Δαι μουσικές (daeman's tunes)
- Thread starter daeman
- Start date
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The Night Watch - King Crimson
Shine, shine, the light of good works shine
The watch before the city gates depicted in their prime
That golden light all grimy now
Three hundred years have passed
The worthy Captain and his squad of troopers standing fast
The artist knew their faces well
The husbands of his lady friends
His creditors and councilors
In armor bright, the merchant men
Official moments of the guild
In poses keen from bygone days
The city fathers frozen there
Upon the canvas dark with age
The smell of paint, a flask of wine
And turn those faces all to me
The blunderbuss and halberd-shaft
And Dutch respectability
They make their entrance one by one
Defenders of that way of life
The redbrick home, the bourgeoisie
Guitar lessons for the wife
So many years we suffered here
Our country racked with Spanish wars
Now comes a chance to find ourselves
And quiet reigns behind our doors
We think about posterity again
And so the pride of little men
The burghers good and true
Still living through the painter's hand
Request you all to understand
The Nightwatch, by P J Crook
The Night Watch - King Crimson
Shine, shine, the light of good works shine
The watch before the city gates depicted in their prime
That golden light all grimy now
Three hundred years have passed
The worthy Captain and his squad of troopers standing fast
The artist knew their faces well
The husbands of his lady friends
His creditors and councilors
In armor bright, the merchant men
Official moments of the guild
In poses keen from bygone days
The city fathers frozen there
Upon the canvas dark with age
The smell of paint, a flask of wine
And turn those faces all to me
The blunderbuss and halberd-shaft
And Dutch respectability
They make their entrance one by one
Defenders of that way of life
The redbrick home, the bourgeoisie
Guitar lessons for the wife
So many years we suffered here
Our country racked with Spanish wars
Now comes a chance to find ourselves
And quiet reigns behind our doors
We think about posterity again
And so the pride of little men
The burghers good and true
Still living through the painter's hand
Request you all to understand
The Nightwatch, by P J Crook
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Three of a Perfect Pair - King Crimson live in Japan
01. Three of a Perfect Pair [4:10] / 02. (Band Introduction) [2:22] / 03. No Warning [4:04] / 04. Larks Tongues in Aspic Part III [5:02]
05. Thela Hun Ginjeet [6:01] / 06. Frame by Frame [4:02] / 07. Matte Kudasai [3:29] / 08. Industry (from soundcheck) [6:54]
09. Dig Me [3:42] / 10. Indiscipline [8:53] / 11. Sartori in Tangier [4:20] / 12. Man With An Open Heart [3:46]
13. Waiting Man [6:39] 14. Sleepless [6:16] / 15. Larks' Tongues in Aspic Part II [5:58] / 16. Elephant Talk [5:12]
17. Heartbeat [4:58]
Three of a Perfect Pair - King Crimson live in Japan
01. Three of a Perfect Pair [4:10] / 02. (Band Introduction) [2:22] / 03. No Warning [4:04] / 04. Larks Tongues in Aspic Part III [5:02]
05. Thela Hun Ginjeet [6:01] / 06. Frame by Frame [4:02] / 07. Matte Kudasai [3:29] / 08. Industry (from soundcheck) [6:54]
09. Dig Me [3:42] / 10. Indiscipline [8:53] / 11. Sartori in Tangier [4:20] / 12. Man With An Open Heart [3:46]
13. Waiting Man [6:39] 14. Sleepless [6:16] / 15. Larks' Tongues in Aspic Part II [5:58] / 16. Elephant Talk [5:12]
17. Heartbeat [4:58]
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Evening Star - Brian Eno & Robert Fripp
side one:
1. Wind on water - 5:30 / 2. Evening Star - 7:48 / 3. Evensong - 2:53 / 4. Wind on Wind - 2:56
side two:
1. Index of Metals - 28:36
Evening Star, by Peter Schmidt
Evening Star - Brian Eno & Robert Fripp
side one:
1. Wind on water - 5:30 / 2. Evening Star - 7:48 / 3. Evensong - 2:53 / 4. Wind on Wind - 2:56
side two:
1. Index of Metals - 28:36
Evening Star, by Peter Schmidt
.......................................................................................................................................................Him Belly Go No Sweet - Antibalas ......................................................................................................................................................
.......................................................................................................................................................Kilimanjaro - The Shaolin Afronauts .................................................................................................................................................
.......................................................................................................................................................Shira - The Shaolin Afronauts .................................................................................................................................................
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Stoned Aged Man (1970) - Joseph (Joseph Earl Longoria aka Joey Long)
1. Trick Bag / 2. I Ain't Fattenin' No More Frogs For Snakes / 3. Cold Biscuits and Fish Heads / 4. Stoned Age Man
5. I'm Gonna Build a Mountain / 6. Mojo Gumbo / 7. The House of the Rising Sun / 8. Gotta Get Away
9. Come the Sun Tomorrow
Stoned Aged Man (1970) - Joseph (Joseph Earl Longoria aka Joey Long)
1. Trick Bag / 2. I Ain't Fattenin' No More Frogs For Snakes / 3. Cold Biscuits and Fish Heads / 4. Stoned Age Man
5. I'm Gonna Build a Mountain / 6. Mojo Gumbo / 7. The House of the Rising Sun / 8. Gotta Get Away
9. Come the Sun Tomorrow
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Cotton Mouth Man - James Cotton (featuring Joe Bonamassa)
Cotton Mouth Man, sweet as cotton candy for my ears.
Cotton Mouth Man - James Cotton (featuring Joe Bonamassa)
Cotton Mouth Man, sweet as cotton candy for my ears.
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Frenzy - Screamin' Jay Hawkins
1. Hong Kong / 2. I Put a Spell on You / 3. Darling Please Forgive Me / 4. Temptation / 5. Ol' Man River / 6. Person to Person
7. Take me Back to my Boots and Saddle / 8. Orange Coloured Sky / 9. If you are but a Dream / 10. Swing Low, Sweet Chariot
11. I Love Paris / 12. Frenzy / 13. Little Demon / 14. You Made me Love you (I didn't want to do it)
15. There's Something Wrong with you / 16. Yellow Coat / 17. Deep Purple / 18. Alligator Wine
19. (She Put The) Whammy on me
Frenzy - Screamin' Jay Hawkins
1. Hong Kong / 2. I Put a Spell on You / 3. Darling Please Forgive Me / 4. Temptation / 5. Ol' Man River / 6. Person to Person
7. Take me Back to my Boots and Saddle / 8. Orange Coloured Sky / 9. If you are but a Dream / 10. Swing Low, Sweet Chariot
11. I Love Paris / 12. Frenzy / 13. Little Demon / 14. You Made me Love you (I didn't want to do it)
15. There's Something Wrong with you / 16. Yellow Coat / 17. Deep Purple / 18. Alligator Wine
19. (She Put The) Whammy on me
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Living Proof - Buddy Guy
01 00:00 74 Years Young / 02 04:34 Thank Me Someday / 03 10:16 On the Road
04 14:27 Stay Around a Little Longer (Feat. B.B. King) / 05 19:27 Key Don't Fit / 06 24:30 Living Proof
07 28:15 Where the Blues Begins (Feat. Carlos Santana) / 08 32:52 Too Soon / 09 36:18 Everybody's Got to Go
10 40:15 Let the Door Knob Hit Ya / 11 43:59 Guess What / 12 49:43 Skanky
Living Proof was designed partially as an aural autobiography from the legendary Buddy Guy, opening up with the stark summation “74 Years Young,” then running through songs that often address some aspect of a working musician's life. It’s not a concept that’s followed through completely -- it’s thrown off track somewhat by duets with B.B. King and Carlos Santana, with the latter’s soft groove sticking out tonally as well -- but it’s enough of a narrative to give the record a definitive shape that some latter-day Guy albums are lacking. Still, the selling point of Living Proofremains Guy’s guitar, an instrument that improbably gets louder, nastier, and gnarlier with each passing year. LikeSkin Deep before it, Living Proof is distinguished by these bold, clenched blasts of sonic fury, but here the production has just enough grit to make the entire enterprise feel feral, and that’s a greater testament to Guy's enduring vitality than any one song could ever be.
~Stephen Thomas Erlewine, allmusic
Living Proof - Buddy Guy
01 00:00 74 Years Young / 02 04:34 Thank Me Someday / 03 10:16 On the Road
04 14:27 Stay Around a Little Longer (Feat. B.B. King) / 05 19:27 Key Don't Fit / 06 24:30 Living Proof
07 28:15 Where the Blues Begins (Feat. Carlos Santana) / 08 32:52 Too Soon / 09 36:18 Everybody's Got to Go
10 40:15 Let the Door Knob Hit Ya / 11 43:59 Guess What / 12 49:43 Skanky
Living Proof was designed partially as an aural autobiography from the legendary Buddy Guy, opening up with the stark summation “74 Years Young,” then running through songs that often address some aspect of a working musician's life. It’s not a concept that’s followed through completely -- it’s thrown off track somewhat by duets with B.B. King and Carlos Santana, with the latter’s soft groove sticking out tonally as well -- but it’s enough of a narrative to give the record a definitive shape that some latter-day Guy albums are lacking. Still, the selling point of Living Proofremains Guy’s guitar, an instrument that improbably gets louder, nastier, and gnarlier with each passing year. LikeSkin Deep before it, Living Proof is distinguished by these bold, clenched blasts of sonic fury, but here the production has just enough grit to make the entire enterprise feel feral, and that’s a greater testament to Guy's enduring vitality than any one song could ever be.
~Stephen Thomas Erlewine, allmusic
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A Tribute to Jack Johnson - Miles Davis
Right Off
Yesternow
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out.
On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Miles' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.
~Thom Jurek, allmusic
A Tribute to Jack Johnson - Miles Davis
Right Off
Yesternow
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out.
On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Miles' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.
~Thom Jurek, allmusic
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Transblucency (A Blue Fog That You Can Almost See Through) - Kay Davis with Duke Ellington and his orchestra
Diminuendo And Crescendo In Blue - Duke Ellington and his orchestra featuring Paul Gonsalves at Newport, 1956
Ellington had been experimenting with the reworking for several years before the Newport performance; a release of one of his Carnegie Hall concerts of the 1940s presented the two old blues joined by a wordless vocal passage, "Transbluecency," but in time he chose to join the pair by a saxophone solo, handing it to Gonsalves, experimenting with it in shorter performances before the Newport show, where Ellington is believed to have told Gonsalves to blow as long as he felt like blowing when the solo slot came. It came after two choruses of an Ellington piano break at what was formerly the conclusion of "Diminuendo in Blue."
As performed at Newport, the experiment ended up revamping the Ellington reputation and fortune for the rest of Ellington's life. The previous experiments culminated in a 27-chorus solo by Gonsalves — simple, but powerful — backed only by bassist Jimmy Woode, drummer Sam Woodyard, and Ellington himself pounding punctuating piano chords and (with several audible band members as well) hollering urgings-on ("Come on, Paul — dig in! Dig in!") to his soloist. The normally sedate crowd was on their feet dancing in the aisles, reputedly provoked by a striking platinum blonde woman in a black evening dress, Elaine Anderson, getting up and dancing enthusiastically. When the solo ended and Gonsalves collapsed in exhaustion, Ellington himself took over for two choruses of piano solo before the full band returned for the "Crescendo in Blue" portion, finishing with a rousing finale featuring high-note trumpeter Cat Anderson.
http://en.wikipedia.org/wiki/Ellington_at_Newport#The_Gonsalves_solo
Transblucency (A Blue Fog That You Can Almost See Through) - Kay Davis with Duke Ellington and his orchestra
Diminuendo And Crescendo In Blue - Duke Ellington and his orchestra featuring Paul Gonsalves at Newport, 1956
Ellington had been experimenting with the reworking for several years before the Newport performance; a release of one of his Carnegie Hall concerts of the 1940s presented the two old blues joined by a wordless vocal passage, "Transbluecency," but in time he chose to join the pair by a saxophone solo, handing it to Gonsalves, experimenting with it in shorter performances before the Newport show, where Ellington is believed to have told Gonsalves to blow as long as he felt like blowing when the solo slot came. It came after two choruses of an Ellington piano break at what was formerly the conclusion of "Diminuendo in Blue."
As performed at Newport, the experiment ended up revamping the Ellington reputation and fortune for the rest of Ellington's life. The previous experiments culminated in a 27-chorus solo by Gonsalves — simple, but powerful — backed only by bassist Jimmy Woode, drummer Sam Woodyard, and Ellington himself pounding punctuating piano chords and (with several audible band members as well) hollering urgings-on ("Come on, Paul — dig in! Dig in!") to his soloist. The normally sedate crowd was on their feet dancing in the aisles, reputedly provoked by a striking platinum blonde woman in a black evening dress, Elaine Anderson, getting up and dancing enthusiastically. When the solo ended and Gonsalves collapsed in exhaustion, Ellington himself took over for two choruses of piano solo before the full band returned for the "Crescendo in Blue" portion, finishing with a rousing finale featuring high-note trumpeter Cat Anderson.
http://en.wikipedia.org/wiki/Ellington_at_Newport#The_Gonsalves_solo