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martes, 4 de noviembre de 2008

The Police - Every Breath You Take...The Singles

The Police - Every Breath You Take...The Singles

The Police - Every Breath You Take...The Singles


Sting (Gordon Matthew Sumner) (Inglaterra, 1951), bajo y principal vocalista
Andy Summers (Inglaterra, 1942), guitarra
Stewart Copeland (Estados Unidos,, 1952), batería

El conjunto se separó en 1985.

A comienzos del 2007 luego de una serie de rumores que sugerían una posible reunión del grupo como conmemoración de los 30 años de su primer single, la banda se reúne para tocar en los Grammys, abriendo la ceremonia al grito de "Somos The Police, y estamos de vuelta" para continuar tocando Roxane.
En los meses siguientes The Police anunció una gira mundial, rememorando los viejos éxitos de la banda.
La gira comenzó en Vancouver a finales de mayo, y deberá terminar el 28 de Junio de 2008 en Manchester, Inglaterra.


01 - Roxanne.mp3

02 - Can't Stand Losing You.mp3

03 - So Lonely.mp3

04 - Message In A Bottle.mp3

05 - Walking on The Moon.mp3

06 - Don't Stand So Close To me '86.mp3

07 - De Do Do Do De Da Da Da.mp3

08 - Every Little Thing She Does Is Magic.mp3

09 - Invisible Sun.mp3

10 - Spirits in The Material World.mp3

11 - Every Breath You Take.mp3

12 - King Of Pain.mp3

13 - Wrapped Around Your Finger.mp3


Bireli Lagrene - Gipsy Project & Friends - 2002

Bireli Lagrene - Gipsy Project & Friends - 2002

Bireli Lagrene - Gipsy Project & Friends - 2002

When Bireli Lagrene first emerged in 1980 as a 13-year-old who sounded exactly like Django Reinhardt, he was considered a marvel.

Born (like Reinhardt) to a gypsy family, he had been playing guitar since he was four. After a few years and several recordings, Lagrene purposely got away from the Reinhardt influence, playing high-powered rock-oriented fusion and recording with Jaco Pastorius in 1986.
He sounded more original but much less interesting during this period.

The guitarist has since returned to a quieter form of jazz, playing hard bop versions of standards with hints of his earlier interests in Reinhardt and fusion.
Bireli Lagrene has recorded for Antilles, Jazzpoint, Blue Note, and Dreyfus.

~ Scott Yanow, All Music Guide
Gipsy Project & Friends - All Music Guide Review

---Guitarist Biréli Lagrène debuted on records in 1980 when he was 13, sounding exactly like Django Reinhardt.
Since then he has explored fusion and post-bop jazz, eventually finding his way back to gypsy swing.

On Gipsy Project & Friends, Lagrène teams up with up to four other guitarists, violinist Florin Niculescu (who recalls Stephane Grappelli), and bassist Diego Imbert.
Unfortunately, the CD jacket does not tell which guitarist solos when, although chances are that nearly all of the guitar solos are Lagrène's.

A few of the songs were written after Reinhardt's passing, but all of the hard-swinging and passionate music is very much in the tradition of Django's brand of swinging jazz and constantly displays effortless virtuosity.
~ Scott Yanow, All Music Guide

Biréli Lagrène - guitare

Thomas Dutronc - guitare

Henri Salvador - vocals on 7


01 - Bireli Lagrene - Djangology.mp3

02 - Bireli Lagrene - When Day Is Done.mp3

03 - Bireli Lagrene - Bei Dir War Es Immer So Schon.mp3

04 - Bireli Lagrene - Babik.mp3

05 - Bireli Lagrene - Ou Es-tu Mon Amour.mp3

06 - Bireli Lagrene - Les Yeux Noris.mp3

07 - Bireli Lagrene - Envie De Toi.mp3

08 - Bireli Lagrene - Minor Swing.mp3

09 - Bireli Lagrene - Laura.mp3

10 - Bireli Lagrene - Artillerie Lourde.mp3

11 - Bireli Lagrene - Place De Broukere.mp3

12 - Bireli Lagrene - Songe d'Automne.mp3

13 - Bireli Lagrene - Une Histoire Simple.mp3

14 - Bireli Lagrene - Ma Premiere Guitare.mp3



Kid Ory's Creole Jazz Band: 1944 - 1945 - The Legendary Crescent Recording Sessions

Kid Ory's Creole Jazz Band: 1944 - 1945 - The Legendary Crescent Recording Sessions

Kid Ory

Was the greatest trombone player in the early years of Jazz.
He originally played banjo, but then switched to trombone.

Perhaps his banjo playing helped shape the "tailgate" style of playing he later developed on the trombone.

In the "tailgate" style, the trombone plays a rhythmic line underneath the trumpets and cornets.

From 1912 to 1919 he led one of the most popular bands in New Orleans. Ory's Band featured many of the great musicians who would go on to define the Hot Jazz style.

At various times King Oliver, a young Louis Armstrong, Johnny Dodds, Sidney Bechet and Jimmie Noone all played in Ory's band.

In 1919 Ory relocated to California for health reasons.
He assembled a new group of New Orleans musicians on the West Coast and played regularly under the name of Kid Ory's Creole Orchestra.

In 1922 they became the first African-American jazz band from New Orleans to record.

They used the name of "Spike's Seven Pods of Pepper Orchestra" and recorded the songs "Ory's Creole Trombone" and "Society Blues".

In 1925 he moved to Chicago, and played regularly with King Oliver, Louis Armstrong and his Hot Five and Hot Seven and with Jelly Roll Morton and several other Chicago groups.

During the Depression Ory played very little and ran a chicken ranch with his brother.
When the Dixieland revival occurred in the 1940's, Ory found his style of music back in vogue.

He revived Kid Ory's Creole Orchestra in 1943 and was able to continue
to play, tour and record Jazz until he retired in 1966.

Pueden ver a Kid Ory en el presente video:


Kid Ory's Creole Jazz Band: 1944 - 1945
- The Legendary Crescent Recording Sessions


01 Creole song.mp3

02 Get out of here.mp3

03 Blues for Jimmie Noone.mp3

04 South.mp3

05 Panama.mp3

06 Under the bamboo tree.mp3

07 Careless love.mp3

08 Do what ory say.mp3

09 Maryland, my Maryland.mp3

10 Down home rag.mp3

11 1919 rag.mp3

12 Oh! didn't he ramble.mp3

13 Ory's creole trombone.mp3

14 Weary blues.mp3

15 Maple leaf rag.mp3

16 Original dixieland one-step.mp3




Benny Goodman - Greatest Hits - The Starlinght Collection

Benny Goodman - Greatest Hits - The Starlinght Collection

Benny Goodman - Greatest Hits - The Starlinght Collection

Born into a large, poverty stricken family, Benny began playing the clarinet at an early age.
He was associated with the Austin High School Gang, having gone to school with drummer Dave Tough.

By the time he was twelve, Goodman appeared onstage imitating famous bandleader/clarinetist Ted Lewis. It was at this concert that Ben Pollack heard the young clarinetist and Benny was soon playing in Pollack’s band.

Goodman’s first recordings were made with the Pollack group in 1926, and give a strong example of Benny’s influences at the time including Jimmie Noone, who was then with Doc Cook and His Dreamland Orchestra and Leon Roppolo of the New Orleans Rhythm Kings.

During this period Goodman recorded his first sides as a leader with members of the Pollack band including one 1928 date which features the only known recording of Benny on alto and baritone saxophones.

Following the musical migration out of Chicago and into New York, Goodman became a very successful and popular free-lancer, joining the likes of Tommy and Jimmy Dorsey in New York studios.

In 1934 Benny put together his first big band, featuring Bunny Berigan on trumpet, Jess Stacey on piano and Gene Krupa on drums.

With the addition of some excellent, sophisticated arrangements by Fletcher Henderson, the Swing Era was born.

Goodman spent the next fifty years recording and touring with various groups big and small, including some very successful trips to Russia and the Far East.

He also played many concerts on a classical format that received mixed reviews. Known by musicians for his stand-offish and “cheap” nature, many sidemen had a love/hate relationship with Goodman.

Many musicians claimed that Benny was dishonest when it came time to pay off the band and many more recalled the Goodman “ray”, the dirtiest of looks received when a mistake was made.

That aside, its clear that without Goodman the “Swing Era” would have been nowhere near as strong when it came, if it came at all.
After his death, the Yale University library received the bulk of Goodman’s personal collection including many private never-before-heard recordings and rare unpublished photos.


Benny Goodman - Greatest Hits - The Starlinght Collection


01 - Frankie And Johnny.mp3

02 - One O'Clock Jump.mp3

03 - Stompin' At The Savoy.mp3

04 - Jersey Bounce.mp3

05 - Down South Camp Meeting.mp3

06 - Jumping At The Woodside.mp3

07 - King Porter Stomp.mp3

08 - Stardust.mp3

09 - That's A Plenty.mp3

10 - How High The Moon.mp3

11 - Seven Come Eleven.mp3

12 - You Turned The Tables On Me.mp3

13 - Buggle Call Rag.mp3

14 - Let's Dance.mp3

15 - I Found A New Baby.mp3

16 - Roll'Em.mp3



Publicaciones anteriores

Benny Goodman - Concierto en el Carnegie Hall - 1938

George Gershwin - Rhapsody in Blue - Arturo Toscanini


Sir Roland Hanna Quartet - Plays Gershwin

Sir Roland Hanna Quartet - Plays Gershwin

Sir Roland Hanna Quartet - Plays Gershwin


*-01 Summertime.mp3

*-02 Lady be good.mp3

*-03 Variations in concerto in F.mp3

*-04 Foggy day.mp3

*-05 Isn't it a pity.mp3

*-06 But not for me.mp3

*-07 Somebody loves me.mp3

*-08 Embrace you.mp3

*-09 Bess you is my woman now.mp3

*-10 Strike up the band.mp3


Bela Fleck and The Flecktones - Presentación en Buenos Aires - Su Música

Bela Fleck and The Flecktones - Presentación en Buenos Aires - Su Música

Virtuoso del banjo, ganador de nueve Grammy, actúa hoy y mañana por segunda vez en Buenos Aires.En el Teatro Gran Rex.

Los de la Argentina serán los primeros conciertos de The Fleckstones en el año.

Será como un reencuentro, con todo lo excitante que eso puede ser".

A horas de abordar el vuelo que lo traerá a Buenos Aires por segunda vez, desde Nashville, Béla Fleck anticipa: "Trataremos de que las dos presentaciones sean muy distintas".
Y confiesa que definirá el repertorio horas antes de salir a escena. "Al ser el inicio de la gira, incluirá el material más transitado por la banda", anuncia.

'Habrá algo de su último CD, de canciones navideñas?

Sólo un par de temas. Durante la gira agregaremos más, pero hacerlo ahora sería apresurado.

'Por qué decidieron grabar ese tipo de canciones?

Todos los años tocamos temas navideños. Y coincidimos que era el momento de grabarlos.

Con Víctor Wooten en el bajo, el saxofonista Jeff Coffin y Future Man, a cargo del original drumitar, el grupo es un dream team con músicos de experiencia y enorme peso propio.

'Cómo funciona la banda a la hora de armar el material?

Por lo general, planteo ideas y a medida que vamos tocando e improvisando, cada uno va encontrando su espacio.

Suena muy democrático.

Lo es. Pero con un líder que coordina. Creo que los grupos en los que todos son iguales difícilmente llegan a algo. Mi trabajo es marcar un rumbo.

'Existe alguna fórmula?

Uno de los trucos es no decir ésta es mi canción y hay que tocarla como digo yo. Hay que permitir que cada uno elija cómo hacerlo.

'Y si no te conforma?

Lo digo y lo discutimos. Uno no siempre tiene la razón.

Para la reciente reunión de Return to Forever, los Fleckstones fueron convocados como grupo soporte. "Los Return, como la Mahavishnu Orchestra, son la razón por la que tocamos esta música. Compartir el escenario y el backstage con ellos fue increíble", dice Fleck, quien en 2007 grabó The Enchantment, con Chick Corea. "Haber trabajado con quien siempre fue mi ídolo, en total igualdad, fue grandioso", exclama.

Entre las vertientes que nutren la obra de Fleck, la presencia de Bach es una constante. "Siento una conexión musical con él. Es un compositor maravilloso y yo trato de invocar el espíritu de su música tanto en los discos como en los shows". Y en ese concurso de influencias, lo étnico también aparece con fuerza. Tanto que en 2005 viajó a Africa "en busca de las raíces del banjo". El resultado es el premiado documental Throw Down Your Heart, que registra grabaciones con músicos locales, que en febrero saldrán en CD.

Fleck augura dos noches fantásticas para los porteños: "Nuestra experiencia anterior, con la gente coreando nuestros temas, fue increíble. No vemos la hora de volver a verlos".


Béla Fleck
es uno de los grandes innovadores de la música contemporánea, el hombre que sacó el banjo del tradicional estilo bluegrass para incursionar en el mundo del jazz.

Desde los inicios de su carrera, siempre buscó juntarse con músicos que tocaran sus instrumentos en formas poco usuales.

Fue así como encontró a los "Flecktones": Victor Wooten en el bajo (considerado como uno de los mejores del mundo), Jeff Coffin en el saxofón, clarinete y flauta, y Future Man (hermano de Victor Wooten) en el synth-ax drumitar (un modelo de batería electrónica diseñada por él mismo, que se toca como si fuera una guitarra), batería acústica y percusión.

Su actuación anterior en la Argentina (2007)

Teatro Gran Rex – Buenos Aires
Viernes 23 de Marzo de 2007 – 21:30 hs.

En nuestro país han sido ignorados casi por completo.
El único CD editado en la Argentina (y a caballo de su visita) es el último, The Hidden Land.

El teatro estaba colmado(3.000 personas).El clima previo era de fiesta absoluta, fervor inusitado, cierta emoción, incredulidad en algunos, curiosidad en muchos otros.

A las 21:45 hs., las luces que se apagan, la audiencia que estalla como si se tratara de un recital de una banda famosa de rock.

Con un sonido potentísimo, los Flecktones salieron a matar de entrada con The Next (de Little Worlds, 2003), que incluyó un primer solo de Wooten, una sólida intervención de Cofffin en saxo tenor, el buen gusto de Béla Fleck y la versatilidad inaudita de Future Man con su extraño aparato.


Publicaci0nes anteriores

Bela Fleck and The Flecktones - Greatest Hits Of The 20th Century - 1999

Bela Fleck and the Flecktones - Outbound - 2000

Bela Fleck - Perpetual Motion - 2001

Bela Fleck and The Flecktones - The Hidden Land

Bela Fleck & The Flecktones - Flight of the Cosmic Hippo - 1991