Hvad hører du nu ?

[kibri]

Way, Focus! Min første med dem, gurdet..

Hende: "Har vi ikke noget julemusik?"
Ham: "Jo da!"

[A.R.T.]

Helt nede ved gulvet stod den.

 

 

Vel nærmest boogie rock med et stænk country. Ihvertfald milevidt fra hvad flere af medlemmerne lavede få år før.

 

 

 

Det var bedre................................  

[LarsS]

Super super skive fra 2004





They mix the genres of dream pop, indie rock and the British shoegazing movement of the late 80's and early 90's. Their influences range from The Beatles and The Rolling Stones to Spiritualized, My Bloody Valentine, and Elliott Smith.

Jeg hører også en del House of Love i sounden.

[A.R.T.]

Super super skive fra 2004





They mix the genres of dream pop, indie rock and the British shoegazing movement of the late 80's and early 90's. Their influences range from The Beatles and The Rolling Stones to Spiritualized, My Bloody Valentine, and Elliott Smith.

Jeg hører også en del House of Love i sounden.

 

Det lyder spændende for denne

 

er da en lille "sommerfugl", som fortjener at blive støvet af noget oftere.........

[A.R.T.]

Sorry, House Of Love må vige for disse to:

 

 

Pre Asylum years albums - en 21 årig, et piano, en guitar & en smøg - en stor kunstner in spe.................rammer thorax - skønt - see ya all later................

[LarsS]

A.R.T - den House of Love var fremme for nylig. Den holder sgu' stadigvæk ;-).

[zaka]

House Of Love er  

Denne kræver lidt planlægning:



Den er alt andet end lyttevenlig. Han er (var) edermame streng, ham Lou Reed.  

"I was serious about it. I was also really, really stoned." - Lou Reed om Metal Machine Music.

"the tubular groaning of a galactic refrigerator" - Rolling Stone Magazine anmeldelse.

Oprindeligt udgivet som 2LP i 1975 (min er et testpres). Det er hovedsageligt feedback fra guitarer som stod op af forstærkerne og dermed nærmest spillede sig selv uden Reeds indblanding. Optaget på en 4-spors båndoptager og derefter mixet ned til stereo. Den er mastered af legendariske Bob Ludwig!

MMM er havnet langt oppe på diverse "The worst R'n'R records ever"-lister, men på trods af det er den også udnævnt til den vigtigste inspirationskilde til genrene noise, industrial og ambient.

Sonic Youth har anerkendt indflydelsen og samplet den på deres Bad Moon Risning album. Derudover har de anvendt næsten nøjagtigt samme "teknik " på deres Silver Sessions (for Jason Knuth) album.
Bowie, Die Krupps, NIN, Smashing Pumpkins har alle udtrykt deres begejstring for MMM.

Tyske Zeitkratzer har gjort det umulige (ifølge Reed selv) - de har skrevet MMM ned på papir og fremført stykket på akustiske instrumenter. Det er en 2007 udgivelse jeg mangler!.

[A.R.T.]

Lukker og slukker med denne "weirdo" i Zappa / Beefheart klassen.

 

 

Debut og live, der er gang i den fra start til slut

[A.R.T.]

Bølgerne ruller...

 

 

på "Permanent waves" og den episke "Jacob's ladder" er klasse

[macwerk]

Basie/Young  

[zaka]

Basie/Young  

Count/Lester?



Marc Ribot's Spiritual Unity spiller på Jazz House i februar

[macwerk]

Nemlig, CB with LY (vol. 2) Columbia FPX 260

Det kunne være man skulle en tur på Jazz House til februar  


Når man nu ikke kan vælte i byen og høre:
http://www.youtube.com/watch?v=_tNSp7MaADM
This is perhaps the single most famous "live jazz" performance in TV history.

[SES.]

Nemlig, CB with LY (vol. 2) Columbia FPX 260

Det kunne være man skulle en tur på Jazz House til februar  


Når man nu ikke kan vælte i byen og høre:
http://www.youtube.com/watch?v=_tNSp7MaADM
This is perhaps the single most famous "live jazz" performance in TV history.

Nat Hentoff remembering:

On December 6^th, 1957,
Baillett and Hentoff helped gather an  extraordinary group of
musicians for a-time-only live program in CBS.

.... Lester Young and Bille Holiday
were there too. They had made their first unforgettable record 20
years earlier  and had subsequently fallen out, mostly likely over
Holiday's drug use. ”They had grown way apart” Hentoff  said,
”and when we were there for the blocking and sound check, they very
carefully were on different sides in the studio”

Young was to weak  to play in the big
band section, so Hentoff told him he should save his strengh for a
small-group session with Holiday.

They were to perform ”Fine and
mellow”, Holiday's own song and one of the very few blues she ever
recorded.

Gerry Mulligan played the first solo,
in double time. Ben Webster came next, blowing a single breathy,
heartbreaking chorus. ”Then, Lester got up”, Hentoff remenbered,
and he played the purest blues I have ever heard, and he and Holiday
were looking at each other, their eyes were sort of interlocked, and
she was sort of nodding and halfsmiling. It was as if they both
remembering what had been.

And in the control  room we were all
crying. "When the show was over, they still went their seperate ways”

[ZIG]

Den sidste tid har jeg "hørt" transistor i stedet for rør.

Klog af skade (lyt godt efter SES) så har jeg en reserve forstærker i tilfælde af......

Nå. Den trækker jeg frem en gang i mellem og den holder sjældent mere en en enkelt skive - og så er jeg tilbage til rørene. Men den her gang holdt den i flere dage. Det faldt godt nok sammen med alt det tågeværk vi havde - og jeg har en mistanke om, at alt den fugt var med til at "højne" lyden.

Men så forsvandt tågen.

Og det er lidt mystisk fordi på næsten alle parametre spiller transistorerne bedre. Mystisk - men rørene med alle deres mangler giver mere værdi.....

Når jeg er gået tur med Zig, glæder jeg mig til denne underlige krukke:



Billy Bob Thornton - The Edge of the World.

Han trodser tyngdekraft. Han trodser genrerne. Men han har lavet noget personligt, engarerende og kreativt.

Og vi er tilbage til rørene.

Zig

[SES.]

Dejligt ZIG, tilslutter mig Zakas ”Flere historier Zig”
der hører igen, igen, igen


Stanley Crouch
1959 was the year before the decade when jazz began to struggle with its own identity, resulting in much experimentation, most of it hopeless noise and confusion. In that last year of the '50s, Ellington showed how firmly he had solidified his greatness with signal achievements in jazz parties, film scores, and suites.

Jazz Party (1959), with its variety of material and unexpected guests whom Ellington makes compatible, is unusual even for Ellington. It is an example of the ever-surprising repertoire that became characteristic of late Ellington from 1959 to the end of his music-making. The recording contains an intriguing six-part suite (Ellington's first six-part suite was the masterful 1948 "The Liberian Suite," on Ellington Uptown), some witty blues writing for concert percussion and jazz orchestra, and a classic Strayhorn vehicle—"Upper Manhattan Medical Group"—used to challenge an inspired Dizzy Gillespie who appears in a guest slot. There are also a couple of luscious, humorous features for Johnny Hodges, and a rousing blues finale in which the great Oklahoma blues singer Jimmy Rushing and the Bop King Gillespie are propelled by the soft-shoe strutting and declarative riffs of a brass-and-reed ensemble clearly enjoying the weight of its groove powers.