation, which Hawkins comments on below.) It featured some of the brightest and most celebratory music of Hawkins’ career, an approach that worked nicely for the transition to the album format.
- Resident Advisor
domingo, 7 de agosto de 2016
Lincoln Olivetti 2 Brazilian Disco Don & A.O.R. Ace 1975 - 1997
The world’s attention will soon be on Brazil for the upcoming Olympic Games in Rio de Janeiro. The last time there was a global sporting event in Brazil, the 2014 World Cup, a little mix I had fortuitously just finished, called Lincoln Olivetti: Brazilian Boogie Boss 1978–1984, managed to get swept up in that summer’s Brazilianity. I couldn’t believe it at first as my mix was reposted, tweeted and recommended left and right. I knew the music was good, but 86k listens-and-counting-good? Clearly, the quality of Lincoln’s work overpowered my poor mixing skills and nerdy song selection criteria. The mix took on a life of its own thanks to tweets from a KCRW DJ, a glowing review on the Afropop website and repeated listens for the past two years. Last week averaged seventy listens a day.
Then something really sad happened. Last January 15, Lincoln Olivetti passed away. I was of course touched and humbled to hear from Kassin, who knew Lincoln well in his final years, that “the mixtape you did made him really, really happy. Like, we were crying here when we listened. He was so emotional about it to be recognized outside [Brazil]. It was really, really meaningful to him.” As a music lover, the fact that Lincoln listened, approved and was touched by the mix is far more important than the total number of listens, but I’m sure part of what touched Lincoln was seeing just how many people were listening to his work. Just because he’s gone, I haven’t stopped listening to and digging for his slow-jams, instrumental jams, AOR jams, or any kinda jams. The man was so deep and he covered so many genres with many of his productions reaching the top of the Brazilian charts during the ’70s, ’80s, and ’90s.
I wanna relay an anecdote I heard recently from legendary Brazilian lyricist Tibério Gaspar, though I couldn’t find reference to it in an exhaustive five-minute Google search, and therefore cannot guarantee its factuality, but it has sufficient truthiness so I’ll proceed: Creed Taylor, the legendary jazz producer and studio owner, was in Brazil and was asked how he does what he does, how he’s so good? His response was something like, “I can only take credit for so much, I have a great team with talented people, like my engineer, who’s the best and my mastering guy, I have at least seven people. You know who’s impressive? Your guy Lincoln Olivetti, he does it all extremely well while also writing songs and playing in the band!” For those less familiar with Brazil’s funkier side, let it be made clear that there are countless mixes to be made or already in existence with phenomenal funk, disco and boogie sounds from Brazil that have absolutely nothing to do with Lincoln Olivetti and his steady partner Robson Jorge. However, Lincoln and Robson were so prolific, it’s like comparing their output to the collective works of Quincy Jones, Steve Arrington, Maurice White, and David Foster.
With the 2016 Rio de Janeiro Olympics looming it’s the perfect time to head back down to Brazil, musically. I decided to make a new mix to share some more songs that Lincoln graced. The first mix was certainly not exhaustive of his catalog, far from it. Of course I had some superb leftovers that didn’t make the last mix set aside in a playlist: “Lincoln Leftovers.” I started to go through my records again, do some internet sleuthing, and asked some friends for input, namely Brazilian Boogie Professor Júnior Santos, the man responsible for the killer compilation Brazilian Disco Boogie Sounds 1978–1982. By the time I got ready to cull my collected tracks and formulate a mix, it was clear there were enough first rate tracks to make two mixes spanning pop, soul, funk, AOR, disco, boogie, and samba styles. Rather than flood the market with more mixes than it can appreciate, I whittled down my selections to those with the strongest disco and AOR tendencies, all songs that need to be heard by Lincoln lovers.
- Allen Thayer
Source:
sábado, 6 de agosto de 2016
Donna Summer "State of Independence" (4:25)
Donna Summer en 1982 interpretando una canción de Jon & Vangelis.
"State of Independence" is a song written by Jon Anderson and Vangelis. Cover versions have been recorded by several artists and it has been a hit single on three occasions. The song is written in a reggae/calypso style and features an abstract spiritual lyric.
Originally recorded by Jon and Vangelis for their 1981 album The Friends of Mr Cairo, "State of Independence" was released as a single the same year but did not chart. The song subsequently became better known whenDonna Summer released a cover version a year later in 1982, which became a Top Twenty UK single (and repeated the same feat 14 years later when issued as a remixed version in 1996) and becoming a Number One hit in the Netherlands. In 1992, a third version of the song - retitled "Spiritual High (State of Independence)" - was recorded and released as a single by Moodswings, with vocals by The Pretenders lead singer Chrissie Hynde.
Donna Summer covered "State of Independence" on her 1982 album Donna Summer produced by Quincy Jones. It was released as the follow-up to her hit single "Love Is in Control (Finger on the Trigger)" in 1982. This version was a non-starter in the US, missing the Top 40. It did much better in Europe, including a one-week stay at number one in the Dutch Top 40, making it Summer's second chart-topper in the Netherlands. The single wasreissued in Europe in 1990 following the release of the compilation album The Best of Donna Summer.
Quincy Jones assembled an all-star choir for Summer's recording, including Lionel Richie, Dionne Warwick, Michael Jackson, Brenda Russell, Christopher Cross, Dyan Cannon, James Ingram, Kenny Loggins and Stevie Wonder. Jones has claimed that this song laid the foundation for the group effort "We Are The World," which was written by Jackson and Richie and was produced by Jones, who called upon many more of his famous friends for help.
- Wikipedia
miércoles, 3 de agosto de 2016
William Shatner "Sings" 'Rocket Man' (1978)
Starting in the 1960s, William Shatner, riding high on his Star Trek fame, began his idiosyncratic musical career. With his 1968 concept album, The Transformed Man, the actor gave us the first taste of his musical schtick. He wouldn’t sing songs. He would speak them, often in a melodramatic, exaggerated fashion. Just listen to his versions of “Lucy in the Sky with Diamonds” and “Mr. Tambourine Man” to see what I mean.
Four decades later, the Shat hasn’t changed his style. In 2011, he released a popular version of Queen’s “Bohemian Rhapsody” (watch below) on his space-themed album, Seeking Major Tom. But really, if you want to experience the high watermark of Shatner’s musical work, you need to beam yourself back to 1978. That’s when the actor hosted The Saturn Awards (essentially the Oscars for science fiction, fantasy & horror films) and “sang” a version of “Rocket Man,” the 1972 song co-written by Elton John and Bernie Taupin. It’s Taupin who introduces Shatner, and Karen Black who introduces Taupin.
As you will see (above), the broadcast used chroma key video techniques to portray three different images of Shatner, each of which represented a different part of the Rocket Man’s character. Now a cult classic, Shatner’s performance has been parodied over the years by Beck, Family Guy, and Chris Elliot on a 1992 episode of Late Night with David Letterman, among others. You can find a new recording of “Rocket Man” on Seeking Major Tom.
martes, 2 de agosto de 2016
Moment by Moment, bella canción de una película desastrosa
"Moment by Moment" is the title theme song to the 1978 Universal Pictures film Moment by Momentstarring Lily Tomlin and John Travolta. It is written by Lee Holdridge and Molly-Ann Leikin and performed by American singer Yvonne Elliman. The song is featured twice on the film's soundtrack album, as the first track and reprised as the final track, including three instrumental versions.[1]
"Moment by Moment" was wholly panned by critics and moviegoers.[6]
During filming of Moment by Moment, a Los Angeles magazine reported from the set at the time: "The chemistry between Tomlin and Travolta began to rival that between Menachem Begin and Yassar Arafat." A crew staff was also quoted saying: "Two weeks into the shooting on location in Malibu, there was nobody on the set that didn't know we were in the middle of a turkey. It was like being on the voyage of the damned."
Two years after its release, Lily Tomlin said of the experience: "John and I were totally unprepared. We thought it was a sweet, small, lightly funny movie. We were not prepared for what others thought. It's the one thing that all performers live in fear of - total failure. And when it happens and you survive, I think you're probably in a much better place. It's made me less cautious. It made me place more importance on the experience of working with other artists than on the reaction of critics or the public."[7]
The film remains a "camp classic," with a reputation sufficient to have prompted Mystery Science Theater 3000 producers to try (unsuccessfully) to obtain the rights necessary to broadcast it and mock it on their show.[8]
Brian Eno: 77 Million Paintings w/ Scape
June 9 2014
Quite simply put, Brian Eno is THE MASTER. This multimedia artist is one of the most versatile figures in the history of pop music. He's collaborated with almost everyone who is anyone in pop and avant garde music, from Roxy Music to U2, from Laraaji and Harold Budd to Ultravox and Talking Heads. This video is from his awesome 77 Million Paintings presentation of randomized music and images.
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