02 - In The Basement by vile e. peyote
31 Temmuz 2010 Cumartesi
Arvo Pärt (d. 11 Eylül 1935, Talinn), Estonyalı klasik müzik bestecisi.
1970’lerde kendisinin geliştirdiği ve "tintinnabuli" adını verdiği minimalist tarzda eserler üretir. Film müzikleriyle tanınan sanatçı, 1980’lerden bu yana dini vokal eserler bestelemeye ağırlık vermiştir. 21. Yüzyılın en popüler çağdaş müzik bestecisi sayılmaktadır Estonya’da, Tallinn yakınlarında küçük bir kasaba olan Paide’de 11 Eylül 1935’te doğdu. 1944’te ülkesinin Sovyetler Birliği tarafından işgalini gördü, 50 yıllık bu işgal hayatında ve müziğinde önemli etki yarattı. Pek çok büyük bestecinin aksine çocukluğunda çok büyük bir müzik yeteneği ortaya çıkmamıştı. Müzik eğitimi 1954’te Talin Müzik Ortaokulu’nda başladı. Bir yıl dolmadan zorunlu askeri hizmet nedeniyle eğitimine ara verdi. Obuacı ve trompetçi olarak ordu bandosunda görev yaptı. Ortaokula geri dönünden bir yıl sonra 1957’de Talinn Konservatuarı’na girdi. Heino Eller’in kompozisyon öğrencisi oldu.
Öğrencilik yıllarında Estonya Radyosu’nda kayıt mühendisi olarak çalıştı, pek çok sahne ve film müziği besteledi; öyle ki 1963’te konservatuarı bitirdiğinde profesyonel besteciler arasına çoktan girmişti. Bu dönemde yarattığı eserler Shostokovich ve Prokofyev gibi Rus neoklasik bestecilerin etkisi altındaydı. Öte yandan Schönberg’in serialism tekniği gibi yeni teknikleri denemekten de geri durmuyordu ve 1960’ta ilk orkestra eseri olan "Nekroloji"’yi besteledi. Bu beste, bir Estonyalı besteciğinin serialism tekniği ile yazdığı ilk eser oldu. Mezuniyetinden önce 1962’de Moskova’da düzenlenen Genç Besteciler Yarışması’nda besetlediği bir çocuk kantatası ve oratoryosu ile birincilik ödülü aldı.
1960’larda deneysel çalışmalarına devam etti ve serialism tekniği ile "1. Senfoni" ve "Perpetuum Mobile" adlı eserlerini yazdı. 1. Senfoni’yi Heino Eller’e ithaf etti. Daha sonra kolaj tekniği ile eserler üretti. "Collage on B-A-C-H" adlı çalışması kolaj tekniği ile yarattığı eserlere örnektir.
Eserlerinin bazısı Sovyet yönetimince beğenilirken, bazısı yasaklandı. 1968’de "Credo" adlı bestesinin yasaklanmasının ardından inzivaya çekildi ve bir arayışa girdi. Özellikle Rönesans çağı eserlerini inceledi. 1971’de 3. Senfoni’yi bestelese de arayışı henüz bitmemişti. Tekrar girdiği sessizlik dönemini 1976’da bozdu. Müziği radikal bir değişim geçirmiş ve Latince’de “Küçük çanlar” anlamına gelen "tintinnabuli" adlı bir teknik geliştirmişti. Çok az sayıda sesle, minimal bir anlayışla müzik üretmeye başladı. Tintinabuli tekniği ile geliştirdiği ilk eseri bir piyano parçası olan "Für Alina"’dır. 1977’de ardı ardına üç yeni eseri geldi : "Fratres", "Tabula Rasa" ve "Cantus In Memoriam Benjamin Britten". Sonuncusu, müziğine hayran olduğu İngiliz besteci Benjamin Britten’in ölümü üzerine bestelediği 5 dakikalık etkileyici bir cenaze marşıydı.
Arvo Pärt’ın müziği artık batı dünyasında seslendirilmeye başlamıştı. Ancak kendi ülkesinde Sovyet yetkilileri ile mücadele etmesi gerekiyordu. 1980’de eşi ve iki oğlu ile İsrail’e göç etmeye karar verdi. Bu niyetini hiç gerçekleştiremedi ama yayımcısının yardımıyla ailesiyle birlikte Viyana’ya yerleşti ve Avusturya vatandaşlığına geçti. Ertesi sene bir burs alarak gittiği Almanya’ya yerleşti.
Dini metinlere dayalı koro çalışmalarına yönelen Part’in eserleri çok beğenilmekte ve dünya koroları tarafından seslendirilmektedir. Başlıca dini eserleri arasında St. John Passion (1982), Magnificat (1989), The Beatitudes (1990) ve Litany (1994) yer alır. Sanatçının 2010 yılı Avrupa Kültür Başkenti İstanbul ve, 2011 yılı Avrupa Kültür Başkenti Talinn’in ortak siparişi üzerine bestelediği "Adem’in Yakarışı" adlı eseri ilk defa 7 Haziran 2010’da İstanbul’da Aya İrini’de seslendirildi
Sanatçı 1996’da ABD’nin en önemli sanat kurumu olan Amerika Sanat ve Edebiyat Akademisi üyeliğine seçildi. Çeşitli üniversiteler tarafından kendisine onursal doktora verildi. 2005’te 70. doğumgününde çeşitli Estonya şehirlerinde adına müzik festivalleri düzenlendi. (kaynak: wikipedi)
28 Temmuz 2010 Çarşamba
şu adresten izlenebilecek hatta kişiselleştirilebilecek albümler tarz olarak yakın gelmese bile sabır gösterip en az bir kez dinlenmesi iyi olabilecek ve kolay kolay da bu haliyle bulunamayacak çalışmalar.
Part 1 (The America Dream), Part 2 (The Battle of Las Vegas), Part 3 (The Home Sweet Home Suite)
Part 4 (Part Four's Called 'War'), Part 5 (Dark City), Part 6 (p2p)
Part 7 (Revolutions), Part 8 (Worker's Weekend), Part 9 (It's A Mighty Rocky Road)
Part 10 (Take Me To The Mardi Gras - An American Mosaic)
Dilediğinizi de seçebilirsiniz ama ben hepsini öneririm dediğim gibi...
Part 1 (The America Dream), Part 2 (The Battle of Las Vegas), Part 3 (The Home Sweet Home Suite)
Part 4 (Part Four's Called 'War'), Part 5 (Dark City), Part 6 (p2p)
Part 7 (Revolutions), Part 8 (Worker's Weekend), Part 9 (It's A Mighty Rocky Road)
Part 10 (Take Me To The Mardi Gras - An American Mosaic)
Dilediğinizi de seçebilirsiniz ama ben hepsini öneririm dediğim gibi...
25 Temmuz 2010 Pazar
Baaba Maal (born November 12, 1953) is a Senegalese singer and guitarist born in Podor, on the Senegal River. In addition to acoustic guitar, he also plays percussion. He has released several albums, both for independent and major labels. In July 2003, he was made a UNDP Youth Emissary.
Born 12 November 1953. Since his father was a fisherman, Baaba Maal was expected to become a fisherman as well. However, under the influence of his life long friend Mansour Seck, Baaba Maal devoted himself to learning music from his mother and his school's headmaster. He went on to study music at the university in Dakar before leaving for postgraduate studies on a scholarship at Beaux-Arts in Paris. He has become quite famous in Africa and is also the most internationally famous musician from Senegal, with the possible exception of Youssou N'Dour.
Baaba sings primarily in Pulaar and is the foremost promoter of the traditions of the Pulaar-speaking peoples who live on either side of the Senegal River in the ancient Senegalese kingdom of Futa Tooro.
On 7 July 2007 Maal performed at the South African leg of Live Earth.
Baaba Maal's album On The Road, a live acoustic album recorded straight from the mixing boards of his shows over the last ten years, was released on August 10 2008. A new studio album, Television, was released on June 1 2009.
Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American jazz icon and classical pianist and composer.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in both jazz and classical music, as a group leader and a solo performer. His improvisations draw not only from the traditions of jazz, but from other genres as well, especially Western classical music, gospel, blues, and ethnic folk music.
In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a co-recipient, and in 2004 he received the Léonie Sonning Music Prize.
In 2008, he was inducted into the Down Beat Hall of Fame by the Down Beat 73rd Annual Jazz Readers' Poll.
Wynton Learson Marsalis (born October 18, 1961) is an American jazz and Western classical virtuoso trumpeter and composer. He is Artistic Director of Jazz at Lincoln Center. He has promoted the appreciation of Classical and Jazz music, often focusing on young audiences.
As a Jazz performer and composer he has made display of his extensive knowledge about jazz and jazz history and for being a classical virtuoso. As of 2006, he has made sixteen classical and more than thirty jazz recordings, has been awarded nine Grammys in both genres, and was awarded the first Pulitzer Prize for Music for a jazz recording.
John Lurie (born December 14, 1952) is an American actor, musician, painter and producer.
Lurie was born in Minneapolis, Minnesota, moved to New Orleans at the age of 6, then moved again to Worcester, Massachusetts.
In 1978 he formed The Lounge Lizards, initially a "fake jazz" combo, with his brother Evan Lurie. The Lounge Lizards exhibited the talent of artists such as Calvin Weston, Billy Martin, Oren Bloedow, Steve Bernstein, and Marc Ribot, among others. The band continued to make music for 20 years. During this time, Lurie recorded 22 albums and composed scores for over 20 movies, the most notable being Stranger than Paradise, Down by Law, Mystery Train, Clay Pigeons, Animal Factory, and Get Shorty, which earned him a Grammy nomination.
During the 1980s he starred in three films directed by Jim Jarmusch, Stranger Than Paradise, Down by Law, and Permanent Vacation. He went on to have roles in other notable films including Paris, Texas and The Last Temptation of Christ. Lurie also starred, during 2001-2003, on the HBO prison series Oz as inmate Greg Penders.
His 1991 TV series Fishing with John, which he wrote, directed and starred in, was a cult success. The critically acclaimed series aired on IFC and Bravo. Episodes included guests Tom Waits, Willem Dafoe, Matt Dillon, Jim Jarmusch, and Dennis Hopper. It has since been released on DVD by Criterion.
In 1993 Lurie, with Howard Shore, composed the theme to Late Night with Conan O'Brien which was also used as the theme to The Tonight Show when O'Brien hosted.
In 1999 Lurie released the album The Legendary Marvin Pontiac - Greatest Hits, which was purportedly a posthumous collection of the work of an insane African-Jewish musician named Marvin Pontiac (1932-1977). Pontiac, however, was a fictional character,  and the music was actually written by Lurie, and performed by Lurie, John Medeski, Billy Martin, G. Calvin Weston, Marc Ribot, and Tony Scherr. The album included praise from David Bowie, Iggy Pop, Leonard Cohen, and others, who were in on the joke, and a fictional "biography" was published by Allmusic
In a 2006 interview, Lurie said that he had been in ill health since the mid- to late 1990s, with a number of neurological symptoms, "sort of like malaria", but that he is "90% certain that it is advanced Lyme disease.  Lurie said that his illness has kept him from acting or performing music, and that he spends most of his time in his apartment, painting.
21 Temmuz 2010 Çarşamba
Kayhan Kalhor (Farsça: كيهان كلهر), d. 1963),İranlı kamança ustası, besteci ve klasik Farsça müzik ustası.
Yedi yaşındayken müzik çalışmalarına başladı. İran Ulusal Radyo ve Televizyon Orkestrası'nda on üç yaşından itibaren yer aldı. Bir çok farklı öğretmenden eğitim aldı ve redif öğrendi, daha sonra Fars müziği etkilerinin olduğu Kürt ve Türk müziği icra edilen Horasan'a gitti. 20 yaşındayken Muhammed Rıza Lütfi'nin yanında çalışmalarına devam etti. Sonraki dönemlerde klasik müzik öğrenmek için Roma ve Ottowa'ya gitti.
Sussan Deyhim is a composer, vocalist and performance artist who has been at the forefront of experimental music internationally for over two decades. Deyhim's music combines extended vocal techniques, digital processing, and the ancient mysticism of Middle Eastern music to create a deeply moving fusion of East and West.
Born in Tehran, Sussan Deyhim began her career dancing with Iran's Pars National Ballet company (performing weekly on Iranian national television), and then with Maurice B�jart's Ballet of the 20th Century. She moved to New York City in 1980, embarking on a multifaceted career encompassing music, theater, dance and media, and wide-ranging collaborations with leading artists from across the spectrum of contemporary art.
Deyhim has performed and recorded widely as a solo artist. Her one-woman show Vocodeliks, commissioned by the Whitney Museum of Art, led Billboard Magazine to describe Deyhim as "an overpowering presence...[whose] wordless incantations are amplified in harmonized layers and recycled into sampled loops, beckoning you into this virtual desert ritual" while the New York Times said that her "thrilling music...sounds in the ear long after you've left the show." Deyhim's solo recordings include Madman of God: Divine Love Songs of the Persian Sufi Masters, Shy Angels (with Bill Laswell) for the visionary label Crammed Discs and Turbulent. Other recordings include Majoun (for Sony Classical) and Desert Equations (released on Crammed Discs), both with the composer Richard Horowitz, a frequent collaborator. With composer and director Heiner Goebbels, Deyhim recorded Shadows (for ECM), based on writings of Edgar Allan Poe and Heiner Mueller, and composed and performed music for Deepak Chopra's A Gift of Love, with narration by Martin Sheen, Madonna, Goldie Hawn, and Debra Winger. She was also a featured soloist on Hal Wilner's tribute to Kurt Weill, Lost in the Stars.
Deyhim's numerous collaborations with the renowned visual artist/filmmaker Shirin Neshat have received critical acclaim, including the video Turbulent, which won the Golden Lion at the Venice Biennial. Their multimedia performance Logic of the Birds was based on Farid ud-Din Attar's mystical book of poetry written in the 12th Century; produced by the Lincoln Center Summer Festival, the Walker Art Center, the Kitchen, and Artangel, Logic toured internationally.
Deyhim's previous work in the theater includes directing, co-composing, choreographing and performing a series of collaborations with Horowitz including: AZAX/ATTRA: Desert Equations (a one-woman multimedia performance piece produced by La Mama in New York City which toured internationally including Ars Electronica in Austria, Morocco, Paris, Berlin and Hong Kong)(; The Ghost of Ibn Sabbah (presented by the Brooklyn Academy of Music/New Music America, Central Park's Summerstage, and NYC's Town Hall); and X-Isle/Isle-X, commissioned by the Hong Kong Cotemporary Dance Company (which subsequently toured in Japan and Indonesia). As a performer, Deyhim has appeared in many international theater productions, including works by Elizabeth Swados, Jean Claude Van Italie, and Lindsay Kemp. devamı web sitesi
Niyaz (نياز) is an Iranian musical trio. The group was created in 2005 by DJ, programmer/producer and remixer Carmen Rizzo, vocalist and hammered dulcimer player Azam Ali, formerly of the group Vas, and Loga Ramin Torkian of the Iranian crossover group Axiom Of Choice. Niyaz in both Persian and Urdu language means "yearning".
Niyaz's music, described as "mystical music with a modern edge", is primarily a blend of Sufi mysticism and trance electronica. Niyaz adapts Persian, Indian and Mediterranean folk sounds, poetry and songs including the poetry of Sufi mystic Rumi, with Western electronic instrumentation and programming.
Poignant, innovative, epic, and soulful—these are but a few of the adjectives used to describe the music of Axiom of Choice. Formed in 1992 by guitarist, composer and Artistic Director Loga Ramin Torkian and co-producer and percussionist Mammad Mohsenzadeh, the ensemble’s goal is to define a new sound within the context of Persian music. They were soon joined by vocalist Mamak Khadem whose prodigious vocal talent complemented the original compositions of Torkian.
The name of the ensemble is a mathematical term, which clearly defines their intentional freedom of choice within the parameters of their compositions and music. As artists who immigrated to the United States, Axiom of Choice incorporates the sounds of other cultures – both East and West - broadening the scope and appeal of their music while remaining loyal to their Persian roots and retaining the originality, distinctiveness and integrity of their sound. Their original compositions are mostly based on Persian melodies and modes and have universal appeal because of their cohesive, seamless and natural fusion with other styles of music.
The musicians work within a unique compositional structure in which both improvisation and personal expression can freely take place. One important goal is to make Persian music more accessible to the broader audience. The other is to communicate through a progressive and new global sound, unique to world music. Based on the quarter-tone guitar, saz, diwan (Middle Eastern lutes), Persian vocals, the Armenian duduk (oboe), clarinet, electric cello, and global percussion instruments, their sound is at the same time traditional and modern, Persian and yet global. The group’s music is self-expressive and powerful, adventurous and mysterious, contemplative and mournful, yet uplifting and cathartic.
Their first album “Beyond Denial” (X-Dot 25) was described as “Near Eastern art music, deeply moving and utterly beautiful” by Rhythm. Their second release “Niya Yesh” (Narada World) became the winner of NAV’s best contemporary world music album in 2001. They were nominated Best Recombinant World Music Ensemble in 2001 by the LA Weekly Music Awards. Their third album “Unfolding,” also on Narada World, is inspired by the Persian poet, mathematician, and astronomer Omar Khayyam and embraces his mystical poetry and vision.
Tricky (born Adrian Nicholas M. Thaws on 27 January 1968) is an English musician and actor. As a producer and a musician, he is noted for a dark, rich and layered sound and a whispering sprechgesang lyrical style. Culturally, Tricky encourages an intertwining of societies, particularly in his musical fusion of rock and hip hop, high art and pop culture. His debut album Maxinquaye was nominated for the Mercury Prize and voted Album of the Year by NME Magazine.
Tricky was born in Knowle West, Bristol, England. His father left the family before he was born and his mother, Maxine Quaye, committed suicide when he was only four. He named his solo album after her - Maxinquaye - and once said that though he hardly knew her, he feels like she's speaking through him with his words.
He spent his youth in the care of his grandmother, who often let him watch old horror movies instead of going to school. At 15 he began to write lyrics ("I like to rock, I like to dance, I like pretty girls taking down their pants" MixMag '96). At 17, he spent some time in prison because he bought forged £50 notes from a friend, who later informed the police. In an interview, Tricky said: "Prison was really good. I'm never going back" (NME '95).
Daha elektronik müzik filizlenmemişken, Massive Attack; trip hop'ı gümüş tepsiyle sundu. Müzik severler müzik adına yapılabilecek herşeyin yapıldığını düşünürken Massive Attack'in "Blue Lines" albümü çıka geldi. Electronic tınılar içermesine rağmen bunun adını koyamadık, ve anladıkki bu Massive Attack tarzıydı."Çok farklı Hep farklı".
Massive Attack, 1980’lerin ortasında iyi bir şöhrete sahip olan “The Wild Bunch”in sona erdirilmesiyle “The Wild Bunch” üyeleri tarafından kurulmuş bir gruptur.
Politik ve gündemi takip eden duruşlarını müzikleriyle harmanlayan Massive Attack; sürekli konuk sanatçılarla çalışmalarını sürdürerek kolektif anlayışlarının altını çizmiştir. Yaptıkları hiçbir albüm itibarlarını zedelemedi. Hatta, onları hep bir adım daha öteye taşıdı. Müzikal zıtlıkları olan tınıları ve etkilendikleri her şeyi mükemmel bir ölçüyle sunabilme özellikleri onları yepyeni bir türün yaratıcısı yaptı. (trip hop)! Dub groove’ları, funky parçaları, hip hop esansları ve ilginç sample’larıyla Massive Attack’in müziği, kişiyi farklı bir yoldan seyehate çıkaran, karanlık ve sinematik bir nitelik taşır. Bu özelliği yüzünden olsa gerek; kendisinden sonra gelen Portishead, Sneaker Pimps, Beth Orton ve hatta Tricky gibi trip hop denince akla gelen isimlere kaynak olmuştur.
“Mezzanine” albümün tanıtım turnesi sırasında Mushroom’un gruptan ayrılma kararı almasıyla iki kişiye düşen Massive Attack, daha sonra Daddy G’nin de part time’a geçmesiyle tek kişi kaldı.
Elektronik müziğin bir bütün olarak temel ilham kaynağını oluşturan modern şehirler ve onların hayalet ruhları, kültür kalabalıkların karakterlerini yansıttıkları mükemmel bir kompozisyon olarak görülebilir. Mimarisi, iklimi, bitki örtüsü, din, dil ve alışkanlıkları, bu portedeki notalardan sadece belli başlıları. Şehirler, Massive Attack’e de en büyük ilhamı veren şeylerin başında geliyor. Spesifik olarak da memleketleri Bristol tabii. Her şehrin kendine ait bir karakteri olduğu, kendine ait bir sesi var. Ve Bristol Sound’u denen şeyin bayrağını taşıyan da Massive Attack’tir. Bu karakterli olma durumu müzik dünyası içinde çok saygı gören bir özellik. Massive Attack de müzikal anlamda ne kadar değişir ve ne kadar farklı yerlere kök salarsa salsın, kendi karakterinden asla ödün vermiyor. Çünkü her ne kadar trip hop denen şeyi icat ettiyse de, artık onları anlatırken bu gibi sınıflandırmalarla cebelleşmek zorunda değiliz. Sadece Massive Attack demek yeterli. Çünkü trip hop’ın tanımında Massive Attack var ve bu tarz Massive Attack tarzıdır. Yineliyelim “Çok farklı hep aynı”
3D (Robert del Naja) 11 haftasını, senaryosunu Luc Besson’ın yazdığı ve Louis Leterrier'nin de yönettiği bir film olan Danny the Dog’a müzik yapmakla geçirdi. Başrolünde Jet Li'nin yer aldığı filmde diğer oyuncular arasında Morgan Freeman ve Bob Hoskins yer alıyor. Filmde Jet Li, hayatı boyunca hiçbir eğitim almamış bir köleyi canlandırıyor, hem de boynunda tasması olan gayet klişe bir köleyi. Hoskins tarafından bir dövüşçü olarak kullanılan Jet Li günün birinde kör bir piyanist olan Morgan Freeman’la tanılıyor ve Freeman ona müzik yoluyla insan olmak konusuyla ilgili kimsenin bilmediği sırlar veriyor. İşte Freeman’ın Li’yi eğitirken kullandığı müzikler 3D?nin elinden çıkma. Massive Attack film için tam 21 parça yapmış ve bu müzikler film boyunca kronolojik olarak duyuluyor. Büyük bir Massive Attack hayranı olan Luc Besson, en başından beri filmin müziği için 3D’yi düşünüyormuş ve bizzat onunla temasa geçerek ikna etmiş. Film Amerika’da 11 Ekim’de vizyona girmişti
Piano Magic is a musical collective formed in the summer of 1996 by Glen Johnson, Dominic Chennell, and Dick Rance in London, England. Their sound has been described as ambient pop, post-rock, indietronica, coldwave, dark wave and ghostrock. While the most recent releases have seen them operating with a traditional band format, they originally started their career with the intention to base their recordings around their small nucleus and whoever else would like to contribute. Glen Johnson is the only remaining band member from the original trio.
Piano Magic was formed in the summer of 1996 by Glen Johnson, Dominic Chennell, and Dick Rance in London, England, as a 'bedroom-studio' project with the intention to base their recordings around their small nucleus and whoever else would like to contribute.
Originally reluctant to perform live, they gave way to label pressure when their first single proved popular on BBC Radio 1 John Peel show  and was awarded Single of the Week in Melody Maker. While recruiting Paul Tornbohm to play drums at these gigs, they pointedly refused to play or sound like any of their released material.
Popular Mechanics appeared on i/Ché in 1997, a debut album which the press variously described as "ethereal electro pop atmospheric soundscapes" or "simply delighting in... making silly noises" and which the band thought of as "Small Beat, pre-chip... radiophonics". It included vocals by Hazel Burfitt and Raechel Leigh but, with Rance having quit the band, combined two previous single releases with a set of new recordings by Johnson and Chennell.
The duo then briefly recruited American music students, Alexander Perls, Jen Adam and Ezra Feinberg to complete the band, though Chennell too had departed by the time of the second album release Low Birth Weight in 1998, a record described as "dreamy, trance and organic psychedelia". It introduced the vocals of Caroline Potter who would sing on one further album
The Black Heart Procession (occasionally spelled The Blackheart Procession) is an indie rock band from San Diego, California. The band was formed in 1997 by Pall Jenkins (member of Mr. Tube and the Flying Objects, Pallllap, Ugly Casanova) and Tobias Nathaniel (both members of the band Three Mile Pilot). The group is often augmented by the contributions of Mario Rubalcaba, Jason Crane, Joe Plummer, Dimitri Dziensuwski and Jimmy LaValle.
The band released their long-awaited new album, Six, on October 6, 2009 on Temporary Residence Ltd.
Arab Strap were an indie rock band from Scotland that consisted of core members Aidan Moffat and Malcolm Middleton. The band were signed to independent record label Chemikal Underground, and split in 2006. As indicated by the title of Belle and Sebastian's third record, The Boy with the Arab Strap, and by Aidan Moffat's involvement in the two Reindeer Section albums, they were a central part of Glasgow's influential late 1990s music scene. Vocalist Aidan Moffat and multi-instrumentalist Malcolm Middleton grew up in Falkirk, and bonded over their mutual love for Drag City recording artists such as Smog and Will Oldham (who at the time recorded under the name Palace Brothers). They began collaborating in 1995, and their debut album The Week Never Starts Round Here was released the following year.
Over the course of their ten-year existence Arab Strap worked with a number of musicians including Jenny Reeve and Stacey Sievewright, as well as Adele Bethel and David Gow who went on to form Sons and Daughters. Stuart Murdoch of Belle & Sebastian featured on the album Philophobia, but the album/song "The Boy with the Arab Strap" would later create something of a feud between the two singers.
Arab Strap's marked characteristics include sordid, personal, yet honest, lyrics – described by the NME as "fly on the duvet vignettes". Like fellow Scottish band The Proclaimers, some of their lyrics are sung in their native Scots tongue. At first essentially an electro-acoustic band with a brooding, spare sound, later albums and gigs saw them develop a fuller sound which drew deeply on both indie and dance music.
Arab Strap's first two albums, The Week Never Starts Around Here (1996) and Philophobia (1998), made clear the band's ability to capture the desperate decadence of post-Thatcherite Britain. The Week Never Starts Around Here's standout song is "The First Big Weekend," a five-minute piece of drunken mayhem which hints at some of the band's finest later moments. The joyous singalong at the end of the song, "Went out for a weekend, lasted forever / Got high with our friends, it's officially summer," was the chorus to "Hey!Fever," one of the tracks on the EP The Girls of Summer. The 1999 live album, Mad for Sadness, is the finest album of this period, demonstrating how the sometimes spare recorded sound of their early music could lift into a celebration of a sexually empty, drug- and alcohol-dependent life. devamı
15 Temmuz 2010 Perşembe
Hamza El Din, the celebrated Nubian musician whose rich fusion of Arabic and Nubian sounds entranced audiences worldwide and inspired colleagues like the Grateful Dead and Kronos Quartet, died Monday, May 22nd, at a Berkeley hospital from a gallbladder infection. He was 76.
A longtime Oakland resident, Mr. El Din was a subtle master of the oud, the Arabic precursor of the lute, and the tar, the single-skinned drum that originated in Nubia, the ancient upper Nile land that was largely submerged after the Aswan Dam was built in the 1960s. Mr. El Din sought to preserve his native culture, singing Nubian songs and stories in a warm, reedy voice that merged with his instrumental overtones to create music of quiet intensity and beauty.
"It was mesmerizing. Hypnotic and trancelike,'' said Grateful Dead drummer Mickey Hart. "Hamza taught me about the romancing of the drum. His music was very subtle and multilayered.
"He was a deep listener,'' added Hart, who practiced daily for six years to master the tar Mr. El Din gave him. Sometimes the music they played together was so soft "we could hardly hear ourselves. He'd just suck you into this vortex, and all of a sudden what was quiet seemed loud in its intensity. He suspended time.'' devamı web sayfası
John Towner Williams, ABD'li besteci, orkestra şefi, piyanist, müzik adamı. Modern çağın en önemli ve popüler senfonik film müziği bestecilerinden biridir. Beş Akademi Ödülü, on yedi Grammy, üç Altın Küre, iki Emmy Ödülü ve İngiltere Film ve Televizyon Sanatları Akademisi’nden beş BAFTA Ödülü sahibidir. 8 Şubat 1932’de New York’da doğdu. Küçük yaşlarda başlayan müzik aşkını, "Babam ve onun arkadaşları müzisyendi. Bir çocuk olarak müziği yetişkinlerden gördüm. Büyük bir ihtimalle sözcükler okumadan önce notaları okuyabiliyordum." sözleri ile anlatmaktadır.
On dokuz yaşına geldiğinde ilk piyano sonatlarını besteleyen Williams, müzik eğitimine yedi yaşında piyano çalmayı öğrenerek başlamış, ardından trompet, trombon gibi nefesli çalgılarla devam etmiştir.
Bir caz davulcusu olan babası, New York CBS orkestrası ile çalışırken daha sözcükleri okumadan notaları okumaya başlayan John, orkestranın piyanisti çalamadığı zamanlarda onlara eşlik ederek, babasının bağlantıları sayesinde müzik işine girmiş oldu.
John Williams, ailesiyle birlikte 1948 yılında Los Angeles’a taşınarak, burada UCLA’ya kayıt olmuş ve özellikle ünlü bir İtalyan besteci olan Mario Castelnuovo-Tedesco kompozisyonları üzerinde eğitim görmüştür.
Babası, otuzlu yaşlarının sonlarında 20th Century Fox stüdyolarında iş aldığında, Williams da onun peşine takılarak film müziği için orkestra çalışmalarını izlemeye başlamıştır. devamı
16 Temmuz 1946'da Urbana, Illinois'de doğan Tom Harrell, tanınmış bir ABD'li caz trompetçisi ve kompozitörüdür.
Paranoid şizofreni bozukluğunu ağir derecede yaşayan müzisyen, trompetini çalmadığı anlarda, sahnede boynu bükük sakince bekler. Solo çaldığı kısımlarda yavaşça mikrofona yönlenir, kafasını hafifçe kaldırır ve parçası bittiğinde yine eski haline geri döner.
8 yaşında trompet çalmaya başlayan Tom Harrell, 13 yaşında taşındıkları San Fransisco'da lokal müzik gruplarıyla sahneye çıkmaya başlar. 1969'da Stanford Üniversitesi'nde eğitimini tamamlar ve Stan Kenton`s Orchester ile turlara çıkmaya başlar. Kenton un grubundan ayrıldıktan sonra Woody Herman Big Band (1970-1971), Azteca (1972), Horace Silver Quintet (1973-1974), Sam Jones Big Band, Lee Konitz Nonet (1979-1981), George Russell, Mel Lewis Orchestra (1981)ve Charlie Haden's Liberation Music Orchestra gibi kişi ve gruplarla çalışır.Bill Evans, Dizzy Gillespie, Bob Brookmeyer, Lionel Hampton ile stüdyo kayıtları yapar. 1983'ten 1989'a kadar Phil Woods Quintet in üyesidir ve sayısız dünya turuna çıkar.
1989 dan bu yana kendi kurduğu grubuyla çalışmaktadır. kaynak
14 Temmuz 2010 Çarşamba
Singer-songwriter Bidinte comes from Guinea Bissau, one of the lesser known corners of West Africa. This former Portuguese colony does not have the musical renown of her island neighbor, Cape Verde, home most notably to Cesaria Evora. Like Evora, Bidinte's singing is slightly mournful, though his compositions are as rich as his vocals. "Sindin vela" Pensive throughout, Bidinte mixes modern Iberian instrumentation (e.g. flamenco guitar, flute, electric bass) with some tama and shekere to create a rich backdrop for his vocal prowess. "Sindin vela," with both a studio and a live version, is a lovely mid-tempo number of desperation and loss, which echoes both Bidinte's native Bissau and his adopted Spain. Flamenco fans will like the two guitars backing him on "Canjura," which also features flute behind Bidinte's pleas for love. The tama work on "Mariama" creates a nice tension with the flamenco and acoustic guitar. And the electric guitar on "Ke cu minino na tchora," though it's not really a reggae tune, is highly reminiscent of Junior Marvin's work on Alpha Blondy's Jerusalem or Bob Marley's Kaya. There are some less notable tunes, but all in all this is a very nice work by an emerging artist we'd like to hear more from.
Udi Hrant Kenkulian (1901–August 29, 1978), often referred to as Udi Hrant ("oud-player Hrant") or as Hrant Emre ("Hrant of the soul") was an oud player of Turkish classical music, and a key transitional figure in its transformation into a contemporary popular music. He was an ethnic Armenian citizen of Turkey who spent most of his life in Turkey and wrote most of his lyrics in Turkish. He went to the United States of America to have his blindness treated, and performed while in America.
As an oud player, he was a major innovator, introducing left-hand pizzicato, bidirectional picking (the tradition had been to use the pick only on the downstroke), double stops, and novel tunings (sometimes using open tunings or tuning the paired strings in octaves instead of to a single note). According to Harold G. Hagopian, he was most respected for his improvisational taksim.
Born near Istanbul, declared blind four days after his birth, Hrant as a child sang in the choir of an Armenian Apostolic Church. His family fled to Konya in 1915 to escape the Armenian Genocide; there Hrant first studied the oud, with a teacher named Garabed. In 1918 the family returned west, first to Adapazarı and then to Istanbul, where Hrant continued his musical studies under some of the leading teachers of the time, including Kemani Agopos Ayvazyan, Dikran Katsakhian, and Udi Krikor Berberian. Somewhere along the way he also learned to speak French, and was actually accepted at age 16 to a Paris-based school for the blind, but he contracted typhoid fever and was unable to travel.
Several attempts (including by doctors in Vienna) failed to restore his eyesight, which prevented him from playing in ensembles. He made a modest living playing in cafes, giving music lessons, and selling instruments. There is some question about when he first recorded; he claimed to have made a record as early as age 19, but his earliest known recordings would appear to be from no earlier than 1927, since they used an electronic microphone. kaynak
Udi Hrant (1901-1978) gerek icracılığı gerek besteciliğiyle Klasik Türk Musıkisinin en önemli üstadlarından biri olmuştır. Ortadoğu müziğinin bünyesindeki doğaçtan icraya en uygun form olan "taksim" Udi Hrant'ın elinde zirveye ulaşmıştır. İlk ürününü henüz 17 yaşındayken kaydı yapılan Hicaz ve Hüzzam taksimleriyle elde eden Udi Hrant bundan sonra yaptığı yirmibeş kadar bestesi ve kandinden sonra gelen udilere ilham kaynağı olan tekniğiyle resmi çevrelerce bile "Türk Musıkisinin unutulmaz isimlerinden biri" olarak onurlandırılmıştı.
Udi Hrant'ın Başka bir özelliği de Klasik Türk Musıkisi'nin yurt dışında tanınmasını sağlayanlar arsında önde gidenlerden biri olması. Doğuştan kör olan Udi Hrant 1950'de tedavi umuduyla gittiği ABD'de dostlarından gelen istek üzerine New York, Boston, Detroit, Los Angeles ve Fresno'yu kapsayan bir dizi konser vermiş ve sanatı belli bir çevre içinde dahi olsa geniş bir yankı uyandırmıştı. 1963'de Paris, Beyrur, Yunanistan ve ABD'yi kapsayan başka bir konser gezisine daha çıkarak Klasik Türk Musıkisi'nin en yetkin ellerden birinin aracılığıyla yurt dışında tanınmasını sağlamıştı.
Udi Hrant'ın Sahibinin Sesi Türkiye temsilciliği tarafından 1920'lerde kaydedilen bir çok 78'lik plağına rastlamak mümkündür. Ama o dönemin kayıt tekniğinin Hrant'ın virtüozitesini yansıtmaktan uzak olduğu bir gerçek. Biz 1950'deki ABD konserlerinin kayıtlarını kullandık. Ampex 601'deki bı kayıtlar RCA stüdyolarında 44.1 kHz'de 1630 dijital teybe aktarılmış ve montajı SONY DMR 4000'de yapılmıştır. Gereken yerlerde harmonia mundi dijital egualizer'la istenmeyen hışırtılar da tamamen giderilmiştir. İşte bu ileri teknolojik olanaklarla pırıl pırılbir duruma gelmiş altı klasik taksim sunuyoruz. Rast, Hicaz, Hüseyni, Nihavent, Saba, Hüzzam.
Bunların dışında Udi Hrant'ın bestecilik yönünden pek el atmadığı üç Semai (Kemani Tatyos Efendi'den Suzinak, Kemençeci Nikolaki'eden Mahur, Yusuf Paşa'dan Hicaz makamlarında) örneği var. Ayrıca üç şarkı sunuyoruz. Rast ve Hicaz makamlarında söylenen Türkçe şarkıların dışında elimizde pek az örneği bulunan hrant'ın kendi sesinden Ermenice söylediği bir Hüzzam Şarkı diskimizin son parçasını oluşturuyor. Kaynak
Hossein Alizadeh (Tehran-1950) is considered one of the most important figures in contemporary Persian music. He comes from a traditional training. He learned the Radif of Persian classical music with various masters of the tradition including Houshang Zarif, Ali Akbar Shahnazi, NurAli Borumand, Mahmood Karimi, Abdollah Davami, Yousef Foroutan, and Saied Hormozi and later recorded the entire body of the Radif based on the interpretation of Mirza Abdullah for Tar and Setar. He also received a BA in Music Composition and Performance from the University of Tehran and later studied Composition and Musicology at the University of Berlin. He has taught at the University of Tehran and the Tehran Music Conservatory.
Alizadeh has led a solo career, performing both in Iran and throughout North America, Europe and Asia. He was the conductor and soloist in the Iranian National Orchestra of Radio and Television, established the acclaimed Aref Ensemble and worked with the Shayda Ensemble. His first professional experience in Europe was playing in the orchestra of the famous Bejart Ballet Company in Maurice Bejart's ballet, Gulistan.
Some of Alizadeh's most noted compositions are The Nava Improvisations (1976), Riders of the Plains of Hope (1977), Hesar (1977), Revolt (1983), Ney Nava (1983), Dream (1986), Torkaman (1986), Raz-O-Niaz (1986), Delshodegan (1987), Song of Compassion (1991), New Secret (1996), A Time for Drunken Horses (2000), Turtles can Fly (2004), Endless Vision (2004), Nive Mang (2006), Under the Razor (2007) and Ode to Flowers (2007). The album, Endless Vision has been nominated for the Best World Music Album of the Year 2006 in the 49th Edition of the Grammy Awards.
Alizadeh established the Hamavayan Ensemble in 1989 with a new approach to the traditional Iranian choral singing. Accompanied with traditional instruments, this ensemble has appeared in many of Alizadeh's compositions including New Secret, Gabbeh, Songs of Compassion and Endless Vision.
3 Temmuz 2010 Cumartesi
After ten years of classical percussion and following a PR job with a music label, Emmanuel Santarromana finally got into the clubbing scene as additional percussionnist for DJ Mandrax, Charles Schillings, Laurent Garnier... in the most important European clubs such as the Mad (Lausanne), Plastic People (London), the Queen and the Rex Club (Paris).
In 1998, he started DJing, and hasn’t stop spinning since, except for a stint managing his own restaurant Le Royal Mondétour, a stylish Parisian meeting place for the world of fashion and music. Emmanuel went on to design the soundtrack for fashion shows by Barbara Bui, Guy Laroche and Fred Sathal, who asked him to mix the first Barbara Bui café - (arôme) compilation released by Pschent in April 2001. His selection for two Plaza club compilations (named after his famous club nights at Les Bains) confirmed his reputation as an essential DJ on the European clubbing scene.
After a short season playing at Maxim’s de Paris, Emmanuel S was asked to be the resident DJ at the luxurious Pershing Hall hotel designed by Andrée Putman, and more recently at l’Arbuci. His sound design for Louis Vuitton fashion shows in Japan or for Cartier Jewellery confirm his position as one of the most select DJs of the moment.
In April 2003, Emmanuel Santarromana released Barbara Bui (whisper & shout), a double compilation that features a unic selection of elecro jazz balads and down tempo tracks (CD1), followed by a sweet deep house mix sprinkled by melodic and acoustic influences (CD2).
In 2003, his first album of original soundtracks, Métropolitain, was released. Métropolitain is compiled on HOTEL COSTES vol 6, and also on HOTEL COSTES “Best of”.
In 2005, Emmanuel Santarromana signed « Diner time » on Alcazar Various, volume 4.
In 2006, Emmanuel Santarromana released his second album, Fab4ever, a cover album of the Bealtes.
All over this period, Emmanuel Santarromana played for great events suchs as the anniversary of the SANTOS watch in HONK KONG, and also in cooperation with Andree Putman for Louis Vuitton Icône exibition. He’s also present in the club scene like in the BANK CLUB in Beijing, the BED in Bangkok, the JET SET in Moscow, but also in the undergroung scene like the LOGO in Shanghai.
Brendan Michael Perry was born in Whitechapel, London on June 30th 1959 to Anne O’Reilly, from Cavan, Ireland and Michael Perry, from London, England. The eldest of three children, he was raised in a working class suburb in east London.
“One of my earliest musical recollections was of a music box.The kind that young girls would store their jewellery in. It had a small ballerina that turned with the mechanism as it played. The hypnotic spell of the musical round has stayed with me ever since. Like the sound of the ice cream van that used to come to our street every Sunday afternoon, the music box has become fixed in my subconscious and often manifests itself in my music in some shape or form.”
“Every morning at primary school we would sing religious hymns at assembly. It was basically a form of religious conversion through mantra but something to which I looked forward to. Despite the stuffy Victorian atmosphere and the Christian dogma, many of the hymns had beautiful melodies…”
Apart from ‘Three Blind Mice’ performed on a school recorder and a short spell in the school choir he received no formal musical education and by the age of fourteen began to teach himself to play the guitar. He is to this day essentially still a self-taught musician preferring to work with a hands on approach towards music, employing his ear in preference to a written score.
In 1973 his parents decided to emigrate, taking him and his younger brother and sister to Auckland, New Zealand where he attended a catholic Marist missionary brothers school in Ponsonby. It was here that Brendan received his real musical education despite the fact that music was not officially part of St. Pauls curriculum.
“I remember playing acoustic guitar with the Maori and Polynesian fellas at school. We would get together during breaks from lessons to share riffs that we had learnt from records. Sometimes there would be a circle of up to eight guys jamming away to Hey Joe or some other standard and played with that distinctive ‘jingajik a jingajik’ Polynesian rhythm. Up until then I was what you would describe as a ‘bedroom guitarist’, that is someone whose sole audience usually comprised four walls and a bed. So the school sessions were a great source of inspiration for me both on a musical and social level.”
“I auditioned for a couple of local bands when I was about 17 but was rejected because my technique was just not up to scratch. You have to remember this was the era of the 20-minute guitar solo where self-indulgence had become the order of the day and many potential artists simply did not make it beyond their bedroom doors because they felt technically inadequate in such a musical climate. Rock music had somehow become over-complicated and slick by the middle of the seventies.”
“I had practically given up any aspiration of ever becoming a musician when I met John and Des from The Scavengers at an after-gig party. They told me that they were looking for a new bass player to replace Marlon Hart and although I had never played bass before I knew they were not exactly looking for the next Jaco Pastorius so I agreed to give it a shot. Without even having an audition I found myself performing, well, miming actually, on New Zealand’s ‘Top of the Pops’, called ‘Ready to Roll,’ to two songs the band had laid down the week before. The following week I watched the broadcast of the show with my family and without actually ever having played a note on a bass guitar found myself in the rather odd situation of being a minor musical celebrity!” devamı