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luís soares

Blog do escritor Luís Soares

Poor Boy Blues

From King Curtis & Champion Jack Dupree Live from Montreux June 17th 1971 with Cornell Dupree on guitar, Jerry Jemmott on bass and Oliver Jackson on drums. Filmed two months before King Curtis' tragic death.

Verdes Anos

VERDES ANOS de CARLOS PAREDES by BUDDA POWER BLUES - 2014

No ano em que se assinala o 10º aniversário da morte de uma dos maiores vultos da música nacional, Budda Power Blues decide homenagear o guitarrista português re-interpretando um dos seus mais icónicos temas: "Verdes Anos". Falamos naturalmente de Carlos Paredes.

A forma a que a banda encontrou para o fazer é aquela que melhor lhe assenta: ao vivo e a cores. Mas não se trata de um concerto, nem de um vídeo clipe. Trata-se de uma performance de um tema registada em áudio e vídeo seguida de um jantar tertúlia sobre a banda e a vida e obra de Carlos Paredes.

O evento teve lugar nos estúdios Glider, em Lisboa, no dia 22 de Março de 2014. A banda registou a sua versão da obra do mestre Paredes.

Musicalmente Budda optou por fundir dois temas de dois mundos diferentes: de um lado "Verdes Anos", do outro "Since I've Been Lovin' You" dos britânicos Led Zeppelin. Desta forma cruzam-se influências comuns à banda, mas que muito pouco têm de comum entre si.

A versão de Budda Power Blues congrega tudo aquilo que é icónico na sua forma de estar, sendo a riqueza harmónica, a extrema amplitude de dinâmica, o improviso, a leveza e a rudeza.

A razão desta homenagem é assinalar o desaparecimento daquele que Budda considera o maior génio da música nacional e um dos grandes vultos da humanidade.

Madisen Ward and The Mama Bear

December 13, 2015 – Kansas City-based mother-and-son duo Madisen Ward and The Mama Bear finished up a year of extensive touring at Brighton Music Hall in Allston, MA (this being the band’s third and final time in Boston in 2015). The roller-coaster year included stops at The David Letterman Show, NBC's Today Show, Jack White’s Third Man Records, Newport Folk Festival, NPR’s Tiny Desk and a lengthy European tour. After an incredible year it's still all about the music for Madisen and Ruth Ward. "Going from the coffee houses to more of a national stage," says Ruth Ward, "it's really great, but at the same token, when I'm on a big stage with a lot of people watching and really into the music, instead of being freaked out about it-- I just narrow it down to closing my eyes and think, 'Well, they're in my dining room and I'm just playing to a few people'...But at the same time I love the rapport we have with the audience. It's just great."

Skip James - Crow Jane

It's hard to trace the exact source of "Crow Jane", but it's a song that has outlasted many others from the early days of the blues. Its roots lay in the Piedmont region of Virginia and North and South Carolina. Rev. Gary Davis was known to perform it during the 1920's, and the first recording was made in 1927 by guitarist Julius Daniels. Daniels is important partly because he was one of the first Black guitarists to record in the Southeast, inspiring others to follow.

Piedmont blues guitar has a distinct sound that's very different from Delta blues, which emphasized single note melodies, often played on slide-guitar. Piedmont guitar is based on a fingerpicking style, with the thumb playing rhythm and the fingers playing melody notes. It is also different from Delta blues in that the rhythms are related to ragtime.

Skip James developed his unique fingerpicking guitar style while living in Mississippi in the 1920's, and was one of the first bluesmen to record, with a session in 1931. His songs have influenced everyone from Robert Johnson to Eric Clapton. Because of the onset of the Great Depression, James had no luck selling records and left the blues world, eventually becoming an ordained minister. Some 30 years later, in the early 1960's, Skip James was re-discovered by enthusiasts John Fahey, Bill Barth and Henry Vestine (later of Canned Heat), who helped him re-establish his career. He recorded "Crow Jane" in 1964.

Vintage Vice.

 

1) Bea Foote – Weed (1938)
2) Jo Jo Adams – When I'm In My Tea (1949)
3) Harry 'The Hipster' Gibson – Who Put The Benzedrine In Mrs Murphy's Ovaltine? (1947)
4) Lucille Bogan & Walter Roland – Shave Em Dry (1935)
5) Blind Blake – Champagne Charlie Is My Name (1932)
6) Charlie Poole and The North Carolina Ramblers – Don't Let Your Deal Go Down (1927)
7) Jimmie Rogers – Gambling Barroom Blues (1932)
8) Memphis Millie – Down In The Alley (1920s)
9) Champion Jack Dupree – Junkers Blues (1940)
10) Nelson Alexander – Drink Up, Light Up (1940s)
11) Joe Liggins – Whiskey, Women & Loaded Dice (1954)
12) Charlie Aldrich – Kinsey's Book (1954)
13) Mabel Scott – Just Give Me A Man (1946)
14)Cab Calloway & His Cotton Club Orchestra – Reefer Man (1932)
15)Cab Calloway & His Cotton Club Orchestra – The Man From Harlem (1932)
16) Claude Hopkins – It's Too Big Poppa (1945)
17) The Treniers – Poon Tang (1952)
18) Georgia White – Walking The Street (1937)
19) Dick Justice – Cocaine (1928)
20) Lil Green – Knockin Myself Out (1941)
21) Andy Kirk & His 12 Clouds of Joy - All The Jive Is Gone (1936)

Death Letter

Duas versões. A clássica, de Son House, e a excelente cover dos White Stripes. É uma delícia ouvir Jack White falar de Son House no filme "It Gets Louder". O filme junta o senhor White a Jimmy Page e The Edge, numa exploração do instrumento de eleição dos três, a guitarra eléctrica. Muitas histórias, algumas boas ideias, alguma música. Recomenda-se.