30 Ekim 2010 Cumartesi
Stellamara began when vocalist / producer Sonja Drakulich followed her vision and created a vehicle for the development of devotional music based in Near Eastern and medieval modal traditions. Extraordinary musicians from diverse cultural backgrounds have since come together within the vessel of Stellamara, creating music with a common intention: to celebrate love, beauty and unity through transcendent harmony, perfect dissonance and passionate rhythms. Rooted in Turkish, Arabic, Balkan, Medieval European and Persian musical traditions, Stellamara carries a deep devotion to the music of these cultures with a unique timeless expression.
At Stellamara’s core are Sonja Drakulich and multi-instrumentalist Gari Hegedus. Together with co-writer and cellist Rufus Cappodocia they create a bridge that transports the listener out of the ordinary world into the realm of the sublime. Their music unveils the deep relationship between seemingly disparate cultures while surpassing any confines of tradition. Through the use of makam – traditional Middle Eastern modal scales and melodic structure – Stellamara’s strong connection to cultural origin is clear, yet they gracefully blend musical forms with both a passionate, highly personal aesthetic and subtle, otherworldly ambiance. Stellamara is currently celebrating their 3rd critically- acclaimed CD release, The Golden Thread, which was recorded with their mentors and collaborators, Ross Day and Kelly Thoma, on the island of Crete. With their world-renowned discography, Stellamara is at the forefront in creating highly innovative recordings and performances. They are internationally regarded as being at the forefront of contemporary world music, giving new life and a fresh, modern expression to the beautiful and mysterious qualities of traditional modal music.
Stellamara’s founder and Producer, Sonja Drakulich, was born of Serbian and Hungarian decent and raised in Los Angeles. She sought out the study of Eastern European singing on her own as a young girl, and its expression quickly became, for her, a homecoming. She began performing Balkan and Medieval European music as well as her own compositions at the age of 18. At that time she also began her studies in classical Hindustani and Persian singing, and later continued to expand her voice through Turkish, Greek and Arabic singing. She was adopted as protégé by the legendary Bulgarian vocalist Tatiana Sarbinska at the age of 20, and continued her studies with both Tatiana and the renowned Bulgarian vocalist Tsvetanka Varimezova. She has toured with the Mevlevi Dervishes as a singer and percussionist and has provided music for Sufi gatherings and devotional events around the country. She toured Indonesia in 2006 as part of the Gamelan theater group, Situbanda, where she performed a lead role in a contemporary rendition the Ramayana. Her voice and music can be heard in many independent films and she has been sought after by composers, producers re-mixers, as well as the extraordinary Cirque du Soloeil, for lead roles in their productions. Throughout her successes as performer and producer, and throughout her continued studies, Sonja has maintained a voice that is unique, reverent and exquisite. She is not confined by any one tradition, and uses her voice with the freedom of a soaring musical instrument. In her voice, one can hear her center residing in the devotional aspect of song, as she carries within her a signature passionate and rhythmic style, graced with the delicate ornamentations of Eastern melody.
Gari Hegedus began devoting his life to music with the study of Celtic and Bretagne music. From there he was led eastward into the intense practice and performance of Turkish classical and Mevlevi ceremonial music and he toured with the Mevlevi Dervish Order of America for several years. Gari is widely sought after as a highly accomplished and versatile recording and performing artist. His repertoire and playing styles reach outward from Turkey and Greece into the Arab lands, Iran and India. Gari began his musical career with fiddle and mandolin, and had devoted a decade of his life to the violin before learning of his ancestral Hungarian name, Hegedus, meaning “violinist.” Gari’s main instruments are the oud, violin, saz and mandocello, yet his talent is also proficiently expressed on many other instruments, including the yayli tanbur, sarod and setar. Being largely self taught, with an insatiable drive for the discovery of new depths and intricacies of playing, he asserts a distinctive talent for capturing the delicate essence of traditional music, offering a passionate, heartfelt uniqueness and freedom of expression. As a composer and performer, Gari has developed the art of taksim (improvisation) to a deeply soulful level for which he has become highly recognized. He is co-founder of the beautiful musical duo “Teslim” with violinist and composer, Kaila Flexer.
Stellamara’s co-writer and instrumentalist is cellist, Rufus Cappadocia. Rufus was first introduced to the cello in Ontario at the age of three through the Suzuki method. By the age of six, he had begun his studies with the renowned Czech cellist, Zdenick Konicek. Throughout his training in classical music, Rufus was increasingly inspired to find a voice that would transcend cultural and stylistic boundaries. After years of experimentation, he now plays a self-designed five string electric cello in which he creates an entire world of sound completely transformative to the listener. He expresses a mastery of the cello with a passion and intensity that has led him to perform with some of the greatest contemporary musicians, including Ross Daly, Odetta, Vishal Vaid, Adoulai Diabate, Esma Redzepova, Theodossi Spassoff and Tamalalou, as well as The Black Rock Coalition, Vernon Reid, and the legendary Aretha Franklin. In the words of Ross Daly: “In Rufus’s playing, one can clearly discern the influences deriving from as far a field as Jimi Hendrix, rhythmic and melodic patterns of west African music, the phraseology of Balkan work, Cretan lyra technique as well as innumerable other influences, all of which point to a deep extended relationship within a rich variety of musical traditions. Particularly noteworthy is his improvisational, original and individual way.”
Stellamara’s infamous clarinetist is Peter Jaques. Peter has been celebrated in the Bay Area Near Eastern music scene since 1995, for his innovative meld of traditional Balkan Rom, Greek, Turkish, & klezmer styles with his own deeply soulful approach. He performs principally on the Bb clarinet & Egyptian nay (reed flute), as well as rotary-valve flugelhorn, alto saxophone, & Turkish G clarinet. Peter directs the Brass Menažeri Balkan Brass Band, winner of the SF Weekly’s Reader’s Choice Award (2008). He also performs with several San Francisco world music ensembles: Black Olive Babes, Rumen Sali Shopov’s Orkestar Sali, and Gamelan X. Peter is highly regarded for his thorough knowledge and skills in Turkish, Greek and Eastern European styles, as well as his exceptional musical sensitivity and passionate expression on his instrument.
On stage and in the studio, Stellamara incorporates the talents of the following extraordinary musicians: Arabic and Balkan percussionists Faisal Zedan and Tobias Roberson, along with their newest member, multi instrumentalist/ percussionist extraordinaire, Evan Fraser.
Together, the musicians of Stellamara express profound devotion and passion for the great muse, the Star of the Sea. They evoke for the listener the lost gardens of Shalimar, the mysterious landscapes of the Caucasus, and the transcendent whirling of Rumi’s dervishes, revealing the poetic yearning that lies within.
in Tibetan Buddhism, a tulku (Tibetan:Wylie: sprul sku; ZWPY: Zhügu, also tülku, trulku) is a particular high-ranking lama, of whom the Dalai Lama is one, who can choose the manner of his (or her) rebirth. Normally the lama would be reincarnated as a human, and of the same sex as his (or her) predecessor. However, discussing his own successor, the Dalai Lama has been quoted as saying that "if a woman reveals herself as more useful the lama could very well be reincarnated in this form". The Dalai Lama has also said (when speculating about the possibility that his people might have no use for a Dalai Lama after he dies) that he "might take rebirth as an insect, or an animal...". In contrast to a tulku, all other sentient beings including other lamas, have no choice as to the manner of their rebirth.
In addition to choosing the manner of their rebirth, tulkus are able, on their deathbed, to make known the place of their next birth, sometimes adding various details about their future parents, the situation of their house and so on. If such details are lacking, the monks whose duty is to locate his reincarnation, resort to a lama-tulku astrologer (or tsispa) for directions.
Presently, there are over two thousand tulkus known, although in Tibet before the Chinese invasion there were probably a few thousand. Each tulku has a distinct lineage of rebirths. For example, the Fourteenth Dalai Lama is held to be the reincarnation of each of the previous thirteen Dalai Lamas of Tibet, who are in turn considered to be manifestations of Avalokiteshvara, or Chenrezig, Bodhisattva of Compassion, holder of the White Lotus. The vast majority of tulkus (and lamas) are men although there are some women.
The tulku incarnation lineage should not be confused with the lineage of Buddhist masters and their disciples, which is concerned with the oral or written transmission of particular Buddhist teachings and spiritual practice from generation to generation.
rfan is a Bulgarian World Music & Ethereal Wave band. The name of the band is borrowed from the Sufi terminology and can be translated from Persian and Arabic as “gnosis”, “mystic knowledge” or “revelation” (*see Irfan). Irfan’s music is an invitation for a mystical trip in and beyond time, a message, poetically extended in the language of the heart. World reviews are hesitant about the genre categorization of Irfan’s music, determining it as Neoclassical / World Music / Sacred Music / Ethereal Wave / Heavenly voices. Indeed Irfan’s music is a World Fusion and it is strongly influenced by the sacred and folk music traditions of Bulgaria, the Balkans, Persia, Caucasus, the Middle East and North Africa, as well as by the musical and spiritual heritage of Byzantium and Medieval Europe, yet it retains its own original sound. The musicians use traditional (Bulgarian, Balkan, Oriental, Persian, Indian) and medieval European instruments and vocal techniques woven into a delicate electronic dark ambient sound. Though similar in style to established bands such as Dead Can Dance, Sarband, and Vas, Irfan is known for its extensive use of ethereal and mystic female vocals in addition to strong male vocals and choirs in combination with an assortment of various traditional and medieval string, wind and percussive instruments including the oud, saz, tambura, santoor, kaval, duduk, viola da gamba, darbouka, daf, bodhran, bendir, zarb and riq.
Irfan was founded in 2001 as a side project of musicians from Bulgarian bands like “Isihia”, “Kayno Yesno Slonce ”, “Om” and “Zarathustra”, but soon it became a new, independent and promising music team. The band was first signed by the French label “Prikosnovénie” and made its debut appearance on “Prikosnovénie”'s Fairy World compilation of various medieval and heavenly voices bands in 2003. “Prikosnovénie” declared the Bulgarians as the “discovery and revelation for 2004”. Ifran's debute (self-titled) album was also released in Europe that same year by "Prikosnovénie", and released in North America by “Noir Records” in 2005. In November 2007 Irfan released its second album ("Seraphim") for the French label “Prikosnovénie” simultaneously in Europe and in North America (through the US label “Noir Records”). Several compilations released during the past years include rare and unreleased songs by Irfan, which appeared along with tracks by artists like Loreena Mckennitt, Stellamara, Qntal and Estampie.
In 2008 Irfan created a soundtrack for the Bulgarian documentary “The Great Heresy” (dedicated to the history of the Medieval European heresies like the Bulgarian and Byzantine “Bogomils” and the Southern-French “Cathars”) released recently by the Bulgarian TV Channel bTV. In 2009 the band released 3 songs for the soundtrack of the Bulgarian movie "Forecast". Between 2006 and 2009 Irfan worked with another female vocalist - the Bulgarian traditional (folklore) singer Vladislava Vasileva who replaced Denitza Seraphimova and with whom the band performed live during this period. Recently Irfan is working again with its original singer Denitza Seraphimova. From 2003 until now Irfan toured and performed live in France, Germany, the Netherlands, Spain, Switzerland, the Czech Republic, Poland, Lithuania, Austria and Bulgaria.
Since a young age Karl has always been interested in music. At twelve Karl started playing guitar and by seventeen had secured a job in a local recording studio. Soon after, Karl began playing sessions for local artists which in turn was a positive learning experience and led him to play in various groups with different musical styles. After having success on the dance music scene with Northface & Yekuana, two outfits which were collaborations with two close friends, Karl's music started taking on a more reflective approach. Having always been interested in New Age music, it was a natural progression for Karl to write and record music of a more relaxed nature. "I like the space to make the music breath & evolve" says Karl. "Guitar is my main instrument and I am influenced by many styles of music, I will listen to any style. Music has to evoke a reaction in the listener, whether it’s happy, sad, or relaxed, it has to generate feelings and take you on a journey."
Sina Vodjani, son of a French mother and a Persian father, is a musical ambassador between the Orient and the West. His message is spiritual - conveyed by prayers and sounds gathered from all over the world. Born in Isfahan (Iran) in 1954, he grew up in Tehran, San Francisco and Paris and was introduced to a life influenced by a rich variety of different cultures from his early childhood. He was still very young when he first started taking singing and guitar lessons, and later, in Germany, he studied piano and composition as well as classical and flamenco guitar.
Sina was prompted to take an interest in scriptures from various religions by an unexpected mystical experience, and over the years, he has acquired further considerable knowledge in a variety of fields - including Qi-Gong, traditional Chinese medicine, yoga and shamanism; all of these have an influence on his work as a creative artist. His creative work is not limited to just music but takes in a number of fields; as a professional photographer, he captures impressive snapshots, photos of landscapes and portraits - and not only on his travels. As a painter, his works have been exhibited in Paris, Hamburg and other parts of Northern Germany.
Claude Challe (born Claude Shalom in 1945 in Tunisia) is a French DJ and club owner, the creator of the Buddha Bar restaurant/clubs and music compilations.
Challe moved to France at age three. He attended Rabbinical school as a young man. At the age of 19, he opened a hair salon in Paris, and became known as "the man with the golden scissors".
Challe then abandoned the salon and lived as an expatriate on the island of Sardinia, in a hippie commune. He subsequently traveled to India, Nepal and Indonesia.
Challe returned to France and was introduced to New Age music by the likes of Andreas Vollenweider and Ennio Morricone. He became involved in Parisian nightlife. He managed a series of French clubs, including Le Prive (1974), Le Centre Ville in Les Halles (1979), Les Bains-Douches (1984), El Divino in Ibiza (1992), and Buddha Bar (1996). The restaurant/club became a popular destination and led to Challe's Buddha Bar mix compilations.
Challe produced the "Reveillon de Mondes", attended by 50,000 people, and held at Vincennes, in conjunction with Radio Nova.
Challe produces his music and others' on his Chall'o Music label. He has said, "I consider the art of DJ-ing to be the passion of [my] life. When I'm DJ-ing, I give myself to the people. When I play, I'm in the music."
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ISHMAEL WADADA LEO SMITH: trumpeter and multi-instrumentalist, composer and improviser has been active in creative contemporary music for over forty years. His systemic music language Ankhrasmation is significant in his development as an artist and educator.
Born in Leland, Mississippi, Smith's early musical life began in the high school concert and marching bands. At the age of thirteen, he became involved with the Delta Blues and Improvisation music traditions. He received his formal musical education with his stepfather Alex Wallace, the U.S. Military band program (1963), Sherwood School of Music (1967-69), and Wesleyan University (1975-76). Mr. Smith has studied a variety of music cultures: African, Japanese, Indonesian, European and American.
He has taught at the University of New Haven (1975-'76), the Creative Music Studio in Woodstock, NY (1975-'78), and Bard College (1987-'93). He is currently a faculty member at The Herb Alpert School of Music at California Institute of the Arts. He is the director of the African-American Improvisational Music program, and is a member of ASCAP, Chamber Music America, and the Association for the Advancement of Creative Musicians.
Mr. Smith's awards and commissions include: Fellow of the John Simon Guggenheim Memorial Foundation (2009-2010), Other Minds residency and "Taif", a string quartet commission (2008), Fellow of the Jurassic Foundation (2008), FONT(Festival of New Trumpet) Award of Recognition (2008), Jazz Journalists Association Jazz Award (2005), Islamic World Arts Initiative of Arts International (2004), Fellow of the Civitela Foundation (2003), Fellow at the Atlantic Center for the Arts (2001), "Third Culture Copenhagen" in Denmark-presented a paper on Ankhrasmation (1996), Meet the Composer/Lila Wallace-Reader's Digest Commissioning Program (1996), Asian Cultural Council Grantee to Japan (June-August 1993), Meet the Composer/Lila Wallace-Reader's Digest Commissioning Program (1990), New York Foundation on the Arts Fellowship in Music (1990), Numerous Meet the Composer Grants (since 1977), and National Endowment for the Arts Music Grants (1972, 1974, 1981).
Mr. Smith's music philosophy Notes (8 Pieces) Source a New. World Music: Creative Music has been published by Kiom Press (1973), translated and published in Japan by Zen-On Music Company Ltd. (1976). In 1981 Notes was translated into Italian and published by Nistri-Litschi Editori.
He was invited to a conference of artists, scientists and philosophers "Third Culture Copenhagen" in Denmark 1996, and presented a paper on his Ankhrasmation music theory and notational system for creative musicians. His interview was recorded for Denmark T.V., broadcasted September 1996.
Some of the artists Mr. Smith has performed with are : Muhal Richard Abrams, Anthony Braxton, Leroy Jenkins, Roscoe Mitchell, Lester Bowie, Richard Teitelbaum, Joseph Jarman, George Lewis, Cecil Taylor, Andrew Cyrill, Oliver Lake, Anthony Davis, Carla Bley, David Murray, Don Cherry, Jeanne Lee, Milton Campbell, Henry Brant, Richard Davis, Tadao Sawai, Ed Blackwell, Sabu Toyozumi, Peter Kowald, Kazuko Shiraishi, Han Bennink, Misja Mengelberg, Marion Brown, Kazutoki Umezu, Kosei Yamamoto, Charlie Haden, Kang Tae Hwan, Kim Dae Hwan, Tom Buckner, Malachi Favors Magoustous and Jack Dejohnette among many others.
Mr. Smith currently has three ensembles: Golden Quartet, Silver Orchestra, and Organic. His compositions have also been performed by other contemporary music ensembles: AACM-Orchestra, Kronos Quartet, Da Capo Chamber Player, New Century Players, San Francisco Contemporary Music Players, Contemporary Chamber Players (University of Chicago), S.E.M. Ensemble, Southwest Chamber Music, Del Sol String Quartet, New York New Music Ensemble, ne(x)tworks, and California E.A.R. Unit.
Mr. Smith's music for multi-ensembles has been performed since 1969. "Tabligh" for double-ensemble was performed by Golden Quartet and Classical Persian ensemble at Merkin Concert Hall (2006) and by Golden Quartet and Suleyman Erguner's Classical Turkish ensemble at Akbank Music Festival in Istanbul (2007). His largest work "Odwira" for 12 multi-ensembles (52 instrumentalists) was performed at California Institute of the Arts (March 1995). His Noh piece "Heart Reflections" was performed in Merkin Concert Hall, NY (November 1996).
Beethova Obas was born in 1964, under the dictatorial regime of François Duvalier. The youngest of five children, he was the son the painter Charles Obas. In October 1969, after having demonstrated in front of the presidential palace in Port-au-Prince, Charles disappeared, never to be seen again. A passionate music lover, he left numerous instruments amongst the canvases in his studio, and it was in his father's now deserted workplace that Beethova first picked up the accordion and the guitar and taught himself to play.
Interested in all Haitian musical genres, but also in jazz, Beethova Obas first made his name as a songwriter. Although he listened to compas, a sort of slow, typically Haitian meringue, he was also close to "rasins" (roots), the anti-government trend founded by Manno Charlemagne. In 1987, he teamed up with singer Emeline Michel, for whom he wrote, "Plezi mize", a song which had a certain success. Following this, his younger brother Emmanuel won the "Konkou Mizik" contest with "Lage L".
It was in dramatic circumstances that Beethova Obas gravitated from being solely a songwriter to singing his own songs. In December 87, as Manno Charlemagne was leaving home to go and record "Nwel Anmé", a Christmas song some critical of the regime in power. A band of armed men shot him on his doorstep, wounding him badly. So Beethova recorded the song in his place. It was a huge hit. The following year, he was elected Best Young Singer by the jury of the Découverte RFI contest, whose president, Manu Dibango, was very impressed by this new voice on the Haitian music scene.
In 1990, now a well known artist in Haiti, Beethova released a cassette of his very first recordings, "Le Chant de liberté". In July 91, during Martiniquan group, Malavoi's tour of Haiti, Beethova became friends with Paulo Rosine. The latter was very impressed by the young Haitian's talents and invited him to participate in the recording of their next album, "Matebis", after which Beethova went on a triumphant Caribbean and French tour with the group. His collaboration with Malavoi put him on the international World Music scene and also enabled him to meet the people who were to help him produce his first album.
After his return to the relative calm of Haiti, came the putsch and the return to power of the military. Beethova Obas left to live in York York and Porto Rico for a while. President Jean-Bertrand Aristide, a priest, was reinstated as president in 1994 and, on the same occasion, Manno Charlemagne came mayor of Port-au-Prince. Beethova returned home with an album ready for release and the same year brought out "Si", his second album but his first CD. It was enthousiastically received. Whereas in Haiti the young thirty year-old's talents has been known long before "Si", in Europe, and particularly in France, the album was a revelation. Critics and public alike were captivated by the beauty of his voice, the finesse of his compositions and the beauty of the melodies. A blend of blues, creole jazz and dance music with Brazilian undertones, the album delicately mixes a whole heap of influences and definitively establishes Beethova's unique talent. Mario Canonge, a leading member of Malavoi, played piano on the album.
A truly international career began. He performed at the most important Francophone festivals including Bourges and La Rochelle in France, but also in Paris clubs such as the Chapelle des Lombards (April 94) and the Hot Brass (April 13th 95) as well as the Cafe de la Danse in November 96.
He followed up this first CD with a second, "Pa Prese", released in May 97. Entirely in creole except for two tracks in French, "Si"'s content is highly emotional. The session musicians included prestigious names such as Mario Canonge, again accompanying him, and the crème de la crème of the Parisian Afro-Caribbean scene, including bassist Thierry Fanfan (Martinique) and Etienne M'Bappé (Cameroon).
He played at a small venue, the Sentier des Halles, from February 3rd to 14th 98 then, after a Caribbean tour in June, performed at the Pirineos Festival Sur in Spain and the Nuits d'Afrique festival in Montreal in July.
Youssou N'Dour (French pronunciation: [jusu nˈduʁ]; born 1 October 1959 in Dakar) is a Senegalese singer, percussionist and occasional actor. In 2004, Rolling Stone described him as, in Senegal and much of Africa, "perhaps the most famous singer alive." He helped develop a style of popular music in Senegal, known in the Serer language as mbalax. He is the subject of the 2008 award-winning documentary film Youssou N'Dour: I Bring What I Love directed by Elizabeth Chai Vasarhelyi, which was released theatrically around the world. The film won several awards including the Special Jury Prize at the Middle East International Film Festival.
Mbalax is a blend of the country's old traditional griot percussion and praise-singing rooted in Serer Saloum and adopted by Wolof which is sometimes blended with Afro-Cuban and Haitian kompa arrangements and flavors which made the return trip from the Caribbean to West Africa in the 1940s, 50s, and 60s and have flourished in West Africa ever since. Beginning in the mid-1970s the resulting mix was modernized with a gloss of more complex indigenous Senegalese dance rhythms, roomy and melodic guitar and saxophone solos, chattering talking-drum soliloquies and, on occasion, Sufi-inspired Muslim religious chant. This created a new music which was at turns nostalgic, restrained and stately, or celebratory, explosively syncopated and funky. Younger Senegalese musicians steeped in Jimi Hendrix, Carlos Santana, James Brown, and the whole range of American jazz, soul, and rock music, which Senegal's cosmopolitan capital, Dakar, had enthusiastically absorbed, were rediscovering their heritage and seeking out traditional performers, particularly singers and talking drummers, to join their bands. (The griots—musicians, praise-singers and storyteller-historians—comprise a distinct hereditary caste in Wolof and Serer society and throughout West Africa.) As it emerged from this period of fruitful musical turbulence, mbalax would eventually find in Youssou N'Dour the performer who has arguably had more to do with its shaping than any other individual.
Boubacar Traoré (born 1942 in Kayes, Mali) is a renowned singer, songwriter, and guitarist. Traoré also goes by the nickname Kar Kar, "the one who dribbles too much" in Bambara, a reference to his soccer playing: "a nickname I got from playing soccer when I was young. People would yell 'Kari, Kari' - dribble, dribble - the name stuck with me".
Traoré first came to prominence in the early 1960s. He had taught himself to play guitar and developed a unique style that blended American Blues music, Arab music, and pentatonic structures found in West Africa's Mande cultural region. He was a superstar in Mali and a symbol of the newly independent country (see History of Mali). His songs were immensely popular and he enjoyed regular radio play. However, he made no recordings, and since there were no royalties paid to musicians, he was very poor and had to work odd jobs to make ends meet.
During the 1970s Traoré's popularity faded, until a surprise television appearance in 1987. Soon after this "rediscovery," Boubacar's wife died. Grief-stricken, he moved to France and did construction work to support his six children. While there, a British record producer discovered a tape of one of Traoré's radio performances, and he was finally signed to a record deal. His first album, Mariama, was released in 1990. Since then, Traoré has enjoyed international popularity, touring Europe, Africa, and North America.
Boubacar Traoré was the subject of the 2001 film Je chanterai pour toi ("I'll Sing For You"), released on DVD in 2005.
Along with several blues artists, he appeared in the film Blues Road Movie (Au Coeur du Blues)) by Louis Mouchet (2001).
17 Ekim 2010 Pazar
Clinton Darryl "Clint" Mansell, (born 7 January 1963) is an English musician, composer, and former lead singer and guitarist of the band Pop Will Eat Itself.
After the disbanding of PWEI in 1996, Mansell was introduced to film scoring when his friend, director Darren Aronofsky, hired him to score his debut film, π. Mansell then wrote the score for the next Aronofsky film, Requiem for a Dream, and its main composition "Lux Aeterna" has become extremely popular, appearing in a wide variety of advertisements and film trailers.
Mansell's composition for The Fountain was nominated for Best Original Score at the 64th Annual Golden Globe Awards. His other notable film scores include Moon, Smokin' Aces and The Wrestler.
Guadalupe Pineda is an interpreter whose voice and style have left a mark on the musical scene of Mexico and Latin America. Her versatility and interpretive strength have turned her into one of the favorite and most widely recognized voices of Mexico.
Having earned countless prizes, several gold and platinum records, as well as critical acclaim, Guadalupe always represents a meeting point for those who enjoy good music.
A native of Guadalajara, Mexico, she began her singing career in small venues and cafes, interpreting the new songs of a young Latin America who wanted to be heard, while at the same time she studied Sociology at the National Autonomous University of Mexico (UNAM). During those years, she is a founding member of the groups La Propuesta and Sanampay, going on to record two albums with the latter one. Shortly thereafter, she begins her solo career.
After 10 years of intense struggle, performing at universities, public squares, prisons, office buildings and public parks, she finally reaches a mass audience with the song "Yolanda" ("Te Amo"), which she recorded in 1984. This song will go on to sell one and a half million copies in Mexico alone.
The Mexican public has applauded her performances on the most demanding and prestigious stages: the Palacio de Bellas Artes (Palace of Fine Arts), the Nezahualcóyotl concert hall, the Mexico City National Auditorium, the Mexico City Theater, the Degollado and Juárez Theaters and the Cervantine Festival, to name but a few of the places where she has performed, always with success and enjoying the love and respect of the public that Guadalupe has earned.
Guadalupe is hard to label. Always restless during her more than 30-year old career, she has lent her voice to genres as different as boleros and tangos, Mexican country songs and opera, new song and ballads, as well as pieces she herself has composed.
She knows no boundaries. It is quite as likely to hear her sing in Spanish, as in several other languages, some of the most beautiful examples of world music.
José Alfredo Jiménez, Agustín Lara, Violeta Parra, Pablo Milanés, Carlos Gardel, Edith Piaf, Charles Aznavour, Johannes Brahms, Franz Schubert, among many authors, have been interpreted by the voice of this unique singer, who has sold more than four and a half million records.
She has held special performances and her voice has appeared as part of the soundtrack of several films, both Mexican and foreign, among which are the following: "Monjas coronadas", a Mexican film by Paul Leduc. "Campanas Rojas", a Mexican-Soviet co-production directed by Sergei Bondarchuk, "La Finestra di Fronte", an Italian film by Ferzan Ozpetek.
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Andrea Guerra was born in October 1961 in the northern Italian town of Santarcangelo di Romagna. After studying composition and arrangement under maestro Ettore Ballotta, he moved to Rome where he began his career composing music for nature documentaries.
He soon turned his hand to film music, writing his first score for the 1990 movie Viaggio d'Amore starring Omar Sharif and Lea Massari.
Since then, Guerra has written more than 70 scores and worked with a host of directors from Italy and abroad including Rob Marshall, Terry George, Griffin Dunne, Zhang Yuan, Gabriele Muccino, Ferzan Ozpetek, Marco Bechis, Giuseppe Bertolucci and Pepe Danquart.
15 Ekim 2010 Cuma
José Manuel Cerqueira Afonso dos Santos, also known as Zeca Afonso (Portuguese pronunciation: [ˈzɛkɐ aˈfõsu]) or Zeca (August 2, 1929 – February 23, 1987) was born in Aveiro, Portugal, son of José Nepomuceno Afonso, a judge, and Maria das Dores. Zeca is among the most influential folk and political musicians in Portuguese history. He became an icon among Portuguese left-wing activists due to the role of his music in the resistance against the dictatorial regime of Oliveira Salazar that triumphed in 1974, with the pro-democratic leftist military coup of the Carnation Revolution. In the ensuing revolutionary process, Zeca was a very active musician and continued composing political and folk songs, often criticizing the post-revolutionary changes. Years after his death, Zeca Afonso is still widely listened to, not only in Portugal, but also abroad.
Carlos Paredes, ComSE, (Portuguese pronunciation: [ˈkaɾluʃ pɐˈɾedɨʃ]; February 16, 1925 – July 23, 2004) was a virtuoso Portuguese guitar player, born in Coimbra, son of the equally famous Artur Paredes. He is credited with popularising the medium internationally during the 20th century, being frequently considered to be the most talented Portuguese musician in the 20th century. For the way he played, he was known as the "Man with a Thousand Fingers"
Spitz is a Japanese rock band formed in Shizuoka, Japan in 1987. The band composes of Masamune Kusano (vocals, guitar, songwriting), Tetsuya Miwa (guitar), Akihiro Tamura (bass, guitar, band leader), Tatsuo Sakiyama (drums). The band gained popularity in Japan in the 1990s with total sales of about 20 million copies. Their hit singles topped the Oricon chart for several times as well as their albums. The debut self-titled album was released in 1991. The breakthrough to the mainstream success happened in 1995 when the band released their hit single “Robinson”. The success was repeated by the next single “Namida ga Kirari”. Being so popular, the band has released Recycle Greatest Hits in 1999. You can download this album by Spitz in mp3 from our site. The last band’s release is Suzanami CD, which came out in 2007.
Bardo Pond are an American psychedelic rock band formed in 1991, and who are currently signed to London based label Fire Records. The current members are Michael Gibbons (guitar), John Gibbons (guitar), Isobel Sollenberger (flute and vocals), Clint Takeda (bass guitar), Jason Kourkonis (drums), and Aaron Igler (synth/electronics). Bardo Pond's drug-inspired music is often classified as space rock, acid rock, post-rock, shoegazing, noise or psychedelic rock. Many Bardo Pond album titles have been derived from the names of esoteric psychedelic substances. Their sound has been likened to Pink Floyd, Spacemen 3 and My Bloody Valentine amongst others.
Allmusic describes Bardo Pond as having "lengthy, deliberate sound explorations filled with all the hallmarks of modern-day space rock: droning guitars, thick distortion, feedback, reverb, and washes of white noise." Bardo Pond are a taper-friendly band who encourage fans to make recordings of their shows.
Neil Halstead (born 7 October 1970 in [Reading], England) is a British guitarist and singer, described as "one of Britain's most respected songwriters" by Allmusic. He was a founding member of Slowdive, a band often associated with the shoegazer musical genre. Following the disbanding of Slowdive, Halstead along with some other members of Slowdive (including longtime friend and musical collaborator Rachel Goswell) formed Mojave 3. Mojave 3 are stylistically distinct from Slowdive and may be regarded as British country/folk. Halstead is the principal singer and songwriter in Mojave 3 and also plays guitar.
In 2002, 4AD (a British independent record label) released his debut solo album, Sleeping on Roads. Following his departure from 4AD, a second solo album, Oh! Mighty Engine was released by Jack Johnson's Brushfire Records on July 29, 2008. The album was partly recorded in Johnson's solar powered studio in Los Angeles before being completed at a Second World War airfield in Britain. The Guardian has compared Oh! Mighty Engine to the work of Nick Drake and Bert Jansch. Halstead has said of his solo work that it's "really good doing something on my own", having been in Slowdive then Mojave 3 since he was 17 years old.
14 Ekim 2010 Perşembe
Multi-instrumentalist and vocalist Shira Kammen has spent well over half her life exploring the worlds of early and traditional music. A member for many years of the early music Ensembles Alcatraz and Project Ars Nova, and Medieval Strings, she has also worked with Sequentia, Hesperion XX, the Boston Camerata, the Balkan group Kitka, the Oregon, California and San Francisco Shakespeare Festivals, and is the founder of Class V Music, an ensemble dedicated to performance on river rafting trips. She has performed and taught in the United States, Canada, Mexico, Europe, Israel, Morocco, and Japan, and on the Colorado, Rogue and Klamath Rivers.
Shira happily collaborated with singer/storyteller John Fleagle for fifteen years, and performs now with several new groups: a medieval ensemble, Fortune's Wheel: a new music group, Ephemeros; an eclectic ethnic band, Panacea; as well as frequent collaborations with performers such as storyteller/harpist Patrick Ball, sopranos Anne Azema , Susan Rode Morris, medieval music expert Margriet Tindemans, and in many theatrical and dance productions.
She has played on several television and movie soundtracks, including 'O', amodern high school-setting of Othello. Some of her original music can be heard in an independent film about fans of the work of JRR Tolkien. The strangest place Shira has played is in the elephant pit of the Jerusalem Zoo. She hopes to spend more time playing music of all kinds in the wilderness.
Bauhaus slid fully formed from punk rock's womb in late 1978. Over the course of four hot years, they unintentionally birthed a genre (Goth), moved on, moved forward, and surged mercurial through the post-punk music scene, tearing into tense, bass-driven new-wave, T-Rex-esque dark-glam, and swirling, clattering, orchestral atmospherics, whilst churning it into a grand, velvet, Rimbaudian hallucination. To pin the band to one genre is nothing but reductive.
Their influences run deep, encompassing everything from dub reggae to proto-electronic bands like Can and Suicide. As the NME says, "Bauhaus are to Goth, what Radiohead are to Prog."
It's all building blocks; you see it when they play live. It comes to you in sudden illuminations! You realize that The Faint, The Killers and Moving Units got their twisted, sexclub beats from Bauhaus. That the sensual 'disco punk' darkness The Rapture milk,
was unpasteurized dairy to Bauhaus 20 years ago and second-nature at that. Seeing Bauhaus live brings it all back home. How-without them-there wouldn't be a Nine Inch Nails or a Jane's Addiction or a Bloc Party, Franz Ferdinand, AFI, Interpol, Hot Hot Heat. Sui generis.
The accomplishments of singer Peter Murphy, bassist David J, guitarist Daniel Ash and drummer Kevin Haskins are too many to list here. But to touch lightly, there are the four studio albums-In the Flat Field (1980), Mask (1981), The Sky's Gone Out (1982), and Burning from the Inside (1983)-which merged icy detachment with impassioned artistic violence. There's the rivetting appearance with David Bowie in The Hunger, this at the Thin White Duke's royal request. There are the classic Peel sessions. Live recordings. And hits, seismic rumbles, crushing hymns like "She's in Parties," "Kick in the Eye," "Stigmata Martyr" and the great, epic, pillar of ether and brooding, stark psychedelia, "Bela Lugosi's Dead." Like Iggy Pop sang, it was "soul radiation in the dead of night, love in the middle of a firefight." And it still is.
Bauhaus' 1998 'Resurrection' world tour was a smashing success but only foretold of that which was to come: This year's full-scale reunion, kicking off with a hush-hush, pre-Coachella secret show in LA, where the band took the stage and played savage like they'd never left-still full of fire and heart and poise, before disappearing back into the wings like the phantoms of the teenage opera they were once dubbed by the press and then the already legendary, spot-light stealing performance at the big festival in the dessert.
Funky but dangerous, doomy but not without a certain Godardian sense of humor, it is a sound dead-set relevant to life today. As the guns of war rattle, and society falls back to 1980s conservatism, as hands in the darkness reach out for a guiding star, Bauhaus has
returned to claim what's theirs... the world, you, your heart, everything. Darkness doubles. The light pours in...
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Nouvelle Vague, the French band that conquered the world with bossa nova covers of punk and new wave classics, return in time for summer with their third album, NV3.
Led by producer/arrangers Marc Collin and Olivier Libaux and sung by a revolving cast of chanteuses, the group’s first two albums, Nouvelle Vague (2004) and Bande A Part (2006) have sold well over half-a-million copies. Not wishing to tinker with this winning formula, but evolving all the same, NV3 picks up where Bande A Part left off, and this time they’re joined by some famous names.
On their debut, Nouvelle Vague took cherished tracks from the late 1970s and early 1980s by acts such as Joy Division, The Clash, The Cure, Depeche Mode and the Dead Kennedys and reworked them in a gentle bossa nova style. Sung by French female vocalists, some of whom had never heard the originals before, these cult hits had new life breathed into them, and their meanings became softly subverted. In French, Nouvelle Vague means “new wave”, and “bossa nova” in Portuguese. Even the records’ sleeves wittily referenced the artwork for Jean Luc Godard’s early-’60s new-wave films.
“The original concept of Nouvelle Vague was to use young girl singers who don’t know the meaning of punk and post-punk music,” says Marc Collin, in whose Paris studio the records are made. “That way, they are bringing something new and totally fresh to the songs, and it really worked. So we kept doing it in this direction.”
The group expanded its musical palette on Bande A Part, adding touches of reggae, ska and blues to balmy readings of familiar numbers by Bauhaus, Blondie, Buzzcocks, New Order and Yazoo, among others. By this point, even hardcore fans who’d considered these easy-listening versions of punk staples to be sacrilege learned to enjoy Nouvelle Vague as a guilty pleasure. But what of the authors who wrote the original songs – what did these once-ruthless idealists think of Nouvelle Vague’s more fragrant approach?
Well, of those canvassed, all approved – thumbs up from Mick Jones of the Clash, Morrissey, the Undertones, Dead Kennedys and Killing Joke. And this led Oliver and Marc to the concept behind the third album: Nouvelle Vague performs duets with the original singers. The pair wrote a ‘dream’ list of the people they’d most like on the album and, when contacted, most said yes. devamı
By the time he was twelve, Rob Costlow was trying his piano instructor's patience by adding his own endings to songs during lessons and recitals. "I literally despised taking lessons and especially practicing other people's music. It just wasn't for me. I had so many notes running through my head, I wanted to create my own music," admits Rob. This soon brought an end to the lessons that began at age five. Rob realized that his musical future was going to take a different path than the one set by his teachers.
Rob is a true Hoosier born and raised in Indiana. Growing up in a large family helped Rob become focused and tenacious. As the youngest of six boys, Rob got used to seizing every opportunity. In fact, it was one of Rob's brothers that introduced him to contemporary piano music. "It was so different than the music I studied in lessons," says Costlow. "It helped give me the courage to try my own hand at composition. I said to myself 'I can do this!' It was an immediate outlet to express myself and also provide a sense of calm when times were stressful."
At age eleven, Rob lost his mother to ovarian cancer. Even as a young boy, Rob was affected by his mother's constant courage in the face of such adversity. His Mom had and continues to have a huge impact on Rob's life and music.
Rob received a Bachelors and Masters degree in Kinesiology from Indiana University, Bloomington (IU). Before transferring to IU as a junior, Rob began his college career as a Piano Performance and Composition major at Ball State University. He then changed majors to Kinesiology as a sophomore, giving an ironic twist to the meaning of Rob's first album, Sophomore Jinx.
At IU, Rob was hit by a drunk driver and suffered injuries in both hands resulting in a broken left-hand and carpel tunnel syndrome in his right. Through surgery and physical therapy Rob has recovered, but still feels aching in his hands after an especially extensive piano performance.
While working on his Masters Degree at IU, Rob unofficially started his own record label based on a business class project. In 2002, Rob released his first professional solo project, Sophomore Jinx (re-released 2005), containing all original music. In 2004, Rob officially founded Tourist Records. Through Tourist Records, Rob continues to create and license music. He hopes to inspire other artists to make their own impact in the world.
Professionally, Rob has worked for influential New Media companies. It is through the Internet that Rob has connected with many people of different backgrounds and cultures. He has gained fans of all ages worldwide, confirming that people are in need of much more than just your typical "top 40" music.
Rob admits that he is a perfectionist and from time to time he'll carry on a conversation longer than it should go. Rob loves to travel, "cut a rug" when the mood is right, eat pizza and twizzlers, put ketchup on everything, and spend time with his family.
While Rob has come a long way since his childhood lessons, his love for creating original compositions is still at the heart of his contemporary piano music. "Music is what inspires me," says Costlow. "It is in my soul. I never force myself to write. I do it when it comes to me. I take things a day at a time."
"Falik" is cross-grenre electronica for dance and mood utilizing middle eastern modalities featuring Charlie Pecot on the Irish bouzouki, guitar, bass, hand drum, and the occasional vocal.
After decades of being a multi-instrumentalist "Falik" began when Charlie purchased an Irish bouzouki in 2000, playing at Renaissance faires and in belly dance troupes. He immediately began writing and recording material which ultimately culminated in his first release, "Streaks and Strokes", in 2003, which consisted of 12 of his most favorite tracks. This CD was pivotol to Charlie's musical growth as it demonstrated to his fans that, yes, even though he was using an "ethnic" instrument he could in fact make it rock, and do so in a way that did not alienate those used to a more "traditional" approach to ethnic instruments. His success continues to grow with every new release.