Blues

ТВЦ... "Удачное Приобретение"... Типа "Блюз"... Макаревич... Позор... см.смайлик

---> SergeK

Ни фига не понял, но всё равно за блюз обидно.

2cat man:
Оч правильно! ЗА БЛЮЗ ОБИДНО!

Да, Сережа, программа - полный ацтой! Зато с каким энтузазизмом макаревич подпевал "...Talk to you baby..." и далее по тексту. Блевать тянет. Блюзмены херовы!

А ведь многие полагают,что это и есть блюз.

2Alex Red:
Я даже рад, что Б. меня тихо ненавидит. Один раз ненавидел громко, сам слышал :)))
Лабухи хреновы...

2papan:
>А ведь многие полагают,что это и есть блюз.
Вот с этим, я всегда и боролся :))) Качества никакого. Кабачина мелкопошибная.
А ведь были в Москве ребята стоящие, никого не осталось.

Зато приятель Маргулиса "Лучше фсех играит тхе блуэс" (с) копирайт фсё тот жэ...
Энд "толк {зыс} ту ю бэйби" (с) ай хоуп, шо копирайт фсё тот жэ...

А меня передача порадовала.... Ваще, я очень люблю удивляцца, вот и в момент просмотра удивлялся: никогда не думал, шо тхэ блюэс -- это элитарная музыка...
По словам "главных блюзменоф Семисранска" токма избранные ограниченные слухають в этой стране, а можэт и дажэ в мире сей стиль... Весело...
Буду теперь знать: "тхэ блюэс" -- элитарное искусство больших белых братьеф...

Такая вот грустная мысль-сколько по концертам и сэйшнам хожу, сколько с музыкантами общаюсь-молодёжь не хочет играть блюз:( Все хотят рубить двухаккордный панк, или блэк (причём обязательно ТРУ!). Ну ладно у молодых мозги эстеблешментом промыты, но когда олдовые дядьки при слове "блюз" кривятся...эт как-то ненормально.

2Аlex Archi:

>Такая вот грустная мысль-сколько по концертам
>и сэйшнам хожу, сколько с музыкантами общаюсь-молодёжь
>не хочет играть блюз:( Все хотят рубить двухаккордный
>панк, или блэк (причём обязательно ТРУ!). Ну ладно
>у молодых мозги эстеблешментом промыты, но когда
>олдовые дядьки при слове "блюз" кривятся...эт
>как-то ненормально.
Дык, нормально это апсолютна....
Есть жэ три правильных блатных аккорда...есть Цыганочка, есть Семь Сорок... Хватит.
А тхэ блюэс? "Шурик, ведь это не наш метод..." (с) Федя.

The Maple Blues Awards

The Maple Blues Awards, Canada's national award programme that promotes and recognizes outstanding achievement in blues music, has announced their nominees for 2005. The nominees are selected by a distinguished panel of blues experts from across Canada, and winners are selected by the votes of Canadian blues fans.

The winners will be announced at a spectacular gala presentation at the Phoenix Concert Theatre ( Toronto) on Monday, January 16, 2006.

This year's nominations are dominated by a new generation of musicians, proving beyond a doubt that Canadian blues has a bright future. Second-generation bluesman Garrett Mason, son of Canadian blues legend Dutch Mason, has made an impression worthy of his lineage, and leads all nominees this year with nods in six categories. Close on Garrett's heels are Toronto's Paul Reddick and debut recording artist Julian Fauth with five nominations each. Ottawa is represented by three nominated young artists: Roxanne Potvin, Southside Steve Marriner, and 13 year-old Elyssa Mahoney.

Veterans of the Canadian blues scene who laid the foundation for these younger artists aren't outdone, however. Chris Whiteley received four nominations while Downchild Blues Band, who are celebrating their 35th year, have even more reasons to party after being recognized in three major categories. Four Downchild musicians also received individual nominations. Jack de Keyzer received three nominations to further sweeten his 25th year in the business.

The nominations reflect a blues scene that is alive across the country. In many categories, musicians from Ontario are nominated alongside artists from Quebec, the Prairies, the Maritimes, or the West Coast. In the hotly contested Electric Act of the Year category, Toronto acts Downchild and Jack de Keyzer received recognition opposite Halifax-native Garrett Mason, Winnipeg band The Perpetrators, and Vancouver blues-rocker David Gogo. Up for Entertainer of the Year, Kitchener's Mel Brown is in good company with Vancouver's Kenny 'Blues Boss' Wayne. Acoustic Act of the Year nominees include New Brunswick's Hot Toddy, BC’s Harry Manx, and Hamilton's Harrison Kennedy. Nowhere is the regional diversity more apparent than in the Female Vocalist of the Year category in which New Brunswick's Theresa Malenfant, Dawn Tyler Watson from Quebec, Ottawa's Roxanne Potvin, Toronto's Shakura S'Aida, and the ever-popular Saskatoon-born Suzie Vinnick all received nods.

James Blood Ulmer's Birthright Wins Blues Album of the Year in DownBeat 2005 Readers' Poll

New York, NY -- Earlier this year, the legendary American music iconoclast, James Blood Ulmer, released his first ever solo recording, Birthright. The album, which features Ulmer alone on vocals and guitar, quickly drew critical acclaim, garnering praise from the likes of national publications such as DownBeat, Guitar Player, Jazz Times, Jazziz, Living Blues, No Depression and Rolling Stone, while newspapers including the Chicago Sun Times, Minneapolis City Pages, Seattle Post Intelligencer and The Washington Post declared it one of this year's most important blues records. Now, James Blood Ulmer's Birthright has been voted “Blues Album of the Year” in DownBeat Magazine's 70th Annual Readers Poll. The poll, based solely on votes by DownBeat's readers, validates the critical praise Birthright has received by reflecting the opinion of the fans. It's a well-deserved honor for an artist whose music has undergone a creative renaissance and commercial rediscovery in recent years. Long regarded as one of the most inventive guitarists of his generation, Ulmer's reputation has slowly morphed from avant-garde jazz visionary to an elder statesman of the blues. In fact, Ulmer covers all this ground and more.

Produced by Vernon Reid, the 12-track Birthright is far and away the most stark and deeply personal work of Ulmer's career. Based primarily on original material, songs like “Geechee Joe,” “Take My Music Back To The Church,” “Where Did All the Girls Come From” “The Evil One” and “White Man's Jail” deal directly with Ulmer's upbringing in segregated South Carolina and his migration North as a working musician. Ulmer continually confronts the church, trying to make amends with his past. Raised a strict Baptist, his career in secular music was long viewed by his parents as the devil's work. It's fascinating to watch Ulmer's public struggle unfold through these songs. On Birthright, Ulmer also tackles two classics of the blues' idiom, “Sittin' On Top of the World” and “I Ain't Superstitious,” and completely reinvents them with his idiosyncratic guitar tuning and guttural vocal moan that harkens back to the blues most primitive origins in Africa, yet simultaneously sounding amongst the most modern blues of the day. The album is rounded out by two instrumental pieces, “Love Dance Rag” and “High Yellow,” which are gloriously free and abstract guitar meditations.

Birthright was released on the heels of two full-blown James Blood Ulmer blues albums: Memphis Blood: The Sun Sessions & No Escape From the Blues: The Electric Lady Sessions. Ulmer was joined on these dates by a seven piece band, including producer and guitarist Vernon Reid. They found Ulmer interpreting some of the genre's most classic material. It was Reid's assertion that Ulmer wasn't merely playing the blues, but that he'd actually lived the life of the characters in those very songs. Despite the success of those two albums, when it came time for a follow up, Ulmer insisted that the music be stripped bare and that he deliver his own personal revelations and stories through original songs. Thus Birthright was born.

2005 was one of the busiest years in recent time for Ulmer. It saw him perform numerous dates around the world, including a string of blues festivals this past summer. He'll finish the year with a solo performance at The Ark in Ann Arbor, Michigan on November 30th, while laying low for the majority of December to work on new material. Plans are already underway for the follow up to Birthright, however, tour dates are stacking up for 2006, including extended tours of Europe and a seven night stand at New York City's Jazz Standard in March. This special hometown run will feature a different side of Ulmer's music each night, ranging from his solo blues to the Odyssey Blues Band (with Charlie Burnham & Warren Benbow) to his power trio Man Vs. Machine (with Calvin G. Weston & Jamaladeen Tacuma) to the Memphis Blood band. With the recent DownBeat “Blues Album of the Year” honors, Ulmer is sure to find a growing audience for Birthright's powerful and riveting songs. And word is sure to spread further and wider about James Blood Ulmer, an artist who nearly 50 years into his career is creating his most vital and important music yet.

“The blues - ancient and modern, from Blind Willie McTell to Ornette Coleman - have always run deep in this South Carolinian's black rock and future jazz. But on Birthright, there is nothing but blues: just Ulmer's subterranean rock-slide moan and spider dance guitar improvisations, in stark, original memoirs...Ulmer has taken the long road home...But he sounds like he never left” - David Fricke, Rolling Stone

“The most authentic and important blues preacher since the Rev. Gary Davis. This album is a modern milestone in the story of the blues.” - Bill White, Seattle Post Intelligencer

“Ulmer's new CD, 'Birthright,' cements his standing as a leading interpreter of the blues. Reminiscent in spirit of blues legend Robert Johnson's seminal 1930s recordings, 'Birthright' offers a transcendent and edgy performance by the guitarist.” -- Andrew Schwartz, Washington Post

“The number of bonafide original contributions to the musical language of the blues in the last 30 years are as scarce as hair on a Mississippi bullfrog. Junior Kimbrough's All Night Long and Otis Taylor's Respect the Dead come immediately to mind. One must now add James Blood Ulmer's Birthright to this short list and it may be the most groundbreaking of all.” - Dave Rubin, Guitar Player Magazine

“James Blood Ulmer returns to the music of his forebears with a stunning testimonial to the spiritual, psychic, social and existential intensity that's been at the heart of the blues expression since the beginning and continues to inform the true living blues tradition. - David Whiteis, Living Blues

“...a solo delta blues disc that is both intimate and epic in scope, with 10 frequently extraordinary original compositions among its dozen songs. Ulmer's acoustic guitar playing is jagged, subtle, multi-textural, and unpredictable. His vocals are tremulous, conversationally grave, and emotionally forthright. Dovetailed together--song, guitar, voice--it was a resonant and arresting thing to listen to even before New Orleans was laid to waste.” - Britt Robson, Minneapolis City Pages

“Whether Ulmer has been reinvented or merely unmasked as a blues artist is immaterial. The genre has its most original voice since the rediscovery of R.L. Burnside. Let's pay attention.” - Lee Mergner, Harp Magazine

2john lee hooker:

>Буду теперь знать: "тхэ блюэс" -- элитарное искусство
>больших белых братьеф...
Блюз мало кто берёт-это музыка для утончённых эстетов и интеллектуалов! (из разговора продавцов в музмаге)

2pempe:

>James Blood Ulmer's Birthright Wins Blues Album
>of the Year in DownBeat 2005 Readers' Poll

Я искренне рад за парня... Записал абсолютно стебальную пластиночку в стиле допотопной архаики... Получилось здоровски. Кого не пугаить полуакустич. гитара в открытом "А", безструктурное музыцирование без дублей, колодезные гласные а-ля Хукер и старческая отдышка, милости просим...
Мне понравилося...
"Отнесу-ка свою музЫку назад в церквушку" или "Зе Ивл Уан" безусловно брильянты на пластинке...
Вообще-та James Blood Ulmer -- хитрец... Знает, чертяка, шо пипл хъавает...Взял, забацал винтажный примитивно-жывотный тхэ блюез без наворотоф, сплошное афро-акынство "лисн пипл, зыс май стори" с внутренним посылом-драйвом... Хукер давно на небесах, Ар Эл Бёрнсайд отправился к нему в гости играть бесконечное буги... короче, на грешной земле практич. не осталося конкурентоф в этой разновидности сабжа. И это при том, шо Блуд прекрасно-разносторонний блюз-жнец-кузнец-плотник ( те, кто слышал электрич. опусы товарисча, особенно живой альбом, поймут, о чём я), он сделал достойную работу в, казалось бы, несвойственной ему стезе...
Короче, для меня лично, ежели не лучший эльбум в стиле "тхэ блюэс", то по крайней мере, ф "тройке" в уходясчем году....

2Аlex Archi:

>2john lee hooker:
>>Буду теперь знать: "тхэ блюэс" -- элитарное
>искусство
>>больших белых братьеф...
>Блюз мало кто берёт-это музыка для утончённых
>эстетов и интеллектуалов! (из разговора продавцов
>в музмаге)
Продафцы в маге на то и приставлены в магазины, шоб продавать ФСЁ... При желании можно продать ЛЮБУЮ музыку в ЛЮБОМ кол-ве... А ежели продафцы так рассуждають....то просто сидят на мизерной зарплате :-)
Либо эстеты хреновы... Интересно, а Эдисон Денисов у них по какой "фишке" проходит? Народный фольклор?

Chicago Blues (3 Discs)

There is no other blues style that combines the sound of rock 'n' roll and rhythm and blues that is unique and "rough" in form, sound and feeling. At the Chicago blues festival in 1977, legends like George Baze, Pistol Pete & Ron Hytower, Lonnie Brooks, Hubert Sumlin, Junior Wells, James Harman, Magic Slim, Mike Morgan & The Crawl, Keb' Mo and others saw to it that it became another milestone in the history of the Chicago Blues. This event was recorded at " Buddy Guy's Legends club" Moreover, there are five stage performances on an open air stage. Sheer live concert atmosphere!

Gatemouth Brown приезжал в Баку в июне 1979. Незабываемый концерт. На гастроли он приехал с женой \ белой \ , грудным ребенком , нянькой для грудного ребенка , тещей ! На сцене он курил во время игры , пил что-то и благодарил зрителей по азербайджански "Сагол ! ". Такое можно увидеть только один раз в жизни ! С уважением !

Johnny 'Guitar' Watson: Live In Concert
Due for release on 30/01/2006

Review
Johnny "Guitar" Watson the man who was dubbed the Gangster of Love after his 1958 album of the same name, scored his first hit with a faithful cover version of Earl Kings moving New Orleans ballad "Those Lonely, Lonely Nights" This catapulted Watson into the top ten of the R&B charts. The seventies were a decade of unbridled success, Watson recorded two great albums in quick succession "Listen" in 1974 and "I Don't Want To Be Alone, Stranger" in 1975. In 1976 the switched labels to DMJ Records and recorded the album that would win him his first award. "Ain't That A Bitch" was a fascinatingly muti-faceted work that took in rock 'n roll, soul, jazz, blues, calypso and funk and included the hit " I Need it" that filled the dance floors worldwide.

Взял альбом Clarence Gatemouth Brown "The Man" 1995.Причудливая смесь всякого разного ,от Unchained Melody до Jambalaya .Дудки,акордеон,скрипка... Всячески рекомендую для блюзового разнообразия.

Обзавелся такой пластиночкой. Классный блюз фром шикагоу, совсем не тяжеловесный. Сыграно оченьт ненатужно и упруго. Классика!

И ещё, вот такая штука на МР3.
Кайф полнейший, просто улетные записи