Τρίτη, 23 Αυγούστου 2011

Kammermusik short edit

Kammermusik short edit by OHSOTRUE artists


Τρίτη, 23 Αυγούστου 2011

Loopa Scava meets Cayetano - A Hot Day


Τρίτη, 23 Αυγούστου 2011

Adrenaline


Τρίτη, 23 Αυγούστου 2011

Danny Macaskill - Industrial Revolutions


Τρίτη, 23 Αυγούστου 2011

Beautiful Nature Time Lapse

A Timelapse Journey with Nature: 2009-2011 from Henry Jun Wah Lee on Vimeo.


Δευτέρα, 22 Αυγούστου 2011

Parov Stelar - Your Man


Δευτέρα, 22 Αυγούστου 2011

Soosh - New bits....


Δευτέρα, 22 Αυγούστου 2011

Obrigado, Brasil! Vol. 5: The Bossa Nova Mix!


Κυριακή, 21 Αυγούστου 2011

The Wilderness of Manitoba - Hermit


Κυριακή, 21 Αυγούστου 2011

Turn Around Sola Rosa


Κυριακή, 21 Αυγούστου 2011

Orchestra Baobab - Bikowa


Κυριακή, 21 Αυγούστου 2011

Belleruche Northern Girls (Remix) Digital


Πέμπτη, 18 Αυγούστου 2011

VIDEO: Bon Iver ‘Holocene’


Πέμπτη, 18 Αυγούστου 2011

Bonobo 'Black Sands' Album Mini Mix


Τρίτη, 16 Αυγούστου 2011

ISRAEL VIBRATION- Reggae Knights



Δευτέρα, 15 Αυγούστου 2011

IMPACT ALLSTARS Java Java Java Java (Instrumentals Dubwise Versions)



Πέμπτη, 11 Αυγούστου 2011

Downtempo,Nu Jazz,Chill


Τρίτη, 31 Μαΐου 2011

Gil Scott-Heron





Gil Scott-HeronCover of Gil Scott-HeronGilbert "Gil" Scott-Heron (April 1, 1949 May 27, 2011)[2] was an American poetmusician, and author known primarily for his work as aspoken word performer in the 1970s and 80s, and for his collaborative soul works with musician Brian Jackson. His collaborative efforts with Jackson featured a musical fusion of jazz, blues and soul music, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. The music of these albums, most notably Pieces of a Man and Winter in America in the early 1970s, influenced and helped engender later African-American music genres such as hip hop and neo soul. Scott-Heron's recording work is often associated with Black 

activism and has received much critical acclaim for one of his most well-known compositions "The Revolution Will Not Be Televised". His poetic style has been influential upon every generation of hip hop since his popularity began.[3] In addition to being widely considered an influence in today's music, Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here.

Gil Scott-Heron was born in Chicago, Illinois.[4] His mother, Bobbie Scott-Heron, sang with the New York Oratorio Society. Scott-Heron'sJamaican father, Gil Heron, nicknamed "The Black Arrow", was a soccer player who, in the 1950s, became the first black athlete to play forGlasgow Celtic Football Club in Scotland. Gil's parents separated when he was two[5] and Gil was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee.[6] When Scott-Heron was 12 years old, his grandmother died and he moved with his mother to The Bronx in New York City, where he enrolled in DeWitt Clinton High School[5] He later transferred to The Fieldston School after one of his teachers, a Fieldston graduate, showed one of his writings to the head of the English department at Fieldston and he was granted a fullscholarship.

Early years

Scott-Heron attended Lincoln University in Pennsylvania, as it was the college chosen by his biggest influence Langston Hughes. It was here that Scott-Heron met Brian Jackson with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory.[7] He returned to New York City, settling in Chelsea, ManhattanThe Vulture was published in 1970 and well received. Although Scott-Heron never received hisundergraduate degree, he received a Master's degree in Creative Writing in 1972 from Johns Hopkins University. His 1972 dissertation was titled Circle of stone.[8]


Scott-Heron began his recording career in
1970 with the LP Small Talk at 125th and LenoxBob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 15 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be Black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie HavensJohn ColtraneOtis ReddingJose FelicianoBillie HolidayLangston HughesMalcolm XHuey NewtonNina Simone, and the pianist who would become his long-time collaborator, Brian Jackson.
Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Johnny Pate (conductor), Brian Jackson on keyboardspianoRon Carter on bass and bass guitar,drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bassDavid Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice, "He wasn’t a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare.[5]
1974 saw another LP collaboration with Brian Jackson, the critically acclaimed opus Winter in America, with Bob Adams on drums and Danny Bowens on bass. The album contained Scott-Heron's most cohesive material and featured more of Jackson's creative input than his previous albums had. Winter in America has been regarded by many critics as the two musicians most artistic effort.[9][10] The following year, Scott-Heron and Jackson also released Midnight Band: The First Minute of a New Day. A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1979. In the July 1976 Bicentennial issue of Playboy Scott-Heron was profiled; the accompanying artwork shows Scott-Heron singing or speaking into a microphone as it melts from the heat of his words.[citation needed] Another hit success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at #15 on the R&B charts in 1978.
In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energyfollowing the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit", written about a previous accident at a nuclear power plant, was included in the No Nukes album of concert highlights. (We Almost Lost Detroit is the title of a book about the accident by John G. Fuller.) Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.[citation needed]
Scott-Heron recorded and released only four albums during the 1980s; 1980 and Real Eyes in 1980, Reflections in 1981 and Moving Target in 1982. Ron Holloway on tenor saxophonewas added to Gil's ensemble in February 1982. He toured extensively with Scott-Heron and contributed to his next album, Moving Target that same year. His tenor is prominently featured on the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CD's; Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.[11]
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line, "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the US with those in apartheid-era South Africa, implying that the US was not too far ahead in race relations. In 1993, he signed to TVT Records and releasedSpirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap"[12][13] and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rapMessage to the Messengers was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There’s a big difference between putting words over some music, and blending those same words into the music. There’s not a lot of humor. They use a lot of slang and colloquialisms, and you don’t really see inside the person. Instead, you just get a lot of posturing.[14]
Later years
Gil Scott-Heron



After his release, Scott-Heron began performing live again, starting with a show at "SOB's" restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titledThe Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
In 2001, Scott-Heron was sentenced to one to three years' imprisonment in New York State for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album byBlackalicious. He was released on parole in 2003. On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. Scott-Heron's sentence was to run until July 13, 2009. He was paroled on May 23, 2007.[16] The reason given for the violation of his plea deal was that the clinic refused to supply Scott-Heron with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview.[17][18][19]
alt
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Scott-Heron performing at the Regency Ballroom in San Francisco, 2009
On October 10, 2007, the day before a scheduled (but ultimately cancelled) second SOB's performance, he was arrested on felony possession of cocaine charges. However, he continued to make live appearances at various US venues during the course of 2008 and 2009, including further appearances at SOBs in New York. He stated in interviews that work was continuing on his new album, which would consist mainly of new versions of some of his classic songs, plus some cover versions of other artists' work. Having originally planned to publish The Last Holiday in 2003, before it was put on hold, Canongate Books now tentatively intend to issue it in January 2011. The book was due to be previewed via a website set to be launched on April 1, 2009, but this did not appear.[citation needed]
Mark T. Watson, a student of Scott-Heron's work, dedicated a collection of poetry to Gil titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. The book was published in the UK in 2004 by Fore-Word Press Ltd. Scott-Heron recorded one of the poems in Watson's book Black & Blue due for release in 2008 as part of the album Rhythms of the Diaspora by Malik & the OG's on the record label CPR Recordings.[citation needed]
In April 2009 on BBC Radio Four, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man.[20] Having interviewed Gil Scott-Heron in New York a month earlier, Pieces of a Man was the first UK announcement from Gil of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Gil Scott-Heron for a feature titled The Legendary Godfather of Rap Returns.[21] In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a brand new track "Where Did The Night Go" made available as a free download from the site.
Scott-Heron released his new album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here is Scott-Heron's first studio album in sixteen years. The pair started recording the album in 2007, with the majority of the record being recorded over the last twelve months with engineer Lawson White at Clinton Studios in New York. The album attracted substantial critical acclaim with The Guardian newspaper's Jude Rogers declaring it one of the next decade's best records.[22]
The first single from the album was "Me And The Devil", which was released on February 22, 2010. It was debuted by BBC Radio 1's Zane Lowe as his "Hottest Record In The World", along with other specialist DJs such as Gilles Peterson and Benji B. The album's remix, We're New Here, was released in 2011, featuring reworking by English music producer Jamie xx of material from the original album.[23] It was also very well-received by music critics.[24]
In 2010 he was due to play a gig in Tel Aviv, but this attracted criticism from Palestinian groups who stated "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa’s apartheid era... We hope that you will not play apartheid Israel." In response, he cancelled the gig.[25]


Death

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip.[1][26] Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview, that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.[19] The cause of Scott-Heron's death has yet to be announced. He is survived by his son, Rumal Rackley, and three daughters, Raqyiyah Kelly Heron, Che Newton, and Gia from his marriage to Brenda Sykes.[27]
In response, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you." on his Twitter account.[28] His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met".[26] On hearing of the death, R&B singer Usher stated "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!".[29] Richard Russel, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me".[30] Eminem stated that "He influenced all of hip-hop".[31]


Influence

The music of Scott-Heron's work during the 1970s influenced and helped engender later African-American music genres such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".[32] On his influence, a music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists".[3] The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s."[33] The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:
Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.[32]
Sean O'Hagan
Scott-Heron's influence over hip-hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised," sentiments from which have been explored by various rappers, including Aesop RockTalib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Brian Jackson's compositions, which have been sampled by various hip-hop artists; among the most notable is rapper/producer Kanye West, who has sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for his song "My Way Home" and the single "The People," respectively, both of which are collaborative efforts between West and Common.[34] Scott-Heron, in turn, has acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his latest album, 2010's I'm New Here.[35] Scott-Heron admitted ambivalence about his association with rap, remarking in 2010 in an interview for the Daily Swarm, "I don't know if I can take the blame for it", referring to rap music. He preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", he said, "It’s something that’s aimed at the kids." He added, "I have kids, so I listen to it. But I would not say it’s aimed at me. I listen to the jazz station.[36]
Studio albums
West named Scott-Heron, among others, as a major influence on his own latest offering, My Beautiful Dark Twisted Fantasy, where portions of his work "Comment #1" appear on the album. "We Almost Lost Detroit" has also been sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and underground notable MF DOOM ("Camphor").[37] Furthermore, Black Star MC Mos Def has sampled Scott-Heron's "A Legend in His Own Mind" on the Q-Tip-featuring song "Mr. Nigga," and producerDr. Dre (some of whose early G-Funk compositions mirror Scott-Heron's musical style in both texture and sentiment, specifically "Lil' Ghetto Boy," which in fact samples Scott-Heron contemporary Donny Hathaway) recorded the song "Blunt Time," on which former Death Row Records rapper RBX interpolates the opening lyrics from Scott-Heron's recording "Angel Dust." In 2000, CeCe Peniston as well used a sample of a Heron's song ("The Bottle") while recording her single "My Boo".


Discography


YearAlbumLabel
1970Small Talk at 125th and LenoxFlying Dutchman Records
1971Pieces of a ManFlying Dutchman Records
1972Free WillFlying Dutchman Records
1974Winter in AmericaStrata-East Records
1975The First Minute of a New DayArista Records
1976From South Africa to South CarolinaArista Records
1976It's Your WorldArista Records
1977BridgesArista Records
1978SecretsArista Records
19801980Arista Records
1980Real EyesArista Records
1981ReflectionsArista Records
1982Moving TargetArista Records
1994SpiritsTVT Records
2010I'm New HereXL Recordings


Live albums

YearAlbumLabel
1976It's Your WorldArista Records
1990Tales of Gil Scott-Heron and His Amnesia ExpressCastle Music UK/Peak Top Records
1994Minister of Information: LivePeak Top Records
2004The Best Of Gil Scott-Heron LiveIntersound
2004Tour De ForcePhantom Sound & Vision
2004Save The ChildrenDelta Music
2004Winter In America, Summer In EuropePickwick
2005Greatest Hits LiveIntersound
2008Live At The Town & Country 1988Acadia / Evangeline Records

[edit]Compilations

YearAlbumLabel
1974The Revolution Will Not Be TelevisedFlying Dutchman
1979The Mind of Gil Scott-HeronArista Records
1984The Best of Gil Scott-HeronArista Records
1988The Revolution Will Not Be TelevisedBluebird Records
1990Glory: The Gil Scott-Heron CollectionArista Records
1998The Gil Scott-Heron Collection Sampler: 19741975TVT Records
1998Ghetto StyleCamden Records
1999Evolution and Flashback: The Very Best of Gil Scott-HeronRCA Records
2005Gil Scott-Heron & Brian Jackson Messages (Anthology)Soul Brother Records
2006The Best of Gil Scott-HeronSony/BMG
2010Storm Music (The Best of Gil Scott-Heron)Phantom Sound & Vision

Bibliography

YearTitleISBN
1970The Vulture0862415284
1970Small Talk at 125th and Lenox
1972The Nigger Factory0862415276
1990So Far, So Good0883781336
2001Now and Then: The Poems of Gil Scott-Heron086241900X
2003The Last Holiday (unpublished)1841953415
Filmography

[

References

  1. a b "Gil Scott-Heron, Spoken-Word Musician, Dies at 62"The Associated Press. May 28, 2011. Retrieved May 28, 2011.
  2. ^ Gil Scott-Heron, Poet And Musician, Has Died Daoud Tyler-Ameen, NPR.org
  3. a b Azpiri, Jon. Review: Pieces of a ManAllmusic. Retrieved on 2009-07-31.
  4. ^ Ben Sisario, "Gil Scott-Heron, Voice of Black Culture, Dies at 62" The New York Times (May 28, 2011). Retrieved May 29, 2011
  5. a b c Alec Wilkinson, "New York is Killing Me" The New Yorker (August 9, 2010). Retrieved May 29, 2011
  6. ^ Dacks, David Pioneerring Poet: Gil Scott-Heron atExclaim! March 2010.
  7. ^ "Gil Scott-Heron Jazz Man Biography". Home.clara.net. 2010-01-21. Retrieved 2011-05-28.
  8. ^ "Circle of stone: a novel".
  9. ^ "allmusic {{{ Gil Scott-Heron > Discography > Main Albums }}}". All Media Guide, LLC.. Retrieved 2008-07-09.
  10. ^ Weisbard, Eric; Marks, Craig (1995-10-10). Spin Alternative Record Guide (Ratings 110) (1st edi. ed.). New York, NY: Vintage Books. pp. s. 267268. ISBN 0-679-75574-8OCLC 32508105. Retrieved 2008-07-17. "his finest work"
  11. ^ Encyclopedia of Jazz Musicians
  12. ^ Feeney, John (2007-02-05). "Economic "HIS-story" la Gil Scott-Heron Growth is Madness!". Growthmadness.org. Retrieved 2011-05-28.
  13. ^ "Gil Scott-Heron Jazz Man Biography". Home.clara.net. 2010-01-21. Retrieved 2011-05-28.
  14. ^ Salaam, Mtume ya, and Salaam, Kalamu ya Breath of Life Presents Gil Scott-Heron & His Music: Reviews by Mtume ya Salaam & Kalamu ya Salaam. ChickenBones: A Journal. Retrieved on 2008-08-23.
  15. ^ "The Anger and Poetry of Gil Scott-Heron" by Fairfax New Zealand, February 10, 2010
  16. ^ "Inmate Information NYS Department of Correctional Services for Scott-Heron". Nysdocslookup.docs.state.ny.us. Retrieved 2011-05-28.
  17. ^ "Scott-Heron To Serve Time For Breaking Rehab Deal". Contactmusic.com. Retrieved 2011-05-28.
  18. ^ "Genius Burning Brightly: The Unraveling of Gil Scott-Heron". Black Agenda Report. 2009-05-13. Retrieved 2011-05-28.
  19. a b Baram, Marcus (June 22, 2008). "The Weary Blues: Hip-hop godfather Gil Scott-Heron’s out on parole, trying to stay clean, and ready for Carnegie Hall"New York Magazine. Retrieved May 28, 2011.
  20. ^ "Radio 4 Programmes Pieces of a Man". BBC. 2009-04-21. Retrieved 2011-05-28.
  21. ^ Stephen Smith (November 16, 2009). "The Legendary Godfather of Rap Returns"BBC News. Retrieved 2010-01-22.
  22. ^ Jude Rogers (November 19, 2009). "Best of the next decade: Gil Scott-Heron's I'm New Here"The Guardian. Retrieved 2010-01-22.
  23. ^ Richter, Mischa (January 28, 2011). Jamie Smith of the xx on Remixing Gil Scott-Heron, Working With Drake, New Music From the xx. Pitchfork Media. Retrieved on 2011-02-24.
  24. ^ We're New Here Reviews, Ratings, Credits, and More at MetacriticMetacritic. Retrieved on 2011-02-24.
  25. ^ "US activist, poet and singer dies". Al Jazeera. May 28, 2011. Retrieved May 28, 2011.
  26. a b "Gil Scott-Heron". The Telegraph. May 28, 2011. Retrieved May 28, 2011.
  27. ^ "Gil Scott-Heron". The Telegraph. May 28, 2011. Retrieved May 28, 2011.
  28. ^ "Gil Scott-Heron dies aged 62". NME. May 28, 2011. Retrieved May 28, 2011.
  29. ^ "Soul giant Gil Scott-Heron dies". Toronto Sun. May 28, 2011. Retrieved May 28 2011.
  30. ^ "XL Recordings boss/producer: 'Gil Scott-Heron had immense talent and spirit'". NME. May 28, 2011. Retrieved May 28, 2011.
  31. ^ "Gil Scott-Heron Dies Aged 62". MTV. May 28, 2011. Retrieved May 28, 2011.
  32. a b O'Hagan, Sean. Gil Scott-Heron: The Godfather of Rap Comes BackThe Observer. Retrieved on 2010-02-11.
  33. ^ Harrington, Richard. "Review: The Revolution Will Not Be Televised". The Washington Post: June 30, 1998.
  34. ^ "Gil Scott-Heron"whosampled.com. Retrieved May 28, 2011.
  35. ^ "Gil Scott-Heron On Coming From a Broken Home (Parts 1 & 2) Kanye West feat. Dwele and Connie Mitchell Flashing Lights"whosampled.com. Retrieved May 28, 2011.
  36. ^ Ben Sisario, "Gil Scott-Heron, Voice of Black Culture, Dies at 62" The New York Times (May 28, 2011). Retrieved May 29, 2011
  37. ^ "Gil Scott-Heron and Brian Jackson vs Hip Hop". Samples VS. Hip Hop. 2010-02-03. Retrieved 2011-05-28.

External links



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Τρίτη, 10 Μαΐου 2011

Bugge Wesseltoft & Henrik Schwarz interviewed


Bugge Wesseltoft & Henrik Schwarz at Dancity Festival 2010 from dancity on Vimeo.


DUO - Bugge & HenrikWhen some collaborations occur, it feels like Fate has been paying close attention, planning something special. On one hand: Bugge Wesseltoft, pianist, composer and pioneer of electronic jazz; on the other: Henrik Schwarz, one of the most sought after producers of electronic music who has remixed stars from Michael Jackson to Ane Brun. This combination may not seem as radical as once it might, as in the days before Bugge’s New Conception of Jazz, but the results most certainly are: this does not feel like your typical electronic jazz outing. It’s a Super-Group in microcosm.

Wesseltoft comes from a jazz background and has moved towards electronic music. He started on the ECM label with Jan Garbarek, and later collaborated with club music legends like Laurent Garnier and Francois Kervorkian on stage.  Schwarz comes from the Chicago/ Detroit techno culture, and performs at music festivals and in clubs on all continents. He has been moving towards the jazz and improvisation. Henrik: "Bugge and myself are moving towards each other, there are these energies."
Bugge explains: "This duo feels totally organic. We are creating music on the spot, both live and in the studio. With today’s electronic tools you can really improvise with them, and Henrik is so clever with his stuff - he makes amazing music from scratch. He is doing a really kind of mellow playing, which is great because we can make this spontaneous kind of music together. Henrik adds: "For me this Duo is like the first words in a long conversation. The music that is coming out of this sounds very, very new and unheard to me - there is a lot to explore in the future. We have a concept when we sit down. So we know it's all different, but there's a certain kind of frame for everything. There's a starting point."





It is this "organic" aspect that is most surprising. The album opener, the aptly named "First Track", represents ambient Jazz at its finest. A grand opening statement? Not quite. It’s more like a buzz on the streets, excited whispers of what is to come. This was the very first collaboration between the duo, totally improvised, and recorded in Berlin in 2009. Like other spontaneous compositions on the album, such as "Dudelange" and "Where is the Edge?", the feeling of natural and spontaneous growth is omnipresent, both showing how even when Bugge leads the way in, it’s as though Henrik has been waiting for him, armed with an arsenal of great ideas and smart moves. "Where is the Edge?" also demonstrates how the improvisational emphasis does not necessarily mean that "improvisation = jazz" in any stylistic sense - this is an energetic track worthy of any dancefloor. The lines between live playing and live sampling blur, and, without a visual reference, it becomes impossible to tell which musician is responsible for any given sound you are hearing. The duo organically entwines to become a single unit. It becomes difficult to discern where Bugge ends and Henrik begins (where is the edge?!) Henrik: "For me the improvisational aspect means freedom and at the same time improvisation has been one of the greatest limitations and challenges in live electronic music for many years now. For me, this is a dream come true and a big next step."

By contrast, the interpretation of compositions enforces a different approach, yet the results remain coherent with those of the spontaneous compositions.  "Dreamin’" has a techno edge, but retains its jazz feel throughout, building to a burning groove, dynamic and gutsy. Grand piano and Retro synth sounds collage and blend through to an organic dub. This is a track that first appeared on Bugge’s most recent solo outing, "Playing", but here it is utterly re-imagined within the duo context. The track moves in waves, a magical ebb and flow. Next up, a Schwarz track, "Leave My Head Alone Brain", a club hit (originally featuring Henrik’s vocals), is given a different life as a club jazz workout that travels at light speed from the brain directly to the feet. The beat and bass provide a canvas that Bugge & Henrik fill with shifting colours and textures, the live-sampling and loops creating complex layers of interplay. Henrik: "For the album we wanted to keep the live rough feel, keep it spontaneous but maybe shorten the paths a little bit. But the dynamics remain untouched."

Of the other tracks, "See You Tomorrow" is an acknowledged nod to Ligeti, and opens with beautiful and contemplative piano from Bugge, before shifting gear with a hint of Miles Davis electric era. The bass line created by muted piano strings offers a sense of stability, yet seems to have hidden unpredictability, almost a sense of menace. But the track’s evolution progresses towards a disintegration rather than some kind of explosion. It is a truly beautiful track. "Kammermusik" is evocative of an entirely different musical world while remaining in the Bugge/Henrik style, with simple modal movements underpinned by Henrik’s impeccable sense of rhythmic construction (a superb example of less is more), while Bugge creates a memorable piano line, reminiscent in feel of Astor Piazzolla, a feeling that is accentuated by a layer of harmonic accordion. The track’s evolution is a marvel, and connects back to the mutant Latin groove found in "Dudelange". "One One", recorded live in Cologne, another spontaneous composition demonstrating the duo’s improvisational wizardry, was improvised on the spot as an encore, with Bugge on Moog Synthesiser. The piece quickly takes shape as an ambient techno track, and provides magnificent close to a fantastic set that is probably one of the single most robust statements of electronic/acoustic improvisation.

Yet, while the innovative technical aspects of the album are truly remarkable, it is the final results that shine brightest. If we forget about the wizardry going on and just listen, what we have is the sound of great contemporary music. When asked what the most exciting aspect of their collaboration was, Bugge quickly responds:  "Meeting and working with Henrik. No doubt!" And Henrik just as quickly agrees: "Yes - meeting Bugge - absolutely. Everybody who has ever tried to play with someone else knows how difficult it is to find the right partner. When you find the right one it becomes magical, and that's what it’s all about in the end."

All the technical marvels in the world count for nothing unless they are in the hands of people with genuine musical talent, and it is the respective talents of Bugge Wesseltoft and Henrik Schwarz that Fate must have been observing when they were brought together. After listening, fans of each artist will undoubtedly hope for more in the future. 


 http://www.jazzlandrec.com
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Δευτέρα, 9 Μαΐου 2011

Mellow's the Mood by baohaus


Κυριακή, 8 Μαΐου 2011

Best Jazz Songs


Τετάρτη, 4 Μαΐου 2011

Turntables on the Hudson Vol 4 (2003)

  Turntables on the Hudson Vol 4 (2003) by NickodemusNYC


1. Nickodemus feat. the Jammin Jumpers "Double Dutch"
2. Plastic Buddha "String Theory" (Nickodemus & Osiris NY Hip Harmonic Remix)
3. Marzebian "Let it Ride"
4. Beat Pharmacy "Silhouettes"
5. Marzebian "Sandlewood"
6. The Pleb "One for Senegal"
7. Nu Perspective "Afro Brasiliero"
8. Baby Mammoth Finale" (Nickodemus & Osiris Remix)
9. Ilhan Ersahin "Oriental Wind"
10. Radio Mundial "Alma Latina Interlude"
11. Local 12 "Jesus el Beat"
12. Antibalas "Che Che Cole"
13. Nickodemus & Osiris feat. Carol C. "Mariposa" Bonita Fly Mix
14. Raeo "Kaettekura"
Compiled & mixed by Nickodemus & Mariano
Turntables on the Hudson / WONDERWHEEL Recordings
Released by: Turntables on the Hudson/ Giant Step Records
by
http://soundcloud.com

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Τετάρτη, 27 Απριλίου 2011

Hauschka


Find more artists like Hauschka at Myspace Music

  Hauschka - Foreign Landscapes by Hauschkamusic

Volker Bertelmann is a classically trained composer/pianist from Germany who currently resides in [placeformed]Dsseldorf[/placeformed]. Having studied classical piano for ten years, his work as Hauschka is based upon a playful exploration of the possibilities of the 'prepared' piano - a disruptive intervention into the preconceived idea of the piano as a pure-toned instrument: by clamping wedges of leather, felt or rubber between the strings; preparing the hammers with aluminium paper or rough films; placing crown corks on the strings, weaving guitar strings around the piano's guts, or pasting them down with gaffa tape - his resulting tracks are composed both originally and charmingly. The results are vivid, unconventional pieces made in a spirit of playful research-enthusiasm.
HAUSCHKA (Volker Bertelmann)Image by peelandstick via Flickr
Rather than striving for any purist academic perfection, Volker’s playing seems as much informed by modern electronica or Indonesian gamelan as it is by any classical cannon. With the aid of his interventions, the piano becomes as much a machine for generating rhythms as it does for melody. Now and again Hauschka utilises additional, non-piano sounds such as synthesizer, drum machine, electric bass, or other acoustic instruments like vibraphone, strings or brass. His pieces may be seen as small rhythmic sound-vignettes or just quiet ballads which have their roots in east-asian harmonies, the minimalism of Reich, Glass, Nyman, etc., and also in Satie or Ravel.

The foundations of Hauschka's piano music can equally be traced back to 20th Century composers like Henry Cowell, who picked the strings of his piano as if it were a zither. Cowell in turn influenced John Cage, who redefined the rules of piano sounds and playing with his own experiments. Inserting bolts, screws, and numerous other objects in between and on top of the strings, Cage created new sounds and percussive elements to the act of playing, redefining possibilities for the instrument. The rustling, drumming, harmonic soundings of these various objects has consequently inspired a whole bunch of composers, amongst them Arvo Prt, Steffen Schleiermacher, Frangis Ali-Sade, Edison Denissow or Philip Corner and other artists from radical '60s grouping, Fluxus. But it would be too easy to locate the playful in the serious or academic realms. What Fluxus had constantly been trying to undermine, others have been succeeding in with a whole different kind of verve: in the '50s Fritz Schulz-Reichel became a celebrity under the name of "Schrger Otto", his modified Ragtime sounds making him a huge success in the USA. Since then modified piano-hammers or strings have appeared as an effect in various pop music tracks. In the early '80s U.S.-hipsters like The Flying Lizards or The Waitresses were experimenting with metallic, distorted piano sounds, not denying their avant-garde references.

Before his involvement with FatCat, Hauschka released two albums on the Karaoke Kalk label - 'Substantial' (2004) and 'The Prepared Piano' (2005); and a 7", 'What A Day' (2005) on the Ear Sugar label. Besides working as Hauschka, Volker is a member of Music A.M., a collaboration with Stefan Schneider (To Rococco Rot) and Luke Sutherland (Long Fin Killie); and of the electronic / club tracks duo Tonetraeger, his project with Torsten Mauss.

Hauschka's first release for FatCat's 130701 imprint, the beautiful 'Room To Expand' was released in February 2007. That year also saw him undertake his first live shows in the UK and USA (where he supported mm on a number of shows to great acclaim).
In September 2008, his follow up record, ‘Ferndorf’ was released. Where the previous album comprised mostly solo recordings of Hauschka’s ‘prepared’ piano (with a few electronic and instrumental overdubs), ‘Ferndorf’ is a far more expansive and fully-realised album, with many of the tracks also featuring a string duo, enabling an increased solidity.
His new EP, ‘Snowflakes and Carwrecks’, was released in January 2009 and he is currently working on new material for an album set to be released in 2010.

from http://www.last.fm/music/Hauschka






Related News
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Hauschka Salon des Amateurs - DOA

Yahoo Answers
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Τετάρτη, 27 Απριλίου 2011

Nostalgia 77 - Relics Mix - By Tru Thoughts


Τρίτη, 1 Μαρτίου 2011

Dustin O’Halloran

Dustin O’Halloran



Read full review of Lumiere - DUSTIN O'HALLORAN on Boomkat.com ©

Dustin O’Halloran is an American pianist, who has done work with Sara Lov for Devics and has also been featured on the soundtrack for the Sofia Coppola’s film Marie Antoinette (2006).

He first began classical training on the instrument at age 7. Six years of lessons were abruptly interrupted when he relocated to live with his father. O’Halloran would not touch the piano again for over a decade.

His reunion with the instrument began after meeting Sara Lov, a dynamic musician in her own right and one half of the creative force behind the Devics. Through writing music together with Lov, O’Halloran found his interest in piano reignited and his passion for the instrument slowly found its way into their songs.

Edited by pricklypillow on 19 Jan 2010, 08:31

Sources (view history)
http://www.dustinohalloran.com/about.php

http://en.wikipedia.org/wiki/Dustin_O’Halloran
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Παρασκευή, 25 Φεβρουαρίου 2011

ANDREYA TRIANA FEAT FINK & BONOBO LIVE IN PARIS @ NINJA TUNE XX BDAY





http://www.grandcrew.com

Andreya Triana, Fink et Bonobo got together for a unique performance to celebrate the 20 years anniversary of their favorite record label: Ninja Tune.
On this occasion, the 3 artists played exclusive versions of Andreya Triana's album Lost Where I Belong (note: Bonobo produced the recording and Fink co-authored 2 tracks with her).
Jazz singer Andreya Triana at the Dalston Fest...Image via WikipediaThe Centre Pompidou played its part by setting a classy and subdued setting that magnified Andreya's fabulous voice, Simon's grooves and Fink's ever-so-delicate and precise musicianship.

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Πέμπτη, 10 Φεβρουαρίου 2011

Belleruche



Belleruche is a band consisting of Kathrin DeBoerRicky Fabulous, and DJ Modest. Formed in the lesser bars and pubs of North London in 2005, the band now record for the Brighton based Tru-Thoughtslabel.

(They’ve got a new single out in August called ‘Clockwatching’- video is up here:http://www.youtube.com/watch?v=oEDhY9H0f08)

Influenced by vintage blues records, punk girl drummers, obscure 60’s cover bands and experimental west coast turntablists, they describe their sound as ‘Turntable Soul Music’.

Belleruche released a series of three extremely limited 7 records on their own Hippoflex Recording Industries label before signing with Tru-thoughts. These individually numbered 45’s (with hand screen-printed sleeves) quickly sold out in the UK’s independent record stores and attracted a cult following in the UK and Europe, having been hand-distributed by the band at gigs.

In 2007 Belleruche signed to Tru Thoughts and their debut album ‘Turntable Soul Music’ was released in July of the same year, gaining admiring reviews both at home and abroad and becoming the fastest-selling debut album in the label’s history.
The songs on ‘Turntable Soul Music’ were written in train carriages, dubious minicabs and pub backrooms around the UK whilst the trio gigged everywhere they could. The songs were then forged and reworked in the band’s electrifying live shows. From their initial sunday residency in the Salmon and Compass in Angel, London to gigs all over Europe, Australia and Asia. ‘Turntable Soul Music’ is like a weird trawl through a dusty basement full of the best records you’ve never heard of, whilst a voice you can’t quite pin down sings hooks you can’t forget.

Their live show marks them apart, using only a turntable, sampler, guitar and microphone, they combine to produce something markedly different. Sounding at once both weird and distinctive, but at the same time musical and compelling, they have played at venues as diverse as Montreux Jazz festival, The Dance arena at Glastonbury, and many underground nightclubs.



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In October 2008 Tru-thoughts released ‘The Express’, the bands second album. Following on from the live songwriting and broken leads ethic of Belleruche’s debut, ‘The Express’ has maybe a tougher sound.

The bands next album will be released in October 2010, and is titled ‘270 stories’. The lead single is called ‘Clockwatching’ and will be released in August. The video for the single is here:http://www.youtube.com/watch?v=oEDhY9H0f08


The band are currently working a new live show, and will be playing festival dates this summer, and touring the new album in autumn.

Kathrin deBoer.

Raised on a pirate boat sailing the South Pacific Ocean, with only Billie Holiday and Spanky Wilson records for company, Kathrins voice carries the soul of the wind off the cape mixed with the grit of illegal Polynesian rum bars. Lyrics written in bottles cast into the sea found their way into three continents; Kathrin jumped ship and found London.

Ricky Fabulous.

Leo. Baby. Following an adolescence chasing girls and heavy rock bands, Fabulous found himself trapped working for a Maltese gangster in a frozen northern town. Whilst keeping warm locked in a damp basement, he found a stack of quarter inch tapes and discovered the work of Grant Green and Django Reinhardt, which gave him the energy to slip out of town, heading south on a freight car clutching a false identity and a forty-year-old guitar.

DJ Modest.

Growing up in the deep south, in engine oil and mud, Modest discovered hiphop on a stolen radio, sneaking into clubs through broken windows to hear more. Building turntables and mixers from scavenged electronic gear and two stroke engines, he created a soundsystem and played unlawful hiphop parties in strange woodlands to farmers. He coaxes twisted Bluenote solos and broken drums from Shure m44-7s whilst drunk on moonshine.
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Δευτέρα, 24 Ιανουαρίου 2011

Parov Stelar

Biography

After first experience as a DJ at nightclubs during the mid-late1990s, Parov Stelar got involved in producing and publishing in 2000 for the first time. After early works under the pseudonym Plasma and his real name, and also being a partner of the label Bushido Recordings, in 2004 he started producing under the pseudonym Parov Stelar. In the same year he founded his own label: Etage Noir Recordings. His first release,for Etage Noir, KissKiss EP and the soon after released LP Rough Cuts, provided him immediate breakthrough on the international electronic music scene. His specific approach to music production, combined with a proven sense of sound aesthetics, led to massive reaction of audience and colleagues all around the world, giving him reputation as the founder of a new genre: "Electroswing[citation needed] The following albums Seven and Storm, Shine and latest the double album Coco, as well as numerous singles and remixes made Parov Stelar one of the most wanted and successful artists of his kind. Parov Stelar s Tracks have been used on more than 700 Compilations (for example: Htel Costes, Buddha Bar, Electro Swing) and have been the soundtrack for numerous TV-ads (Chrysler, Motorola, Audi,...), TV- shows, TV series and movies.

The Parov Stelar Band

After starting as a solo artist and gaining initial success, in 2005 Parov Stelar decided to expand his on-stage music with a full band. This collaboration with four musicians noticeably influenced his work. Since that time, the Parov Stelar Band has increased in popularity.

Instrumentation of the Parov Stelar Band

  • Max the Sax aka Markus Ecklmayr (Sax)
  • Beate Baumgartner (Vocals)
  • Gianna Charles (Vocals)
  • Willie Larsson jr (Drums)
  • Michael Wittner (Bass)
  • Parov Stelar (Programming)

DJ Sets

Parov Stelar's DJ sets are mostly including live saxophone performance of his band member Markus Ecklmayr (Max The Sax), and occasionally, singer Beate Baumgartner (Yola B).

Discography

Albums

  • 2001: Shadow Kingdom LP (2x12" Vinyl & CD, Bushido Recordings, as Plasma)
  • 2004: Rough Cuts (CD, Etage Noir Recordings)
  • 2005: Seven and Storm (CD, Etage Noir Recordings)
  • 2007: Shine (CD, Etage Noir Recordings)
  • 2008: Daylight (CD, Rambling Records)
  • 2009: That Swing - Best Of (CD, Etage Noir Recordings)
  • 2009: Coco (CD, Etage Noir Recordings)
  • 2010: The Paris Swing Box (Etage Noir Recordings)

EPs

  • 2001: Shadow Kingdom EP (12" Vinyl, Bushido Recordings, as Plasma)
  • 2002: Lo Tech Trash (12" Vinyl, Bushido Recordings, as Marcus Freder)
  • 2004: KissKiss (12" Vinyl, Etage Noir Recordings)
  • 2004: Move On! (12" Vinyl, Etage Noir Recordings)
  • 2004: Wanna get (12" Vinyl, Etage Noir Recordings)
  • 2004: Primavera (12" Vinyl, Auris Recordings)
  • 2005: Music I believe in (12" Vinyl, ~Temp Records, as Marcus Freder)
  • 2005: A Night In Torino (12" Vinyl, Etage Noir Recordings)
  • 2005: Spygame (12" Vinyl, Etage Noir Recordings)
  • 2006: Parov Stelar EP (12" Vinyl, Big Sur)
  • 2006: Charleston Butterfly (12" Vinyl, Etage Noir Recordings)
  • 2007: Jet Set EP (12" Vinyl, Etage Noir Special)
  • 2007: Sugar (12" Vinyl, Etage Noir Recordings)
  • 2008: The Flame Of Fame (12" Vinyl, Etage Noir Recordings)
  • 2008: Libella Swing (12" Vinyl, Etage Noir Recordings)
  • 2009: Coco EP (12" Vinyl, Etage Noir Recordings)
  • 2010: The Phantom EP (12" Vinyl, Etage Noir Recordings)
  • 2010: The Paris Swingbox EP (Etage Noir Recordings)

Singles

  • 2000: Synthetica/Stompin' Ground (12" Vinyl, Bushido Recordings, as Marcus Freder)
  • 2001: Guerrilla (12" Vinyl, Bushido Recordings, as Marcus Freder)
  • 2004: Get Up On Your Feet (12" Vinyl, Sunshine Enterprises)
  • 2005: Faith (Maxi-CD, Etage Noir Recordings)
  • 2007: Rock For / Love (12" Vinyl, Etage Noir Recordings)
  • 2007: Shine (Maxi-CD, Etage Noir Recordings)

Videoclips

  • Seven (from the album Seven and Storm)
  • Love (from the album Shine)
  • Shine (from the album Shine)
  • Matilda
  • Coco
  • Let's Roll

External links




Read more: http://www.answers.com/topic/parov-stelar#ixzz1BxxDYbwU




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Παρασκευή, 7 Ιανουαρίου 2011

Yann Tiersen

BiographyYann Tiersen is a French avant-garde/new age m...Image via Wikipedia


Yann Pierre Tiersen (born 23 June 1970) is a French musician and composer.[1][2] His music is recognized by its use of a large variety of instruments in relatively minimalist compositions, often with a touch of either European classical music or French folk music, using primarily the piano, accordion or violin together with instruments like the melodica, xylophone, toy piano, ondes martenot, harpsichord and typewriter. His musical style, particularly when using toy and folk instruments is similar to Penguin Cafe Orchestra and Pascal Comelade, but his more serious work is reminiscent of Frdric Chopin, Erik Satie, Philip Glass and Michael Nyman.

Biography

Tiersen was born in Brittany, France, in 1970 and received classical training at several musical academies, including those in Rennes,Nantes, and Boulogne.[3] In the early 1980s as a teenager he was influenced by the post-punk culture of bands like The Stooges and Joy Division.[4] He has Belgian and Norwegian origins.[5]

Before releasing scores under his own name, Tiersen recorded background music for a number of plays and short films, such as La Vie Rve des Anges (1998, Erick Zonca), Alice et Martin (1998, Andr Tchin), Qui Plume la Lune? (Christine Carrire, 1999).

He rose to domestic fame upon the release of his third album, Le Phare, but remained relatively unknown outside France until the release of his score for Le fabuleux destin d'Amlie Poulain in 2001, which was a mixture of both new and previously released material.

Tiersen favors the piano, accordion, and violin, but is also known for his experimentation and use of obscure and found instruments like theondes martenot and the typewriter.

Yann Tiersen's list of collaborators continues to grow album after album (see discography below for details). While composing his fifth album,L'absente, Tiersen lent his musical talent to Franoiz Breut and Les Ttes Raides for their own albums. His 2005 album, Les Retrouvailles, featured vocals from Stuart Staples of Tindersticks, Jane Birkin, and Elizabeth Fraser, formerly of Cocteau Twins. Tiersen also played piano on Staples' solo album, Lucky Dog Recordings 03-04. In 2004 he also released a collaborative CD with American singer-songwriter Shannon Wright.

His live performances vary greatly. Sometimes he is accompanied by an orchestra and many guest collaborators, like Dominique A. Other times, he offers the more frequent minimalistic sessions, usually accompanied only by a drummer/bassist and a guitarist, with Tiersen switching seamlessly between piano, accordion, and violin for his lighter songs, and electric guitar for his louder pieces (where his Avant-Garde Music meet some rock sonorities).Lately, however, he has almost banished piano, accordion and violin and focused more on his electric guitar instead, as visible in his 2009-2010 Live Tours.[6]

Yann Tiersen was married to Belgian actress Natacha Rgnier, but they have since been divorced. They have a daughter, Lise born in 2002.[citation needed


Discography


Studio albums

Amlie Original Soundtrack (2001)

[edit]Live albums

[edit]Singles and EPs

[edit]Collaborations

[edit]Contributions

[edit]DVDs

[edit]References

  1. ^ Article in CafeBabel (Deutsch)
  2. ^ Yann Tiersen interview
  3. ^ Artist biography at Everything2.com
  4. ^ Michael Hubbard (24 February 2002). "Composer Tiersen serenades Amelie". BBC News. Retrieved 2009-06-05.
  5. ^ Interview (en Franais)
  6. ^ [1]
  7. ^ a b c d e Mute Records Yann Tiersen Biography. Retrieved 20 November 2010.
  8. ^ "Yann Tiersen Official Site". Retrieved 20 November 2010.

[edit]External links



http://en.wikipedia.org

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Παρασκευή, 7 Ιανουαρίου 2011

Bugge Wesseltoft

Jens Christian Bugge Wesseltoft (born 1 February 1964 in Porsgrunn) is a Norwegian jazz musician, pianist, composer and producer. He has his own label named Jazzland Records. In the 1990s, Bugge has made a transition from Nordic jazz traditions exemplified by the ECM record label to a style sometimes referred to as "future jazz" or nu jazz. He has played with Jan Garbarek.

http://rateyourmusic.com/artist/bugge_wesseltoft

Discography

New Conception of Jazz:

Solo:

  • It's snowing on my piano - 1997 - Act
  • IM - 2007 - Jazzland
  • Playing - 2009 - Jazzland

With Sidsel Endresen:

  • Nightsong - 1994 - Act
  • Duplex Ride - 1998 - Curl

  • ing Leg

  • Out Here, In There - 2002 - Jazzland

With Laurent Garnier:

See also

External links and references

Read more: http://www.answers.com/topic/bugge-wesseltoft#ixzz1ALQR8ICo