Zooey Deschanel

Yo me considero una melómana “ruda”, ya que soy algo difícil para la música… Pero hoy, llegó a mí un disco que simple y sencillamente no puedo evitar recomendar.
A mi me gusta bastante, y es lo único que puedo poner a favor del disco porque no me siento con el poder ni objetividad suficiente para criticarlo y justificar un “Por qué lo recomiendo”… Ya que en un inicio lo escuché sólo porque la composición y canto vienen por parte Zooey Deschanel y con ella tengo corazón de pollo :$ … y ¿Como no tenerlo con esos ojos tan … AwwwWwW?.

Así que la desición es toda suya, escuchenla ¡por favor!

¡¡¡¡¡Descargalo!!!!!

Además 4 canciones de la película “Yes Man” (Que protagonizó con Jim Carrey) Con “su” banda Munchausen by Proxy

Nota: (Favor de avisar por medio de comment si cualquier link ya no funciona y el disco será re-subido).

         As alternative rock super groups go, The Dead Weather reads like a Christmas wish list from every kid who’s ever kicked around an old spring-reverb amp in their garage for the past decade or so.  Take a pinch of VV’s Kills and her Discount roots, a White Stripe and Raconteur, some Greenhorne and a Queen of The Stoneage, and you might be somewhere close to a winner worthy of your tuneful taste buds.  Make no mistake, there’s some real effort gone into a very considered process here – this isn’t a group resting on its very credible laurels.  As Mosshart croaks on the chorus of the opening track from their 2009 debut album, ’Horehound’ - ’You got my attention/You got it all/I can take the trouble/I’m 60 feet tall’.  If their opening show in New York this year was anything to go by, you better believe the lady too.

          In the past few years we’ve seen a complete resurgence of dirty blues, no doubt with credit due to the likes of Cat Power and The Black Keys.  That’s not forgetting the early Kings of Leon material.  Well, up until they stopped sounding like the Kings of Leon and started sounding like The Editors.  Don’t get me wrong, I like ‘Only By the Night’ and I certainly have time for The Editors but there’s something sexy about the pre-2008, southern rock of Caleb and co; something to do with motorcycle culture, denim leggings and thick rimmed Ray bans.  It’s Fonda and Hopper, Easy Rider all over but it goes all the way back to Howlin’ Wolf and Muddy Waters.  Where bands like The Kills have gone is a more knick-knack approach to guitar based music.  Papable influences bridging between Sonic Youth, Hendrix and The Velvet Underground would approve, I’m sure, of the dug-out beats, dirty bass and guitar lines that sound like they could be snorted off the scratch plate of a broken Telecaster.  Maybe.     

          It’s not as though the music’s from something completely gone or irrelevant either.  Rings of the ’70s and ’60s lurk beneath the surface in a moody cloud of lithe bodies and a Marlborough haze.  Depression, sex and violence power on through with the high-calibre, Them Crooked Vultures, between the rhythm section and a superior lick of both downplayed and obscene vocal hooks.  What with the economy the way it is, one sometimes wonders what other little pleasures we have left outside of heavy drinking, Sundays in and a casual argument.

          So where am I going with this?  I’m not sure, I can’t pin it down suffice to say that the music will either make you want to pick up your musical weapon of choice, grab a friend – two, maybe three at most, let’s not get carried away – and make dirty, honest noise of a distinctly home brewed flavour.  Or it won’t.

J.  x

Extra-curricular: 

I Hate the Way You Love

Easy Rider

Poster for Easy Rider from Wikipedia

El dimecres 25 de novembre de 2009, a les  23h, al Soul Cafè de Figueres podreu escoltar bon jazz i blues de les mans de Franz & Frenz.

I was reading an article interview of Jack White and something he said struck me.  

You can do it [be ambitious] without hubris and you can do it without spitting in somebody’s face. 

My understanding of ambition was that both the narcissism of hubris and “spitting in somebody’s face” was sewn into the fabric of one’s ambition.  Growing up, I had always wanted to find out if ambition could exist without such narcissism.  In trying to live up to that ideal, I found myself broken by other people’s narcissism and my own naiveté.  But here is Jack White, successful and creative (one often the antidote for the other) telling me what reality could not show me–that successful creativity born from ambition does not require hubris or antagonism as a guide towards that destination. 

It’s not that I’m talented or feel entitled to success, it’s just that I wish I could have been able to continue believing in what Mr. Jack White himself continues to believe.  There’s a purity in spirit in what he said and I guess I’m feeling less pure these days. 

One thing I’d be quite amused to see would be a Carlos Santana and Jack White collaboration.  Mr. Santana has collaborated with pop stars seemingly incongruent to his throwback latin-blues style; I’d like to see him hold his own with a fellow blues-fusion aficionado.  It’d be fun to see.

Note to self: you need to go through the blues to get to jazz.  That’s your in.

Que Banda! George Harrison, Jeff Lynne, Roy Orbison, Bob Dylan e Tom Petty, quer mais alguma coisa? É uma verdadeira conferência de dinossauros, dos melhores dinossauros da música. Em cada música gravada por tais gênios vemos a influência de cada um em maior ou menor escala; das baladas de Roy Orbison ao Blues Folk de Dylan passando pela sutileza das músicas do mestre Harrison, é veludo para os ouvidos. Infelizmente com o falecimento de Roy Orbison e George Harrison o que nos resta do grupo são as gravações e a saudade.

Youtube

Site oficial

Monday, November 23: “The Good Stuff Guitar Shop Presents Armando’s Blues Monday”

House band:

• Danny White-harmonica
• Jim Caroompas-guitar
• Kennan Shaw-bass
• Brett Cosby-drums

$3 cover, Sign up 6:30

Thursday, November 27: Craig Horton Blues Band returns!

“Blues with an attitude”

Craig Horton – lead guitar/ vocals
Steve Gannon – rhythm guitar
Ted Wyfinger – bass
Pocket – drums

“A Great Musician, Great Singer, Great Band Leader.”- Joe Louis Walker

The Bay Area Blues Society named Craig Horton “Blues Guitar Player of the Year” and named Craig Horton and his band as “Blues Band of the Year.”

Craig Horton carves out new territory with his deep, gutsy voice, unique delivery and soulful interpretations,in a style that only he can own. He doesn’t emulate blues from the 40’s, 50’s and 60’s. He helped to create the genre in a career that spans five decades.

Craig builds his music on a diverse foundation of sounds, having played jazz, R&B and rock ‘n roll, in addition to the blues, during his early years as a musician. Over the years, Craig has earned respect from just as diverse an array of musicians and critics.

Tom Mazzolini, producer of the San Francisco Blues Fest, reported after one year’s event that, “Craig Horton gave one of the memorable sets that had people talking. It was impressive and it was deep mountain high! The real thing!”

Before his debut solo CD, Craig performed with such blues greats as Chuck Berry, Sam Cooke, Dinah Washington, Otis Rush, Muddy Waters, Buddy Guy, Freddie King, Sam Myers and The Mississippi Delta Blues Band.

Some of his first gigs on the road were playing with such legends as Highway QC’s, Goose Tatum and The Harlem Road Kings, and The Ink Spots. In the late 50’s, Craig played guitar in the legendary Little Walter’s Band and was a touring member of The Dells. He was also a big part of the Chicago music scene, opening the Golden Dolphin with Count Basie and Duke Ellington.

His accomplishments are critically acclaimed. He received the “Patience Is A Virtue Award” from Real Blues Magazine, and “In My Spirit” earned him Best Debut Album of 2001 from Living Blues Magazine. In February 2004, The Bay Area Blues Society named Craig Horton “Blues Guitar Player of the Year” and named Craig Horton and his band as “Blues Band of the Year.”

http://www.baddaddy.com/artists_horton.html

Just got back from Texas. In honor of that state, here is one of Jimmie Rodgers’ most disturbing songs.

El armoniquista griego Paul Karapiperis presenta su primera producción como solista: “Fifteen Raindrops In An Ocean Of Blues Tales”.

(via kmeron auf flickr)

Kristian Matsson aka. The Tallest Man on Earth ist für mich derzeit einer der besten Sänger, die es in den Weiten des Webs zu entdecken gibt. Die Einflüsse von Musikern wie Nick Drake oder Bob Dylan sind nicht zu überhören, Kristian nennt sie sogar selbst auf seinem myspace Profil. Seine Stimme und sein Gitarrenspiel sind einfach magisch und so werden Wikipedia und last.fm bestimmt bald mit mehr Inhalt gefüttert. Kristian hätte diese Aufmerksamkeit auf jeden Fall verdient.

Mein  Lieblings-Song bislang ist definitiv  ”The Gardener”:

Die Tiny Desk Konzerte von npr music sind eigentlich alle toll,

so auch dieses hier:

This Wind, shallow grave und andere Songs (Alle mit HACH-Faktor) gibt es zum kostenlosen Download bei Daytrotter.

December is the ‘official’ start to the Australian summer. It’s also the start of festival season, when Aussies kick off their shoes, kick up their heels and toe-tap their way through a line-up of local and international acts that rock and roll along well into April. Blues, Pop, Trance, Folk,Funk, Comedy – everyone gets their moment in the summer sun.

The nation’s capital, Canberra, gets the jump on summer, with Foreshore, held on the shores of Lake Burley Griffin in November. Major local and international bands help the locals celebrate the end of exams and the start of what we call the silly season.

The first of the really big summer festivals is Homebake – the music event that celebrates home-grown talent. Most of Australia’s (and New Zealand’s) top bands have strutted their stuff on the Homebake stage and each year the line-up – and the crowds – get bigger. The 2009 concert saw over 40 acts signed up.

Celebrating a colourful and peripatetic 15-year history in 2009, Homebake has finally found a home in Sydney’s Domain – the historic parkland in the centre of the city that is the spectacular setting for a summer-full of free performances that span symphony, jazz, and the now world-famous Tropfest short film festival.

So all this month and may be next I will promote my wonderful  country of Australia.

But I do  have  one  good  Money  Making  opportunity  for  you  Dudes :

http://www.cityportaldirector.com?id=42904

The 484 South Band ? Mississippi Nights (2009)
Genre: Blues Rock, Southern Rock |1CD | MP3 |320 kbps | 44,1kHz | 92.29 Mb

Tracklist:

01. Lost Highway
02. Mississippi
03. The Road
04. See Me
05. Counted
06. Big Muddy
07. Baton Rouge
08. Mississippi Night
09. Crystal Springs
10. Blackwater River

Download The 484 South Band – Mississippi Nights 2009:

Pharoahe Monch blesses the new Black Keys project with a verse he wrote at the last minute.

 La grange Marcoux est heureuse de vous présenter la nouvelle programmation de la série des vendredis blues.

Vendredi 27 Novembre : Alanom Blues Band : 15$

Vendredi 4 Décembre : Kevin Mark Band : 18$

Vendredi 11 Décembre : Pat The White : 18$

Information et réservation : 418-666-8392 ou sur le site web : http://www.lagrangemarcoux.com/

Communiqué

Pour diffusion immédiate

L’île en blues 

Présente, Lucky Peterson en spectacle intime à l’église St-Pierre de l’Île d’Orléans le vendredi 11 décembre 20h30, 1243 chemin Royal, St-Pierre île d’Orléans

(Québec, le mercredi 18 novembre 2009) Il franchit les frontières musicales en explorant le blues avec cœur, passion et en y amenant une nouvelle énergie. Mélangeant le blues, le funk, le rock, le jazz et le gospel, Lucky Peterson vous épatera!

Lucky Peterson (né Judge Kenneth Peterson) est un guitariste, organiste et chanteur de blues américain, né à Buffalo, New York, le 13 décembre 1964.

Son père, James Peterson, chanteur et guitariste, tenait le Governor’s Inn, un club de blues dans lequel il eut rapidement l’occasion de côtoyer nombre de musiciens tels que Buddy Guy, Koko Taylor, Muddy Waters ou encore Junior Wells.

Il commence l’apprentissage de l’orgue en prenant des cours avec Bill Dogget et Jimmy Smith. Il n’a alors que 5 ans lorsque Willie Dixon le repère. Plus tard, il passe à la guitare qui deviendra son deuxième instrument de prédilection. Bête de scène incontestable, Lucky Peterson enchaîne les concerts devant des foules déchaînées. En 2009, il a une dizaine albums à son actif dont l’excellent “Double Dealin’” sorti en 2001 qui montre parfaitement l’étendue de son talent. Sa dernière production Organ Soul Sessions, intégralement interprété à l’orgue Hammond montre son regain d’intérêt pour cet instrument et pour les standards de jazz et blues.

Il multiplie aussi les collaborations comme son duo avec Bootsy Collins ou sa collaboration au dernier album de la chanteuse Ayọ, Gravity At Last.

Source spectacle :

Normand Robitaille Tél. : (418) 828-1177 haudet@lileenblues.ca

Billets sur le réseau billetech dès le 23 novembre au coût de 20.00$ taxes incluses

www.myspace.com/luckypetersonmusic

www.lileenblues.ca/

*WATCH THE VIDEO HERE:

http://ia341313.us.archive.org/1/items/JonHammondHammondonHammondDigitalNewB3Organ/HammondonHammond.m4v

http://www.youtube.com/watch?v=cntOk1K4oGI

Jon Hammond on Digital New B3 Organ performing at Bernie’s Place with Michael Jordan drums, Bernies Music Land in Ringwood Melbourne Victoria Australia swinging version of Days of Wine and Roses special thanks Bernie and Michelle Capicchiano and Team Bernie, Hammond SUZUKI MUSICAL INSTRUMENT MFG. CO., LTD. “The FINGERS…are The SINGERS!”™ Camera by Jennifer © www.HammondCast.com

Digital New B3 Organ Bernies Music Land Suzuki Instrument Mfg. Co. LTD Jon Hammond Ringwood Australia Jazz Blues Local 802 Musicians Union HammondCast KYOU Radio

ASCAP Network Behind The Beat with Jon Hammond “LATE RENT”

Elmar Lemes photo of Jon Hammond playing XK-3 organ at Local 802 Monday Night Jazz Session sponsored by Jazz Foundation of America

Jon Hammond MySpace

HammondCast

ASCAP Network Behind The Beat “NDR SESSIONS Projekt”

Jon Hammond is an endorsed artist of Hammond Suzuki USA

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*WATCH THE VIDEO HERE:

http://ia341313.us.archive.org/1/items/JonHammondHammondonHammondDigitalNewB3Organ/HammondonHammond.m4v

http://www.youtube.com/watch?v=cntOk1K4oGI

Jon Hammond on Digital New B3 Organ performing at Bernie’s Place with Michael Jordan drums, Bernies Music Land in Ringwood Melbourne Victoria Australia swinging version of Days of Wine and Roses special thanks Bernie and Michelle Capicchiano and Team Bernie, Hammond SUZUKI MUSICAL INSTRUMENT MFG. CO., LTD. “The FINGERS…are The SINGERS!”™ Camera by Jennifer © www.HammondCast.com

Digital New B3 Organ Bernies Music Land Suzuki Instrument Mfg. Co. LTD Jon Hammond Ringwood Australia Jazz Blues Local 802 Musicians Union HammondCast KYOU Radio

ASCAP Network Behind The Beat with Jon Hammond “LATE RENT”

Elmar Lemes photo of Jon Hammond playing XK-3 organ at Local 802 Monday Night Jazz Session sponsored by Jazz Foundation of America

Jon Hammond MySpace

HammondCast

ASCAP Network Behind The Beat “NDR SESSIONS Projekt”

Jon Hammond is an endorsed artist of Hammond Suzuki USA

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• Party Is Forbidden Here Jon Hammond Band with Bernard Purdie at Mikell’s on Columbus corner W.97th St. (hammondcast.wordpress.com)
• POCKET FUNK in STELLWERK Jon Hammond Band (lockergnome.com)
• TAKA Blue Groove Sessions on HammondCast Narita KYOU Radio (lockergnome.com)
• Moanin Blues 2008 in Jazzkeller Frankfurt with guest Günter Bollmann trombone and Tony Lakatos from HR Big Band (lockergnome.com)
• SAVOY LOUNGE II NYC JON HAMMOND Band part 2 of 3 Funk Soul Blues (lockergnome.com)
• HammondCast 29 Hammond Explosion KYOU RADIO Jon Hammond Hosting (lockergnome.com)
• LYDIA’S TUNE Jazzkeller Frankfurt Jon Hammond Band (lockergnome.com)
• Besame Schnulze Jon Hammond Band in Harburg Germany Lutz Büchner Sandra Hempel Heinz Lichius (lockergnome.com)
• “Tribute to Victims of 9/11″ JON HAMMOND Band in Jazzkeller Frankfurt (lockergnome.com)
• SIDEWINDER Jon Hammond Band w/ BERNARD PURDIE drums Mikell’s NYC (hammondcast.wordpress.com)

Shit yeah! The kids are back with a bluesy track off their upcoming EP Behave Yourself, set for release on Jan 19th. Check out the song and their EP teaser trailer below.

Cold War Kids – Audience of One

I have been to Mississippi. I have seen Clarksdale and the crossroads late at night. I have heard the sounds of Muddy Waters cabin, the wail of Robert Johnson’s slide, and the foot stomp of Lead Belly. The sounds of Clapton, Page, Mayal, Duane Allman, B.B. King, and Stevie Ray echo through my brain from time to time. But none of the great blues players of the 20th Century have touched my soul like Chris Whitley.

I first heard Chris Whitley in 1991. His debut record in America, Living with the Law, received rave reviews even from Rolling Stone Magazine.

Living with the Law,’ Chris Whitley’s extraordinary debut album, is fantasy blues – bona fide poetry and National steel guitar conjuring dream imagery from some surreal western movie. Riveting and original, Whitley mines roots music not as an imitator but as a visionary who trades on archetypal symbols and classic riffs to fashion his own twilight American mythology.1

For most of America, this would be the first and last time they would hear from Chris Whitley.

His followup would not arrive for another four years. If Chris Whitley was anything, he was his own man. Most artists would have followed up their debut within a matter of two years. Din of Ecstasy was released and many fans did not know what to make of the record. Din was filled with loud guitars, rock drums, rock songs. Gone were the atmospheric songs of Living with the Law. Rather than judge it for what it was, many people judged it for what it wasn’t – Living with the Law II. However, the album would only be the first U-Turn in a career of U-Turns for Chris Whitley. Looking back, the record is as an intense rock record as one will find/ (Click here to see why)

For the next ten years, Chris Whitley would take his music and chameleon style to new heights. Never was one record like the one before. Born in the blues, bathed in Hendrix, each record was a cacophony of influences mixing together with modern sounds and lyrics crafted from a poet’s composition book. 1997’s Terra Incognito saw Chris engaging his electric and eclectic voyage. The result was a collection of songs, quieter than Din, but still not quite what the record company envisioned. As a result, Chris was free to go his own way.

Much like Neil Young and David Bowie experimented with different sounds and styles throughout the 1970s, so too did Chris. 1998 saw Chris on the independent Messenger Records. The results over the next 7 years saw a flurry of genius as Chris, now comfortable in his own skin, made a collection of records worthy of the greats. Chris states:

“What I came to terms with by making some small indie records and meeting other people who work in that way is that, hey, if a record doesn’t do blockbuster numbers, then that’s OK,” Whitley told Billboard in 2001. “I feel more comfortable with my place in the culture now and the fact that I don’t have to fear the cool police or this cult of youth.”2

First came Dirt Floor. A magnificent collection of songs set to Whitley’s foot, his Dobro or banjo. A favorite of Bruce Springsteen, the record enamored many of Whitley’s original fans but more importantly, gave him life to do whatever he pleased. The record also showcased his voice as well. Weathered and worn, the instrument of a blues man opened up to bring tales of a life of survival, suffering, sensitivity, and sensuality to fruition.

Over the next three years, Whitley continued to dabble in different sounds. Perfect Day, a collection of covers with Chris Wood and Billy Martin of Mediski, Martin, and Wood saw Chris reinventing songs from Lou Reed, Bob Dylan, The Doors, and Howlin’ Wolf. I remembered my wife and I had to play “Perfect Day” at our wedding along with “Spanish Harlem Incident”, and “4th Time Around”.

2001 saw Chris experimenting with DJ Logic on Rocket House for Dave Matthew’s ATO Records. Matthews was one of Chris’s biggest supporters – He states: “I feel more passion for his music than I do for my own. I have a fervent, religious devotion to the magic that Chris Whitley makes.” The atmospherics of hip-hop mixed with the blues created a backdrop for not only Whitley’s voice but also his lyrics.

In 2003, Chris released Hotel Vast Horizon. Critically acclaimed, the record featured more of the atmospherics featured on Rocket House combined with jazz elements in an acoustic setting, the Dresden recording crafted some of the best work of his career. Chris stated: “The instrumentation is pretty acoustic, though it’s a little close to Rocket House,” Whitley said. “A lot of the songs sound very quiet. I feel like some people are attracted to the atmospheric sense of my music, no matter how the whole record sounds.”

As Chris continued to find his way through his soul, 2004 saw the release of an acoustic collection of his early work recorded in his bathroom with a mini-disc. Weed strips away the atmospherics of the records and reveals the true blues man and poet that Chris was.
2004 also saw the release of Chris passionate War Crime Blues. A mixture of outrage, passion, and hard-core anger, the album further encased his voice with the passionate a capella version of Nat King Cole’s “Nature Boy”. Along with the Clash’s The Call Up, Chris’s voice was now filled with a lifetime of experiences and depth one does not find on any mainstream recording.

2005 saw the release of Chris’s Soft Dangerous Shores. The album reunited him with Producer Malcom Burn from Living with the Law. The record plays as a sensual and passionate love letter. Little did many of his fans know he would pass within the year. On November 20, 2005, Chris passed away after a battle with lung cancer. Two posthumous records were released. Reiter In is a return to the days of Din of Ecstasy and loud guitars. Upon its release shortly after Chris’s death, it was very hard for me to listen to as you hear him gasping for breath. The subsequent duet album with Australian Jeff Lang, Dislocation Blues, felt much the same way.

But as time has passed, one gets a better perspective on not ony his final records, but Chris’s work as a whole. One sees the passionate and sensual poetry of “Hotel Vast Horizon” and “New Lost World”. One hears the anguish of love betrayed of “Bordertown”. One can feel the pain set forth in “Ball peen Hammer”. One could go on and on about his voice, his songs, and his music. However one cannot escape the totality of the legacy he left behind. In the post grunge era, there are few artists who have left behind a musical legacy as rich and as varied as Chris Whitley. From blues to rock to Americana, his collection of albums stand in stark contrast to the music created in the time period. Whilst teeny bop pop perforated the airwaves, it is the music of Chris that will echo through time. From Living with the Law to Din of Ecstasy to Dirt Floor to Perfect Day, Rocket House, Hotel Vast Horizon, Weed, War Crime Blues, and Soft Dangerous Shores, there is no one else who has made a significant amount of records, or contributed as much to the musical landscape of American music.

As with many greats of jazz and blues, the music of Chris Whitley will live on for his devoted followers.
Made From Dirt
When I die and turn the weed
Don’t let no man come clone my seed
Just lay me out in my birthday shirt
And I will prove I was made from dirt
I was made from dirt

Here is Chris at his finest

TONIGHT!  The event that has been a topic of controversy here in Patchogue…the Christmas Holiday Boat Parade!  6PM, tonight, on the Patchogue River.  Where to catch these festively lit up vessels?  The Off Key Tikki, the Harbor Crab Company, The Oar, and the Waterfront. See you there!