Zoek

[Maurice]

Nu:
Eric Dolphy ~ Out for Lunch

Review   by Steve Huey

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.

[mars]

oi

kicke he , heb hem zelf niet maar , wel gehoord bij iemand met een nou............. laten maar zeggen waanzinnige set

grtz mars

[Maurice]

oi

kicke he , heb hem zelf niet maar , wel gehoord bij iemand met een nou............. laten maar zeggen waanzinnige set

grtz mars

Ik heb meerdere albums van hem, vind denk ik Out there het beste album. Deze heb ik echter alleen op lp.

[Maurice]

Nu:

Dream Theather ~ Systematic Chaos

We hebben de VAD show er gek mee gemaakt (standhouders baalden, bezoekers genoten want eindelijk eens een ander geluid dan tingeltangel). Bevat het nummer Repentance, waarmee ik menig set over de zeik heb horen gaan (laatste was een Rega set met losse pre en dubbele eindbak op Xanadu's, Xanadu was geweldig, maar de Rega's schoten te kort). Maar ook sets van +20.000 euro over de rode horen gaan.

Review   by Greg Prato

Few bands in the history of rock have warranted the "either you love them or hate them" tag as much as Dream Theater, as fanatics consider them musical geniuses, while detractors sneer at their bombast. Either way, there's no arguing that the group has built a large and loyal following over the years by doing things their way, and with little to no help from radio or MTV. And on their tenth full-length overall (and first for their new label, Roadrunner), 2007's Systematic Chaos, the quintet sticks to the prog metal game plan that they've followed since their inception. In true Dream Theater fashion, the gentlemen are not ashamed to show off their chops -- as evidenced by the album opener, "In the Presence of Enemies, Pt. 1," in which James LaBrie's vocals do not kick in until after the five-minute mark. Elsewhere, "Forsaken" proves wrong those who say that Dream Theater is all about instrumental gymnastics and not songwriting, at least momentarily, while "The Dark Eternal Light" features some nifty Pantera-esque riffing from John Petrucci. Additionally, "Repentance" is one of the album's four ten-minute-plus, mid-paced epics, and features a prerequisite of countless extended prog suites and spoken word passages. Unlike other veteran rock acts that attempted to update their sound with the times (and failed miserably), Dream Theater has admirably stuck to its guns through thick and thin -- much to the delight of their legion of admirers -- and they continue to do so on Systematic Chaos. And for that, we salute you with a flurry of flawlessly sweep-picked arpeggios. [The 2007 CD/DVD edition features the entire album remixed for 5.1 Surround on an included bonus DVD.]

[Maurice]

Daarna:

The Polyphonic Spree ~ Together we're heavy

Review   by Heather Phares

On the cover of Together We're Heavy, the Polyphonic Spree appear robes in every color of the rainbow instead of the snowy white garb that they used to wear, but that might be the biggest difference between this album and the band's debut, The Beginning Stages Of.... The newer album's track listing even picks up where The Beginning Stages Of... left off, beginning with "Section 11 (A Long Day Continues/We Sound Amazed)," and for the most part, Together We're Heavy's sonics are also a continuation. The band's sound and feel -- which recalls the sweeping symphonics of See You on the Other Side-era Mercury Rev (minus the bipolar tendencies) and the wide-eyed optimism of the Flaming Lips (but without Wayne Coyne's Willy Wonka-like mischievousness) -- remains intact as do platitude-like lyrics such as "It's the feel-good time of the day" and "keep yourself feeling brand-new." However, the changes that have been made on Together We're Heavy are small but significant. Thanks to co-producers Eric Drew Feldman and the Speekers, the album sounds more polished and elaborate than The Beginning Stages Of..., but not bigger, since the band's sound was already pretty massive. The songs' melodies are more complex, and often more restrained than they were before, particularly on the slow-building opening track and "Section 18 (Everything Starts at the Sea)," both of which are more about bathing the listener in warm, expansive sounds than verse-chorus-verse structure. Even the album's poppiest songs, like the bouncy "Section 12 (Hold Me Now)" and "Section 14 (Two Thousand Places)," don't sound quite as much like one long chorus as "Follow the Day" and "Soldier Girl" did, although nothing on this album is as immediate as either of those songs. Occasionally, as on "Section 19 (When the Fool Becomes a King)," the Polyphonic Spree still seems to want to bully its listeners into euphoria through sheer volume, but on Together We're Heavy, Tim DeLaughter and crew seem more aware that life, even in the smiley-face world they've created, isn't always rainbows and sunshine. "Section 16 (One Man's Show)" is one of their saddest songs, as well as one of their prettiest; even though it gradually gets bigger and louder, it's never bombastic. Likewise, the winsome ballads "Section 13 (Diamonds/Mild Devotion to Majesty)" and "Section 17 (Suitcase Calling)" acknowledge that life can be difficult, but remain cautiously optimistic. However, as distinctive as the band's sound is, it's not particularly varied, and two-thirds of the way through the album things may start to drag a little for those who aren't deeply indoctrinated in the ways of the Polyphonic Spree. But, for those whom the band's manifesto of boundless love, hope, and playfulness really strikes a chord, Together We're Heavy offers more uplifting, colorful psychedelic whimsy.

[mars]

 

echt nog nooit van gehoord , ja ? is dit wat?

[vielzweck]

Samy El-Bably

wauw

(via concertzender)

meer info: http://www.concertzender.nl/programmagids.php?date=2008-03-29&month=0&detail=27840

[vielzweck]

Soft Machine volume 1 (1969)

[Paul]

Soft Ice Machine volume 1 (1969)

Beetje te koud voor. 

[vielzweck]

Beetje te koud voor. 

voor S M is het nooit te koud

[Paul]

voor S M is het nooit te koud

Je bedoelt zeker de light versie. 

[vielzweck]

Je bedoelt zeker de light versie. 

je bent wel wakker hè!

weet je zdeker dat je vandaag de krenten in pap verdient heb?

[Paul]

je bent wel wakker hè!

weet je zdeker dat je vandaag de krenten in pap verdient heb?

Ben meestal wel allert.....

[mars]

oi

Ik kan nu Arrow Jazz niet meer ontvangen, terwijl er volgens de tuner nog wel uitzending is

Ik woon in Den haag, en luister naar arrow jazz op 91.5 fm

Nog meer mensen met dit probleem nu

grtz mars

[Lapti]

Even weer een beetje leven inblazen 

Ik luister nu naar:

Gino vanelli: Powerful people