Big Will & The Bluesmen feat. Peter Struijk – Hard Times (2011)

FrontCover1Big Will & The Bluesmen was a traditional blues band from the Netherlands inspired by great musicians as Muddy Waters, Sonny Boy Williamson and John Lee Hooker.
On this album you’ll find eleven original compositions from Big Will & the Bluesmen. Among those are four acoustic tracks. All songs are based on the Delta / Chicago tradition with true, authentic bluessounds

The band has chosen to give a prominent place on the harmonica (blues harp) and there is also – slide guitar to hear. All this for an authentic blues atmosphere. Close your eyes and imagine yourself in the Mississippi Delta, the “swamp” on a sultry evening, a bottle of Jack Daniels under your belt, life is hard and unforgiving.

They let themselves be inspired by among others: Son House, Robert Johnson, Junior Wells, Muddy Waters and John Lee Hooker.

Will has over 10 years experience playing in blues / rock bands, but would rather be back to basics, the Delta and Chicago blues.

Alex also has extensive stage experience, playing primarily in rock bands. He too has fallen in love with the authentic blues.

BigWill01

Jos the drummer lets you feel the heartbeat of the blues, just goose bumps!

Traditional blues riffs on electric and upright-bass by Henk Wessels, you’ll be hearing a lot from this promising new band.

“Unplugged” The band plays not only on festivals and pubs, they also perform unplugged for receptions, restaurants and backroom shows in a (semi) acoustic setting.

Inspiration:

The band Big Will & the Bluesmen ismainly inspired by two currents of blues music: the Delta and Chicago style. Originally starting in the early twenties.

StatementPortnoy

Although slavery is abolished, the black rural population is poor and work on the land. In the evenings they usually spent time in so called juke joints, where they drink the cheap self distilled whiskey and sing simple but powerfull songs about failed love and the misery of their existence. Often the singers were accompanied by guitar and harp.

That’s how the blues was born. -(by last.fm)

Or: That´s why I love the Blues !

“Guitarist Peter Struijk delivers lowdown blues that look back to a time of rough edges and raw emotions.” (Blues Revue, USA)

BigWill03

Personnel:
Wil van der Ende (harmonica)
Alex “Riverside Jr.” Konijnenburg (guitar, vocals)
Henk Wessels (bass)
Jos Waal (drums)
+
Henk Heijlema (lapsteel on 09., mandolin on 06.)
Gerbrand Schoenmaker (piano on 08.)
Peter Struijk (guitar on 01., 04. – 07.)

Booklet1

Tracklist:
01. Hard Times 6.58
02. Same Old Blues 5.51
03. Waiting On A Train 3.34
04. Leave It All Behind 5.39
05. Seven days -3.25
06. Laura Song 1.26
07. On My Way 3.39
08. Big Will Theme 2.08
09. Drifting And Driving 4.15
10. Sweet Lovin Woman 4.13
11. Release My Soul 4.06

All songs written by Alex “Riverside Jr.” Konijnenburg

CD1*
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John Maus – We Must Become The Pitiless Censors Of Ourselves (2011)

frontcover1We Must Become the Pitiless Censors of Ourselves is the third album from the American electronic musician John Maus, released in 2011, on Ribbon Music in the United States and Upset the Rhythm in the UK.

We Must Become the Pitiless Censors of Ourselves received largely positive reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 75, based on 20 reviews, which indicates “generally favorable reviews”.

David Bevan of Pitchfork praised the album in a positive review, stating, “We Must Become the Pitiless Censors of Ourselves is the most vibrant and toothsome expression of Maus’ pursuits yet. He keeps his vocals awash in gothic reverb and echo-driven effects, blurring the lines between what he’s saying and emoting.” Bevan continues, “Maus has a full set of songs whose architecture is just as sophisticated and riveting in actuality as it is in theory. While earlier records have been riddled by experiments gone awry, they also didn’t feature the revolving parts and aerodynamic hooks of “Believer”, the closing track here and one that glitters from any angle. And although there’s another vocalist at his side in the lullaby lilt of “Hey Moon” (cover a Molly Nilsson song), the way Maus sings to the heavens makes it sound as though he’s no longer alone with his thoughts. Spend a lot of time with this record, and it’s hard not to feel like you’re right there with him.”

johnmaus01Jordan Redmond of Tiny Mix Tapes gave the album a very positive review, stating, “Being an academic, John Maus understands the imperative to only release bodies of work that are conceptually sound and completely actualized. With Pitiless Censors, he sought to break into a new creative period but was disappointed that it was only a “consummation” or logical conclusion to the sound on his previous two widely-available albums (Songs and Love Is Real). Based on the evidence here, Maus needn’t have any reservations about the body of work that he has released into the world. Pitiless Censors is a sparkling album, a lo-fi synth pop masterpiece that manages to give endless aural delights while still being intellectually engaging, and despite having been caught at the center of a whirlpool of current movements, all of which reflect some aspect of Maus’ style, he has only cemented his identity as a singular, unimpeachable figure. When confronted with music like this, it’s impossible not to be a believer.”

Matthew Cole of Slant Magazine gave the album a 0/5 star rating, citing derivative synth instrumentation and the validity of Maus’s philosophical work, stating, “Maus’s We Must Become the Pitiless Censors of Ourselves is engineered for minimal accessibility and maximum pretension; if you’ve heard even 30 seconds of this album, then you know he isn’t looking to make his name in the music industry.” Cole continues, “The album is filled with garage-sale synths flooded with reverb and nary a hook to be found, sounding, at best, like an unfinished video-game score and, at worst, like a Human League track played backward in a Walkman taped to the skull of a drowning man. Sometimes the instrumentals approximate a no-budget Disintegration in their misbegotten twinkliness, but no amount of lo-fi shimmer can compensate for the intentional inadequacy of the vocal lines and the utter lack of memorable melodies.” It was one of the only negative reviews of the release. (by wikipedia)

Yes … this is another magic album in this blog.

johnmaus02

Personnel:
John Maus (all insruments)

backcover1

Tracklist:
01. Streetlight (Maus) 2.52
02. Quantum Leap (Maus) 2.52
03. …And the Rain (Maus) 2.46
04. Hey Moon (Nilsson) 4.08
05. Keep Pushing On (Maus) 3.33
06. The Crucifix (Maus) 1.15
07. Head For The Country (Maus) 3.16
08. Cop Killer (Maus) 2.41
09. Matter Of Fact (Maus) 2.16
10. We Can Breakthrough (Maus) 2.08
11. Believer (Maus) 4.05

cd1

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Göteborg Wind Orchestra – And There Was Music (2011)

FrontCover1Göteborg Wind Orchestra (GWO) was original founded by the Gothenburg Tramline Music band in 1905. Today the Gothenburg Wind Orchestra represents one of Sweden´s few remaining professional wind ensembles and carries an international reputation.

GWO´s home venue is Gothenburg´s oldest secular building “The Crown House” (1654) where concerts are performed all year round. In addition, the orchestra tours the Gothenburg region, occasionally also abroad.

GWO´s repertoire is a mix of classical and jazz concerts, colourful collaborations with stars from entertainment and an array of productions for children, youngsters as well as for families. Several of our foremost soloists and artists from the different genres also make regular guest appearances in musical productions and there are long standing collaborations with some of Sweden´s most popular choirs and music educations and works extensively with children and youth.

The Crown House:

TheCrownHouse

Alexander Hanson is one of the most requested conductors in Sweden and since 2005 he is the artistic leader and chief conductor of GWO.

In 2004, he concluded his conducting education with the highest degree at the world-renowned Sibelius Academy in Helsinki where he studied under professor Leif Segerstam. Since then, Alexander is frequently engaged by professional orchestras such as The Royal Philharmonic orchestra in Stockholm, Malmö Symphony Orchestra, The Göteborg Opera, The Band of the Swedish Navy, Norrköping Symphony Orchestra and the Swedish Chamber Orchestra. (taken from the original liner-notes)

Alexander Hanson

Alexander Hanson

And this is one their many albums … a real brilliant mix of different styles of music … and if you like all these wind insruments you should listen to this album … enoy it !

Booklet02A

Personnel:

Booklet01A

Booklet05A

Tracklist:
01. Ambulatory Suite: I. Promenade (Walking theDog) (Gershwin) 2.22
02. Ambulatory Suite: II. March Of The Swiss Soldiers (Gershwin) 2.00
03. Ambulatory Suite: III. Fidgety Feet (Gershwin) 2.47
04. Grace (Jones/Lubbock) 5.51
05. The Fairy Feller’s Master-Stroke (Mercury) 2.27
06. The Awakening (Metheny/Mays) 8.30
07. Ack Varmeland du skona (Traditional) 4.53
08. Ur Folkvisesvit: No. 1. Ganglek fran Alvdalen (Traditional) 2.58
09. Ur Folkvisesvit: No. 2. Visa fran Rattvik (Traditional) 4.36
10. Ur Folkvisesvit: No. 7. Polska efter Hook-Olle (Traditional) 4.00
11. Hunting Wabbits 2 (A Bad Hare Day) (Goodwin) 4.40
12. Trumpet Concerto (James) 3.39
13. La Paloma (Iradiuer) 4.48
14. Balkan Blues (Fahlström) 2.25
15. The Midnight Sun Will Never Set (Jones/Salvador) 3.43
16. Fuga y Misterio (Piazzolla) 6.02
17. Stardust (Carmichael) 4.53
18. Riverdance (Whelan) 5.58

CD1

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I will present more rare stuff from the Swedish music scene in the next weeks …

VA – Fado de Coimbra – Volume 1 (2011)

FrontCover1Coimbra Fado (Portuguese: Fado de Coimbra) is a genre of fado originating in the city of Coimbra, Portugal. While adopted by students at the University of Coimbra, and sometimes known as Student Fado (Fado de Estudante), it is usually considered the typical music of Coimbra itself. Developed from the Iberian lyric style of trovadorismo popular during the Middle Ages, the genre shares additional roots with Occitan troubadors.

Performed with the traditional Guitarra de Coimbra (a kind of Portuguese guitar originating in Coimbra), a modified version of Lisbon’s fado guitar allegedly created by Artur Paredes, it is usually accompanied by classic acoustic guitar and male voices.

Guitarists Artur Paredes and his son Carlos Paredes are considered the pioneers and masters of this musical genre. Among its most renowned singers were Edmundo Bettencourt and António Menano, in the 1930s and 40s, and José Afonso, Adriano Correia de Oliveira, Luís Goes and João Maria Tudela, in the 1950s and 60s, the two so called “golden ages” of the genre.

UniversityOfCoimbraThe University of Coimbra

The Coimbra Academic Association (Associação Académica de Coimbra) has a fado section, teaching the genre to musically inclined students and promoting musical projects and events related to it. Its fame throughout Portugal has led to the creation of similar structures in other cities, such as Lisbon and Porto, where there are also Fado de Coimbra groups organized by students and local people. (by wikipedia)

LiveAtTheFadoCentroCoimbra_August2015Live at the FadoCentro, Coimbra (August2015)

And this is a very nice sampler: In this collection we present you traditional Fados of Coimbra, performed by artists of “Arts Centre FADO AO CENTRO. The musicians have a vast experience in this musical style and represent several generations of Fado of Coimbra.

PortugeseGuitarThe Portugese Guitar

Personnel:

The singers:
João Farinha – Gonçalo Mendes – António Dinis – Rui Seoane – Rui Moreira

Guitar + portuges guitar:
Miguel Drago – Luis Carlos – Luis Barroso

Booklet1Tracklist:
01. João Farinha: Coimbra (Ferrao/Galhardo) 3.17
02. Gonçalo Mendes: Samaritana (Cabral) 3.47
03. António Dinis: Fado Dos Olhos Claros (da Fonseca/Bettencourt) 2.42
04. Rui Seoane: Guitarrras do Meu País (Portugal/Alegre) 3.52
05. Rui Moreira: Balada do Encantamento (Silva) 2.40
06. João Farinha: Solitário (Menano) 3.30
07. Gonçalo Mendes: Passarinho da Ribeira /Menano/Traditional) 2.59
08. António Dinis: O Meu Menino (Rezende/Traditional) 3.14
09. João Farinha: Fado Corrido de Coimbra (Traditional) 2.48
10. Rui Moreira: Contos Velhinhos (Araujo) 3.13
11. João Farinha: Fado Hilário (Hilario) 3.01
12. Rui Seoane: Não Olhes para Os Meus Olhos /Baptista/Traditional) 3.01
13. João Farinha: Fado Manassés (de Lacerda) 3.31
14. Gonçalo Mendes: Maria Se Fores Ao Baile (Araujo) 3.07
15. João Farinha: Balada da Despedida do VI Ano Médico 1958 (Soares) 4.16

CD1*
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Jon Lord And Rick Wakeman – Sunflower Jam (2011)

FrontCover1The Sunflower Jam 2011 will be remembered for one of Jon Lord’s most rewarding appearances of 2011 – musically daring and performed with sharp excellence.

On an evening already rife with musical talent, Jon Lord shared the stage with Rick Wakeman for the pair’s brand new composition It’s Not As Big As It Was (allegedly about the music biz although it was preceeded by jokes about old age and prostate problems). This was without a doubt The Sunflower Jam’s musical crown jewel benefitting the good cause of helping children suffering from cancer. Donations are still welcome.

This is Rasmus Heide’s report:

ConcertPosterJon Lord appears onstage after almost an hour of excellent music from the likes of Danny Bowes (Thunder), Gary Brooker, Joe Bonamassa and Newton Faulkner. These gentlemen (and woman) have entertained the crowd with blues and rock classics that fare very well, particularly Gary Brooker’s rendition of A Whiter Shade of Pale and Joe Bonamassa’s Thrill is Gone. However, Jon will proceed to seize the show and push up the excitement level several  notches.

“One of the greatest keyboardists in rock’n’roll, Mr. Jon Lord!” Joe Bonamassa introduces the maestro and kicks off a slowly evolving Ballad of John Henry. Bonamassa’s bluesrock signature tune is the perfect choice for the two masters to pool their forces. Building its riff to a roar before dipping to the verse – and then lifting itself up to the menacing chorus, Jon’s swirling Hammond backdrop has touhes of the quietly contemplative work he did for the band Ride some years ago.

LordBonamassaJon Lord + Joe Bonamassa

Standing at the edge of the stage – having pushed the organ chair to a side – Jon is in great shape and form; focused and well prepared for what will turn into an absolute musical feast celebrating almost every aspect of his musical prowess – and in the stately old Royal Albert Hall where his work first came to prominence in 1969 – and again in 1999.

Live01AJon Lord + Joe Bonamassa

Bonamassa’s John Henry is taken down to a shimmer and Bonamassa steps up to the theremin to make it squeal eerily to the fascinated crowd – until Jon Lord gently takes over. His solo is stormy and intense, developing to a massive Hammond crescendo full of his trademark wails and runs. Bonamassa moves closer and teases Jon into a guitar-organ chase the likes of which we’ve not heard for nearly 20 years… Majestic and spine-shivering.

Thanking Bonamassa, Jon introduces the next piece as Bourree from his Sarabande album. The contrast is tangible. With the evening’s musical director Paul Wickens on synthesizer, Jon handles piano and then Hammond for the solo. Anna Phoebe adds a particularly mean solo violin to the piece, expanding again the range of musical flavours of an already boundary pushing evening.

JonLord+RickWakeman01Jon Lord + Rick Wakeman

“I’ve got a big ask of you. Not a big ass – although it used to be bigger – but a big ask. Into every show a quiet song must fall,” explains Jon Lord before presenting ”the rather wonderful” Steve Balsamo to sing Jon’s most popular solo piece. Balsamo delivers a particularly tender and confident Pictured Within – in his element, gazing out at the crowd, inspiring pin drop silence. Lacking the sweeping string section of its standard orchestral arrangement, in its place Anna Phoebe displays immaculate delicatesse on her fiddle. The piece is a gorgeous contrast to the previous rackets and again, Jon Lord’s musicality proves its extraordinary range.

RickWakeman01Lord-Wakeman’s world premiere:
Warm hugs are exchanged as Jon introduces Rick Wakeman as “a new old friend. I’ve known this guy since God’s dog was a puppy, but never quite got to know him. The rather unique Rick Wakeman.”

Rick disspells any pretentiousness by cracking a joke about his own sexual debut behind the Royal Albert Hall (“It wasn’t very good. It never is when you’re on your own!”). His first piece is Beatles‘ Eleanor Rigby played by himself Prokofiev-style on bombastic, staccato synth layered with effects.

Then he invites Jon Lord back onstage. “Last Wednesday Jon and I met down at the old folk’s home…,” quips Wakeman as an introduction to the evening’s musical world premiere. Unable to decide which of their own pieces to do together, they decided instead to write a new piece together. The couple share the microphone for this introduction and a bit of smart repartee. All good fun.

Then the musical fun. A stomping, blistering, bombastic band work-out stacked high with soaring keyboards including solos for Hammond organ (Jon) and Mini Moog (Rick). It’s Not As Big As It Was is everything prog anyone could have wished for – and a wee bit more.  Wakeman’s bank of keyboards on the right side of the stage, Jon’s Hammond near the edge on the left, the cameras zoom in to show the finger work on the big screen above the stage.

Live04Murray Gould does a short guitar solo, but apart from this, Micky Moody (rhythm guitar), Jerry Brown (drums) and Nick Fyffe (bass) put down a firm foundation for the two protagonists to excel over. And excel they do for around 7 minutes or so. Jon hand signals the band into the various sections, seemingly without need as everyone nails the piece effortlessly.

Afterwards,  Wakeman says how excellent it is to work with Jon and promises more to come. Next up is a rendition of David Bowie’s  Life on Mars with Newton Faulkner on vocals, Jon Lord on Hammond and Wakeman on piano – and the house band. This epic song rounds off the evening’s first 2 hours of music. (taken from the Jon Lord website)

Recorded live at the Royal Albert Hall, London, 07/08/2011
A very good audience recording

Live02APersonnel:
Joe Bonamassa (guitar)
Newton Faulkner (vocals)
Jon Lord (keyboards)
Anna Phoebe (violin)
+
The Sunflower Band:
Jerry Brown (drums)
Nick Fyffe (bass)
Murray Gould (guitar)
Micky Moody (guitar)
Paul Wickens (keyboards)

BackCover1Tracklist:
01. Who Killed John Henry (Bonamassa) (Joe Bonamassa, Jon Lord, Sunflower Band) 9.41
02 Bouree (Lord) (Jon Lord, Anna Phoebe, Sunflower Band) 6.25
03 Pictured Within (Lord) (Jon Lord, Steve Balsamo, Anna Phoebe, Paul Wickens) 7.25
04 Eleanor Rigby (Lennon/McCartney) (Rick Wakeman) 7.11
05 It’s Not As Big As It Was (Lord/Wakeman) (Jon Lord, Rick Wakeman, Sunflower Band) 9.02
06 Life On Mars (Bowie) (Jon Lord, Rick Wakeman, Newton Faulkner, Anna Phoebe, Sunflower Band) 6.34

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JonLord

Jon Kenzie – Not Much Technical Stuff (2011)

FrontCover1Jon Kenzie, is an accomplished singer-songwriter from Manchester, UK with his musical roots firmly footed in blues, folk and soul. From reaching No:1 iTunes blues chart position in 2010 with his Northern soul band “Beggar Joe”, Jon embarked on producing his debut solo album “Not much technical stuff” in 2011.

This is a solid debut release with some great stand out tracks including ‘Pacifist’, ‘Touch’ and my favourite because of the great riffs involved, ‘Tease Them’. This release has a great selection of songs which shows Jon’s awesome guitar skills and his great soulful tone.

What was it that made you want to become a musician?

JonKenzie2‘I’ve always played in bands from a young age ever since I began to learn how to play the blues.  I started making money from the gigs I played in small pubs around the south of England when I was just sixteen, which was probably the first time I realized it might be possible to make a living from music.  Even though I didn’t study music at school I managed to get on a BA music degree at Salford university and I’ve only done music ever since.  Music has always been one of the greatest joys in my life and I still feel very lucky to be able to make a living from it.’

Your music has a great soulful sound, what musicians influenced this sound?

‘I’ve played with many talented musicians over the years who have certainly influenced the way I perform today.  In terms of famous artists that I have taken influence from, I’ve always tended to listen to the old stuff, especially the blues, folk and soul. Musicians and singers such as ; Muddy Waters, BB King, Howling Wolf, Al Green, James Brown, John Martin, Bob Dylan, Sly and the Family Stone, Jeff Buckley, The Stones and the Beatles as well as many others have definitely inspired me along the way.’

JonKenziePersonnel:
Jon Kenzie (guitar, vocals, mandolin)
Eryl Roberts (drums, percussion)
Ben Williams (guitar)
Stevie Williams (bass)
+
Ben Casbell (cello on 01., 05., 07. + 10.)
Rioghnach Conolly (background vocals on 01., 05., 07. + 10.)
Sam Gray (violin on 01., 05. + 10.)
Harry Richardson (bass on 03.)
Justin Shearn (organ on 09.)

BookletATracklist:
01. Half Pipe Dream (Kenzie) 4.34
02. Pasty Song (Kenzie/B.Williams) 3.54
03. Pacifist (Kenzie) 3.27
04. Save Us (Kenzie) 2.31
05. Lovers Wave (Kenzie/B.Williams) 3.23
06. Tease Them (Kenzie) 3.54
07. Touch (Kenzie) 4.55
08. Quick Tongue (Kenzie/B.Williams) 5.42
09. Temper Tensions (Kenzie) 04:15
10. Tunnel Eyes (Kenzie) 3.35

CD1*
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Artichaut Orkestra – T for Theresa (2011)

8159 Artichaut Disc:Layout 1A new ensemble out of Toulouse, France, brilliantly mixing jazz, klezmer and classical music, blending the energy of rock with the unpredictable creativity of improvisation.

“Featuring four young musicians of diverse artistic backgrounds, the Artichaut Orkestra is a fabulous new ensemble out of Toulouse, France. Led by a colleague of the great modern klezmer David Krakauer, they brilliantly mix jazz, klezmer and classical music, blending the energy of rock with the unpredictable creativity of improvisation. Their debut recording presents eight original compositions of delicacy, strength and a touch of madness. Original new Jewish music from a new generation of 21st century klezmers.” (press-release)

Recorded June 28-30, 2010 at Condorcet Studio, Toulouse/France

Important note: “France was the largest source of Jews moving to Israel last year, according to the Jewish Agency for Israel, which coordinates migration to Israel. Its director, Natan Sharansky, predicted that up to 15,000 French Jews would emigrate this year, and that more than 50,000 French Jews would leave in the next few years. There are roughly 500,000 Jews in France, which has Europe’s largest Jewish population.”

It´s a shame, that jewish people have to be on the run again !

So, listen to this nu-jewish music !

Artichaut Orkestra Personnel:
Camille Artichaut (clarinet)
Frederic Petitprez (drums, percussion)
Sebastien Rideau (guitar, effects)
Pierre-Emmanuel Roubet (accordion, vocals)

BackCoverTracklist:
01. Le T De Thérèse (Artichaut) 7.41
02. La Cloche Qui Chose (Rideau) 5.46
03. Gavotte N°2 (BWV 995) (Bach) 7.23
04. Cirquenscie (Roubet) 5.07
05. Interlude (Artichaut/Petitprez/Rideau/Roubet) 1.06
06. Byzance (Roubet( 6.20
07. Façon Puzzle (Petitprez) 5.44
08. La Grosse Pomme (Artichaut/Petitprez/Rideau/Roubet) 4.21

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