Jazz & Blues kutak :)

Klepton na zalost nema nista, ni tehniku ni "udarac" , cuo sam par numera obrada Johnsona i slatko se nasmejao. Cuo sam bar 10 boljih obrada istih numera. Spomenuo sam jednom prilikom izvesnog John Mooney-a, ako neko moze da nabavi njegov dvostruki Live nastup, ima par obrada Johnsona, to je za Kleptona nemoguca misija.

Klepton je jednostavno izvikana figura u svetu bluesa, svaka cast za period `60 tih, Cream ...... ali to je nesto drugo.
Njegov blues je tanak........
 
klika:
Klepton na zalost nema nista, ni tehniku ni "udarac" , cuo sam par numera obrada Johnsona i slatko se nasmejao. Cuo sam bar 10 boljih obrada istih numera. Spomenuo sam jednom prilikom izvesnog John Mooney-a, ako neko moze da nabavi njegov dvostruki Live nastup, ima par obrada Johnsona, to je za Kleptona nemoguca misija.

Klepton je jednostavno izvikana figura u svetu bluesa, svaka cast za period `60 tih, Cream ...... ali to je nesto drugo.
Njegov blues je tanak........
За Клептона се апсолутно слажем.
 
Znaci, u pogledu Klaptona se slazemo.

A sta cemo sa njegovim mestom u Yardberds, Delany and Bonny, Derec and Dommininoes, Blind Fight...... ovo je forum, objasnite svoje stavove.

Odakle tolika popularnost medikritetnom gitaristi, koji je neke od svojih najvecih
( skorasnjih )uspeha ostvario interpretacijom hitovva (jos uvek zivog j.J. Calea).

Greena niko ne pominje. Zar su ga zaista svi zaboravili, ili ga ne slusate.

Klika pomijne John Mooneya. Kojeg! Ima ih dvojica, starijii i mladji.
Ali za pocetak evo par informacija o J.M.jr.

"Big Ol' Fiya" Nominated for BMA "Contemporary Blues Album of the Year"
Dec 20, 2006
What great news to hear that "Big Ol' Fiya" has been nominated for a BMA (Blues Music Award) "Contemporary Blues Album of the Year".


Throughout the years John Mooney has developed one of the most distinctive and easily identifiable guitar and vocal signatures of anyone alive today.
Part of the original impetus for his interest in music may have filtered down from his grandfather, a musician himself. “He used to play the mandolin and banjo back in the 20’s” says Mooney. “He even cut a couple of 78’s for the Peerless label that I’ve heard. It was really hot stuff, a kind of raggy jazz.“
John left home at 15 and began playing with Joe Beard at about that same time. Joe introduced him to the first and most enduring influence on the development of Mooney’s music, the legendary Delta blues singer, Ed “Son” House. Impressed by the 16 year old musician’s talent, Son and John soon became friends. “I wasn’t aware of what the
opportunity meant, but I knew there was nobody better in Delta blues.“ Mooney cites Son’s heavily rhythmic style having a strong influence on him. In fact, the way Mooney adapts acoustic playing to a modern electric format is one of his most distinctive trademarks.
In 1976 John moved to New Orleans and immersed himself in that city’s vibrant music scene. John regularly played with the likes of Earl King, The Meters, Snooks Eaglin, and the man who was to influence his music greatly, the father of New Orleans piano, Professor Longhair. He was playing regularly in front of New Orleans drummers like Zigaboo Modeliste, John Vidacovich, and Herman Ernest. At this place in time John successfully combined the sounds of the delta with the syncopated rhythms of the Crescent City to create the style that has become uniquely his own.
Since 1981 he has been touring with his group, the Bluesiana Band, performing throughout the U.S., Canada, Panama, Europe, Australia, and Japan. Current Bluesiana band mates include long time band member Jeff Sarli on bass. Jeff may be best known for playing on the Rolling Stones “Bridges to Babylon” album and for sharing the stage with the likes of Keith Richards, Levon Helm, and the Band. Other Bluesiana members include the legendary Professor Longhair band mate Alfred “Uganda” Roberts on congas & percussion and renowned New Orleans drummer Carlo Nuccio perhaps best known for his work with Emmylou Harris and Tori Amos. Over the years John and his band have earned a musical reputation that have gained them invitations to play at numerous folk, jazz, and blues festivals across the globe, including the Montreaux Jazz Festival, the Newport Folk Festival, the Chicago Blues Festival, and a yearly appearance at New Orleans’ world renowned Jazz & Heritage Festival.
In 2000 Mooney released “Gone to Hell,” with special guest Dr. John adding some extra spice. The critics welcomed this comeback with open arms and high praise. Blues Access called the album “a seductive musical cocktail that leaves you deliriously drunk with pleasure every time.“ Blues Revue wrote, ”‘Gone to Hell’ bumps, grinds, and simmers with the emotional intensity of a musician who plays directly from his soul to yours.“
His newest disc, “Big Ol’ Fiya” with special guest Jon Cleary has been a long time coming but Mooney has brought some profound musical styles and songwriting to his signature syncopated delta blues sound. If there was ever a Mooney CD to own, this one is truly it. By far his most heartfelt, intimate, soulful and incredibly intricate vocals, this is a John Mooney album that is simply like none other.
 
Занимљив документарац с М. Петручанијем, са тв канала "Меzzo":

https://video.google.com/videoplay?docid=-1172784483135614308

Иначе, он ми је један од омиљених.

За релативно кратког овоземаљског живота :-( оставио је, срећом, доста тога незаборавног.

Ономе ко, можда, није чуо, свесрдна препорука!
 
Ономад помињасмо Елу...

Заборавих да питам: има ли неко, можда, њен албум - "Spirituals"?

(Одавно га тражим, на торентима нема, или је слабо).

Ипак, нашла! :D
 
zakris:
Znaci, u pogledu Klaptona se slazemo.

A sta cemo sa njegovim mestom u Yardberds, Delany and Bonny, Derec and Dommininoes, Blind Fight...... ovo je forum, objasnite svoje stavove.

Odakle tolika popularnost medikritetnom gitaristi, koji je neke od svojih najvecih
( skorasnjih )uspeha ostvario interpretacijom hitovva (jos uvek zivog j.J. Calea).

Greena niko ne pominje. Zar su ga zaista svi zaboravili, ili ga ne slusate.

Klika pomijne John Mooneya. Kojeg! Ima ih dvojica, starijii i mladji.
Ali za pocetak evo par informacija o J.M.jr.

[

Sve je to ok, Kleptonov period Cream-Yardbirds je jedini u kojem je on nesto znacajno napravio, naravno pod uticajem tada velikih imena USA blues scene i pojavom velikana poput Son House, Big mama Thorton i ostalih koji su pocetkom `60 doneli u Britaniju tada sirovi blues i kada su Klepton i ostali golobradi mladici tog vremena ostali potpuno sokirani onime sto su culi, i kasnije integrisali isti taj crni sirovi blues u novi pokret , hard rock koji je imao svoje zlatne dane upravo u `60-tim.
Od 1970. Kleptona nema, on je samo senka, naravno problemi sa drogom i alkoholom kako to obicno biva, on fakticki do `80-te nista znacajno nema u svom repertoaru, kasnije prelazi u neke pop rock vode, snima neke bljutave srceparajuce baladice , uglavnom i gradi karijeru na tome u cemu mu svesrdno pomazu mediji i po meni, nepravedno prave BLUES zvezdu sto on nikako nije. A evo i zasto...............njemu je trebalo punih 25 godina da izda pravi blues album cini mi se `94 godine, a posle reizdanja Sony-ja legendarnog Johnsonovog "King of Delta Blues" Klepton, naravno uvek prateci stari oprobani recept, go with the flow, se poziva posle vise decenija na svog idola, itd........pa gde je bio `70-80 , zaradjivoa gomilu para na istim onim baladicama koje nemaju veze sa bluesom. Znaci, ja tog coveka nikako ne mogu nazvati bluesorm, pravi istinski blues man svira i zivi blues od pocetka do kraja, tu nema kompromisa.

Sto se tice Mooney-ja, ja znam za ovog jednog, imam 7 albuma od njega, covek je jednostavno sjajan, vidi se uticaj Son House, njegov mentora i ucitelja, imao je od koga i da nauci.

Green, slicna prica u vezi droge, covek je otisao u zaborav, nije se nikada vratio posle tih problema, na zalost. Mislim da je mogao mnogo vise da pokaze od Kleptona ali.........to je sada otvoreno pitanje, sta bi bilo kad bi bilo, u svakom slucaju, Kleptno je za mene nista vise nego produkt medija od `70 pa na dalje, izvikana figura u svetu bluesa.
 
Kilka, potpuno se slažem sa tobom. Ali ipak poslušaj neke od poslednjih albuma P.Greena ( sa N.Watsonom i Splinter Groop ). VIdećeš da je Green prebrodio krizu.

Mooney je apsolutno O.K. I ja imam par njegovih albuma. Trenutno skidam ACOUSTIC LIVE 2 LP.

Ako hoćeš da čuješ još nešto veoma dobro, poslušaj Jimmy Thackery -a. Preporučujem njegov album sa Mooney-em :Sideways in Paradise (Jimmy Thackery and John Mooney, 1993)

Jimmy Thackery , Biography

Singer, songwriter, and guitar virtuoso Jimmy Thackery has carved an enviable niche for himself in the world of electric blues. Known for his gritty, blue-collar approach and marathon live shows, Thackery was for many years part of The Nighthawks, one of the hardest-working blues bar bands in North America; since the late 1980s, he has been touring and recording under his own name, and has found widespread acceptance on the festival circuit. His hard-edged, tough-as-nails approach to guitar playing and his trio's driving rhythm section holds appeal for fans of both the straight-ahead blues of Muddy Waters and the roots-rock of Bruce Springsteen and Joe Grushecky. Like the Nighthawks and Grushecky's Houserockers, much of the material Thackery performs can safely be called blues or blues-rock. Hardcore blues like "It's My Own Fault" and popular blues-rock chestnuts like "Red House" from Jimi Hendrix are fair game for Thackery and his Drivers, who include Michael Patrick on bass and Mark Stutso on drums and vocals.
Born in Pittsburgh, Thackery was raised in Washington, D.C. In high school, he played in a band with Bonnie Raitt's brother, David, who exposed him to the music of Buddy Guy; Thackery saw both Guy and Jimi Hendrix perform in Washington, D.C. Thackery joined the Nighthawks in 1974, after being introduced to harmonica man Mark Wenner by fellow guitarist Bobby Radcliff, who was then based in D.C. Thackery recorded more than 20 albums with the Nighthawks and toured the U.S, Canada, Europe and Japan. He left the band in 1987 and struck out on his own, needing a break from the Nighthawks' 300-nights-a-year tour schedule.
He formed a new band, Jimmy Thackery and the Assassins, and toured the East Coast heavily with that band until they split up in 1991. Since then Thackery has been leading a trio, Jimmy Thackery and the Drivers, and quickly forged a name for himself on the blues festival and club circuit through a prolific recording pace and a lot of roadwork. His albums for the San Francisco-based Blind Pig label include Empty Arms Motel (1992), Sideways in Paradise (Jimmy Thackery and John Mooney, 1993), Trouble Man (1994), Wild Night Out (1995), Drive to Survive (1996), and Switching Gears (1998). His 1998 album includes guest performances by Joe Louis Walker, Lonnie Brooks, Chubby Carrier and Francine Reed, but any of Thackery's albums will delight fans of tough, heavy, driving guitar playing. For a taste of his thorough mastery of several styles, Drive to Survive touches on rockabilly, jazz, bebop and surf music. Most of Thackery's albums include at least a few covers mixed in with his batch of self-penned songs. Two years later, Thackery released Sinner Street. In 2002 Thackery signed on with the blues division of Telarc Records, releasing We Got It in 2002 followed by True Stories in 2003.
Richard Skelly
 
Klika, izvinjavam se zbog brzopletosti!

Kad sam pomenuo dva Mooney-a nisam vodio računa o spelingu. ''Matori'' se zove Joe Mooney i takođe je bio jedan od poznatijih jazz muzičara.

Ako nešto pomaže, evo njegove biografije:

Biography: Joe Mooney

For a period of time, Joe Mooney was a well-known jazz accordionist -- which is definitely a small field -- but he had a lengthy and a rather episodic career. He went blind in the early '20s but by 1926 was playing duets with his brother Dan on radio. They recorded from 1929-31 as the Sunshine Boys (also as the Melotone Boys); Joe played piano and both brothers sang while joined by some notable jazz all-stars. The siblings stayed together through 1936 (broadcasting on WLW Radio in Cincinnati). Dan slipped away from music, while in 1937 Joe became the pianist and arranger for Frank Dailey. He joined Buddy Rogers in 1938 and was soon contributing charts for Paul Whiteman, Vincent Lopez, Larry Clinton and Les Brown, plus vocal arrangements for the Modernaires. In 1943 he formed his own quartet, playing accordion and taking vocals; his group also included clarinet, guitar and bass. The swing-oriented combo became very popular during 1946-49. After the band ran its course, Mooney worked as a vocalist with the Sauter-Finegan Orchestra, recorded with Johnny Smith in 1953, moved to Florida in 1954 and gradually switched to organ. Joe Mooney's Quartet recorded for Decca from 1946-47 and he also recorded for Carousel (two titles in 1951), Atlantic (1956) and Columbia (1963-65). Occasionally he would travel to New York for television work or to record, but he mostly worked in Florida, including at his club The Grate Joy. He died of a stroke in 1975 at the age of 64.
~ Scott Yanow, All Music Guide
 
zakris:
Kilka, potpuno se slažem sa tobom. Ali ipak poslušaj neke od poslednjih albuma P.Greena ( sa N.Watsonom i Splinter Groop ). VIdećeš da je Green prebrodio krizu.

Mooney je apsolutno O.K. I ja imam par njegovih albuma. Trenutno skidam ACOUSTIC LIVE 2 LP.

Ako hoćeš da čuješ još nešto veoma dobro, poslušaj Jimmy Thackery -a. Preporučujem njegov album sa Mooney-em :Sideways in Paradise (Jimmy Thackery and John Mooney, 1993)

Nisam slusao Greena u novom izdanju, nije to vise ono pravo.

Mene je malo zbunilo ono kada si rekao dva JOHN M. znam da postoji jedan.
A imam taj album sa Thackery-jem. Ovaj dvostruku live je fantastican.
 
Ја управо прекјуче добих сјајан DVD :D :

314HMGPH2RL._SS400_.jpg


(The Centennial Edition: Complete RCA Victor Recordings).

И, данас, тражећи омот на Интернету, наиђох и на овај текст о томе:

" Close your eyes, dip your hand into this treasure chest, and play any of the 462 tracks contained within: you are guaranteed to hear something magnificent. It may be a stunning composition, an innovative arrangement, or an astonishing improvisational passage, but the brilliance is there.

It is only fitting that the greatest figure in 20th-century popular music is the subject of this most wondrous box set. Across 24 discs, the majesty and unparalleled genius of Duke Ellington is on vivid display. Listening to the box from start to finish in chronological order, you discover a composer, bandleader, and pianist who consistently and daringly pushed his music ever forward. As fascinating as it is to hear his artistic progression as it unfolds, it is even more remarkable to digest these CDs out of order. During the course of 50 years, Ellington's creative wellspring gushed an amazing variety of music delivered in a multitude of different styles and settings; yet somehow, someway, it all sounds like Ellington. Whereas some artists find the blues idiom constricting, Duke saw it as a highly malleable and versatile foundation.

The first seven CDs chronicle the maestro's Cotton Club days and his theatrical, visceral "jungle music," which was created as part of the club's African-themed stage shows and "tribal" dances. Even at this early stage, Ellington showed a tremendous ability to create expressive moods and keen imagery through his compositions as well as an uncanny understanding of his players' strengths. Six discs are dedicated to the early 1940s, when tenor sax player Ben Webster and bassist Jimmy Blanton elevated the band to new heights. The next three CDs cover the mid-1940s, when the Duke began experimenting with longer pieces. Another combines mid-1940s all-star jams with a full 1952 Seattle concert. All three of Ellington's Sacred Concerts follow, a bold, pioneering fusion of jazz and church, complete with choir and dance, that used the language of music to eloquently sermonize on the subjects of personal freedom, spirituality, and communication with God. The collection wraps up with four discs' worth of late-period magic, including the exotic and dramatic Far East Suite and an homage to recently departed Billy Strayhorn.

This stunning package also serves as a tribute to all of the superior musicians that found a home in the Ellington Orchestra. Special mention must be made of altoist Johnny Hodges, who first recorded with Ellington in 1928 and stayed with him (except for a brief respite in the 1950s) until his death in 1970. Throughout, his sublime tone and fertile imagination epitomize the beauty, inventiveness, and dignity that is the essence of jazz. Also of note are the many superb compositions and arrangements from Strayhorn, who managed to carve a vital niche for himself while remaining true to the sound of Ellingtonia.

The accompanying 128-page full-color book overflows with wonderful photos and insightful essays that explore Ellington from every possible angle. The discographical information is delivered with excruciating detail and the package as a whole exudes love, devotion, and respect.

Somewhere deep inside the book, producer Orrin Keepnews writes, "When dealing with the music of Edward Kennedy Ellington, there is no excuse for stopping anywhere short of perfection." Mission accomplished. --Marc Greilsamer ".

Шта још рећи сем - уживам. :D
 
Иначе, за оне који не знају, препоручујем сајт ( иначе општег типа):


http://www.answers.com

Где се може, између осталог, пронаћи, доиста опширно и систематизовано, врло много података, и читаве дискографије, о музичарима, џеза, блуза...

(Само укуцати жељено име у Search)
 
Apsolutna tisina na forumu!
Zar niko vise ne slusa nista?

Ako hocete da se razmrdate - preporucujem: CD audio Tab Benoit&Jimmy Thackery - Whiskey Store ( 2002)

Pored par izuzetnih blues interpretacija (Whiskey Store, Bad Luck Blues ... ) tu su i par stvari van blues manira (Unknown Legend -N.Young-a, Leopard-Skin Pill-Box Hat-B.Dylana i The Last Time-Rolling Stonesa ), ali Thackery ne bi bio Thackery, kad se ne bi malo zezao na racun starih dobrih r&b vremena. Gitarista na cijim su koncertima, kao predgrupa, svirali S.R.Waughn& The Double Trouble to sebi moze da dozvoli.U svakom slucaju-prija na ovoj vrucini.

Ako ste raspolozeni za nesto malo starije, poslusajte Brendana Crokera. Nije pravi blues, ali covek koji je radio sa Knopflerom,Etkinnsom ( Nothing Hillbyllies) i dr. zavredjuje da ga se ponekad setimo.

Zivnite malo!
 
Ma slusa se svasta, kod mene svira svih 8 sati na poslu, evo upravo grlati Son House prasi......a kad spomenu Thackery-ja, bas sam jutros odslusao njega u kombinaciji sa Mooney-jem, odlican akusticni blues, album "Sideways in Paradise", spominjasmo ih pre nekoliko nedelja. .....

A uz to pomalo dodam neki kubanski son, Eliades Ochoa i Quarteto Patria........
 
Слуша се нешто, по читав дан било преко компа, било плејера.

Ево, тренутно:

Sonny Rollins with The Modern Jazz Quartet (1953)

sonnyrollinssonnyrollinswithth.jpg


Где, између осталих, свира и Мајлс, али на клавиру.

А екипа је, иначе... мислим, шта рећи:


Personnel:
Sonny Rollins, tenor sax
Kenny Drew, piano
Miles Davis, piano
John Lewis, piano
Percy Heath, bass
Art Blakey, drums,
Kenny Clarke, drums
 
Norma Kampl:
Слуша се нешто, по читав дан било преко компа, било плејера.

Ево, тренутно:

Sonny Rollins with The Modern Jazz Quartet (1953)

Ako bog da, a dace nadam se.........Sonny 22. juna svira na Internacionalnom festivalu u Vankuveru, a ja se slucajno selim za koji dan ........., inace festival obecava, 9 dana nirvane :-).

Cujem jutros na radiju da "Police" uskro ponovo svira u Vankuveru pa bi i to valjalo pogledati.
Odrace me od para za sve ono sto planiram uskoro da vidim.......
 
sonnyrollinssonnyrollinswithth.jpg


Category Jazz, Jazz Instrument, Tenor Sax
Label Jvc Victor
Orig Year 1953
All Time Sales Rank 462832
CDU Part# 6841500
Catalog# VICJ-41088
Discs 1
Street Date Mar 28, 2005
Mono/Stereo Stereo
Guest(s) Miles Davis; Kenny Drew; Milt Jackson; John Lewis; Percy Heath; Kenny Clarke; Roy Haynes; Art Blakey
Additional Info Remastered; Japan


Track Listing
Song Title
1. Stopper
2. Almost Like Being In Love
3. No Moe
4. In A Sentimental Mood
5. Scoops
6. With A Song In My Heart
7. Newk's Fadeaway
8. Time On My Hands
9. This Love Of Mine
10. Shadrack
11. On A Slow Boat To China
12. Mambo Bounce
13. I Know





Notes
Personnel: Sonny Rollins (tenor saxophone); Miles Davis (trumpet); Milt Jackson (vibraphone); John Lewis, Kenny Drew (piano); Percy Heath (bass); Kenny Clarke, Roy Haynes, Art Blakey (drums). Recorded on January 17 and December 17, 1951 and on October 7, 1953. Originally released on Prestige (7029). Includes liner notes by Ira Gitler. Always gifted with a big band sound and a pure sense of swing, Sonny Rollins did not emerge full-blown from the foam like Venus. He gained polish and experience with Bud Powell, J.J. Johnson, Miles Davis and Thelonious Monk, before making his Prestige debut as a leader at the tender age of 21. WITH THE MODERN JAZZ QUARTET celebrates the tenor saxophonist's first three 10-inch LPs--MAMBO JAZZ, SONNY ROLLINS QUARTET, and SONNY ROLLINS WITH MILT JACKSON--
 
Corto Malteze:
Miles Davis piano?

mora da si nesto pobrkao :)

Не, пише и на задњем омоту, овог ЦД који ја имам, да свира баш на клавиру

А, тачно Клика каже, сви музичари (и џез, и класичари), као основни инструмент имају и клавир, тако да то и није неко нарочито чудо.

Али је свакако интересантно.
 

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