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What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standars

On 05.11.2019 by Jule With 1 Comments - 96kHz


1999
Label: Ήχος & Hi-Fi - 47/321 • Format: CD • Country: Greece • Genre: Jazz, Funk / Soul • Style: Fusion, Contemporary Jazz, Free Jazz, Jazz-Funk, Smooth Jazz
Download What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standars

Lost in time atmosphere and idiosynchratic singing and playing makes for a trip with a clear identity, yet the connection between the arrangements, vocal mannerisms and underlying tunes seems random and "for the hell of it", rather than conscious explorations. Some tracks work, others don't, and all over it's pretty inconsistent. Covers of Dylan, Cohen and Bo Diddley! The album is semi-acoustic with electric bass and occasional percussion.

Oddly, the LP has a similar sound minus the autoharp and the precise same problems as the Folklords. The album was recorded inand precedes the Rejects LP sessions. The Hallucinations CD is titled 'The Toad Recordings' and shows traces of vinyl press noise and high-end distortion in a few spots. Baby Blue Bob Dylan Young Face Waddington High Flying Bird Wheeler Portrait For Marianne Cuddy By The Way Cuddy I Need A Friend Allen Suzanne Leonard Cohen Believe Me Waddington October Morning Cuddy Small Man Waddington Ptarmigan with a small p was formed in Vancouver B.

The band performed in coffee houses and small venues around the Vancouver Island and Victoria areas and attracted the attention of world renowned American flautist Paul Horn who had just moved to B. In the duo went to Ontario where they played some local clubs in Ottawa and Toronto making some impressive connections in the music industrythen headed back to Vancouver where they again met up with Paul Horn. Ptarmigan went into Canbase Mushroom Studios in Vancouver during the fall of and recorded some basic tracks that would eventually become the ptarmigan album.

After the tracks were recorded it took Paul Horn nearly a year to sell the project to a label and inColumbia Records of Canada released the self titled ptarmigan Pearl & Dean - Aunt Nelly - Shades Of Orange. The music on the album combined elements of jazzfolk and progressive rock.

Based around a flute, percussion and guitar interplay, the songs experience eastern influences, various moods, time changes and are rather simply structured yet complex in nature. Based around themes of nature and musical landscapes today the music could be classified as new age or environmental. When the album was originally released in it did not sell well at all because of its non-commercial sound but over the years it has become a collectors item especially for progressive rock fans.

This is the first legitimate reissue of the Columbia album entirely done by band member Monte Nordstrom on his own GrooveDigger label. This limited edition, remastered version of the album features the original artwork along with four bonus tracks and a detailed booklet that contains band photos, as well as an in depth essay on the band and the recording of the album.

Originally on Columbia of Canada. The highlight of this tour was in Ottawa when the duo spent two weeks opening for the legendary guitarist, Lenny Breau. The Tramp - Various - Strange Breaks & Mr Thing Records released the Ptarmigan LP in early The duo last performed together in at the Midsummer Affair festival. A bootleg European release on vinyl in the 80s created a cult following in the Progressive rock genre.

In response to this Were So Far Away - Mae - The Everglow interest, the authorized Ptarmigan CD is re-issued through this website. Thanks to Paul Horn!

Janis Joplin - "Janis spent much of her adolescence listening to Odetta, who was also the first person Janis imitated when she started singing". Bob Dylanwho said, "The first thing that turned me on to folk singing was Odetta. I heard a record of hers [ Odetta Sings Ballads and Blues ] in a record store, back when you could listen to records right there in the store.

Right then and there, I went out and traded my electric guitar and amplifier for an acoustical guitar, a flat-top Gibson. I learned What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standars the songs on that record.

Joan Baez said "Odetta was a goddess. Her passion moved me. By the time she was six years old, she'd moved with her younger sister and mother to Los Angeles. She showed a keen interest in music from the time she was a child, and when she was about ten years old, somewhere between church and school, her singing voice was discovered.

Odetta's mother began saving money to pay for voice lessons for her, but was advised to wait until her daughter was 13 years old and well into puberty. Thanks to her mother, Odetta did begin voice lessons when she was She received a classical training, which was interrupted when her mother could no longer afford to pay for the lessons. The puppeteer Harry Burnette interceded and paid for Odetta to continue her voice training.

When she was 19 years old, Odetta landed a role in the Los Angeles production of Finian's Rainbow, which was staged in the summer of at the Greek Theatre in Los Angeles. It was during the run of this show that she first Everyday (Soultown Remix) - Angie Stone - Everyday / Heaven Help the blues harmonica master Sonny Terry. The following summer, Odetta was again performing in summer stock in California.

This time it was a production of Guys and Dolls, staged in San Francisco. Hanging out in North Beach during her days off, Odetta had her first experience with the growing local folk music scene. Following her summer in San Francisco, Odetta returned to Los Angeles, where she worked as a live-in housekeeper. During this time she performed on a show bill with Paul Robeson. InOdetta took some time off from her housecleaning chores to travel to New York City and appear at the famed Blue Angel folk club.

Pete Seeger and Harry Belafonte had both taken an interest in her career by this time, and her debut album, The Tin Angelwas released in From this time forward, Odetta worked to expand her repertoire and make full use of what she Cada Loco Con Su Tema - Joan Manuel Serrat - Cada Loco Con Su Tema always termed her "instrument.

As she matured, she became more of a mezzo-soprano. Her experience singing folk music led her to discover a vocal range that runs from coloratura to baritone. In she released her first studio album in 14 years, Blues Everywhere I Go.

The next few years found Odetta releasing some new full-length albums, including Livin' with the Blues and a collection of Leadbelly tunes, Looking for a Home. The Cold Mountain soundtrack shares producers T Bone Burnett with the soundtrack for O Brother Where Art Thoua largely old-time and folk album with limited radio play that still enjoyed commercial success, and garnered a Grammy.

As a result, comparisons were drawn between the two albums. The Cold Mountain soundtrack, however, also employs many folk and blues elements. Gabriel Yared 's Oscar-nominated score is represented by four tracks amounting to approximately fifteen minutes of music.

The rock era saw a few white female singers, like Janis Joplinshow they could sing the blues. But one who could outshine them all -- Jo Ann What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standars -- seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Pattonshe was the queen. What Color Is Blues?

Born January 5,Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standarsgenerally solo, but occasionally with other artists, bringing together artists like Bessie Smith and Sister Rosetta Tharpe into her own music.

After the first National Blues Federation Convention in her career seemed ready to take flight. She began playing the more lucrative college circuit, followed by her well-received debut album in At the second National Blues Convention, she jammed with Canned Heatwho invited her to join them on a permanent basis. She declined, not wanting to be a part of a band -- and made the same decision when Johnny Winter offered to help her.

Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi -- essentially pub rock, as the scene was called, and in she helped found the Blues Bandalong with brother Dave, and original Fleetwood Mac bassist What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standars Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heros.

InKelly began to suffer pain. A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in with her brother before collapsing and dying on October Posthumously, she's become a revered blues figure, one who helped clear the path for artists like Bonnie Raitt and Rory Block. But more than a figurehead, her recorded material -- and unreleased sides have appeared often since her death -- show that Kelly truly was a remarkable blueswoman.

Earl Hooker January 15— April 21was an American blues guitarist. Influenced by parents and relatives who played music, he was a cousin of John Lee Hooker and began playing guitar as a teenager. An instrumentalist, within a few years Hooker put together a band that toured the United States and made some of his first recordings for Sam Phillips at Sun Studios in Memphis, Tennessee.

He eventually became an important part of the Chicago blues scene. Although he never received the public recognition to the same extent as some of his contemporaries, Jimi Hendrix proclaimed Earl Hooker as the "master of the wah-wah " and his talent was greatly respected by other notable musicians such as B.

Hooker also helped popularized the double-neck guitar. Earl Hooker died at the age of 41 after a lifelong struggle against tuberculosiswhich is alluded to in the title of a compilation album of his work, "There's a Fungus Among us.

Although, Earl Hooker died inhis music still continues on in the rock band What Am I Here For - Various - Ο Ήχος της Naim Audiophile Jazz Standars Blue, which includes Freddie Roulettethe original Lap Steel guitar player from Hooker's band, and his songwriting partner, Ray Bronner. Biography If there was a more immaculate slide guitarist residing in Chicago during the s and '60s than Earl Hooker, his name has yet to surface.

Boasting a fretboard touch so smooth and clean that every note rang as clear and precise as a bell, Hooker was an endlessly inventive axeman who would likely have been a star had his modest vocal abilities matched his instrumental prowess and had he not been dogged by tuberculosis it killed him at age Born in the Mississippi Delta, Hooker arrived in Chicago as a child. There he was influenced by another slide wizard, veteran Robert Nighthawk. But Hooker never remained still for long. He ran away from home at age 13, journeying to Mississippi.

Hooker made his first recordings in and for Rockin', King, and Sun. At the latter, he recorded some terrific sides with pianist Pinetop Perkins Sam Phillips inexplicably sat on Hooker's blazing rendition of "The Hucklebuck".


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