Gutarristas que lle gustan mucho a el Warren II

Throughout his career, guitarist Robert Fripp has continually pushed the boundaries of pop music, as well as pursuing many avant-garde and experimental musical ideas. Fripp began playing professionally with the League of Gentlemen in the mid-'60s, providing instrumental support to many American singers who were touring England. During this time he began Giles, Giles and Fripp with Peteand Mike Giles. The trio only released one album, 1968's The Cheerful Insanity of Giles, Giles and Fripp, yet the group soon evolved into King Crimson.Following the release of their 1969 debut album, In the Court of the Crimson King, King Crimson became one of the most respected progressive rock acts of its era. From 1969 to 1974, Fripp was the one mainstay in the group, leading it through its various musical incarnations.During this time, he pursued several side projects away from King Crimson. Fripp recorded two albums with Brian Eno: No Pussyfooting(1972) and Evening Star (1974). Both of the albums featured the musicians experimenting with avant-garde techniques, including Fripp's "Frippertronics." Frippertronics featured layers of guitars and tape loops, producing a harmonically rich, humming sound; it became a familiar sound on his records. Fripp also produced a handful of albums, mainly records by experimental jazz outfits.In 1974, Fripp disbanded King Crimson and retired from music. Three years later, he returned to the business, playing on David Bowie's "Heroes." Soon afterward, he produced and played on Peter Gabriel's second self-titled album, as well as Daryl Hall's Sacred Songs. Fripp released his first solo album, Exposure, in 1979. God Save the Queen/Under Heavy Manner appeared the following year and in 1981, he assembled a new lineup of King Crimson. While that band recorded and performed, he also led a new band which borrowed its name from his first group, the League of Gentlemen. After releasing three albums, the new version of King Crimson broke up in 1984; The League of Gentlemen split soon afterward.Fripp released God Save the King in 1985 and began teaching guitar, dubbing his students and school the League of Crafty Guitarists; he released an album recorded with his Crafty Guitarists in 1986, the same year he released the first of two collaborations with his wife,Toyah Wilcox. Fripp re-formed the '80s lineup of King Crimson in late 1994, releasing Thrak in 1995. He returned to recording solo in 1997, releasing That Which Passes.

Robert Fripp & The League Of Crafty Guitarists - Live ! (1986)

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The Repercussions of Angelic Behavior

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LOVE CANNOT BEAR

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Guitarristas que le gustan mucho a el Warren I

Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects -- most notably Bob Dylan's earliest electric forays -- and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.
Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.

In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited forBob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic Highway 61 Revisited and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfieldalbum, 1966's East-West. Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, East-West merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects.

Bloomfield quickly formed a new band called the Electric Flag with longtime Chicago cohort Nick Gravenites on vocals. The Electric Flagwas supposed to build on the innovations of East-West and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, A Long Time Comin', in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management -- not to mention heroin abuse -- all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut Super Session, a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. Super Session's success led to a sequel, The Live Adventures of Mike Bloomfield and Al Kooper, which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.

Bloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, Triumvirate, was released on Columbia, but didn't make much of a splash. Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), andCarmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please.

Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.

Mike Bloomfield,Al Kooper,Steve Stills,SUPER SESSION (1968) Extended edition,2002

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Michael Bloomfield

- Don't Say That I Ain't Your Man! Essential Blues, 1964-1969

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Al Kooper And Mike Bloomfield

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Fillmore East Lost Concert Tapes (1968 USA Blues Rock)

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More Porteñan Music. From BA to the World! (thanks again mY)

MOSALINI AGRI QUINTETO

Juan José Mosalini tocó el bandoneón con Luis Alberto Spinetta, en El jardín de los presentes y, luego, como uno de los bandoneonistas que tocaron junto al grupo Alas, fue parte de un breve y fructífero momento en el que el rock y el tango se miraron mutuamente –un momento al que no escapó el propio Piazzolla–. Era parte, también, de la orquesta de Pugliese, militaba– “era una época en la que se militaba”, recuerda–, estaba en el Sindicato del Músico y fue amenazado por la Triple A. Llegó a París, allí enseñó, fundó una orquesta y se convirtió, aun estando lejos –o tal vez por eso– en uno de los referentes inevitables de la música argentina de las últimas décadas. Su trío con Gustavo Beytelman y Patrice Caratini fue uno de los hitos. El otro fue el quinteto que formó con el violinista Antonio Agri, Osvaldo Caló en piano, Leonardo Sánchez en guitarra y Roberto Tormo en contrabajo, que grabó en Francia, en 1996, el notable Mosalini-Agri Quinteto. Este disco, inédito hasta el momento en la Argentina, acaba de ser publicado por el sello Acqua Records. Y ese material y esa conformación instrumental serán las que presente hoy a las 21, en el Teatro 25 de Mayo (Triunvirato 4444).
En la nueva versión hay dos cambios; el violinista del quinteto es el excelente Pablo Agri y el pianista es Cristian Zárate. “El grupo comenzó en relación con un homenaje a Piazzolla –cuenta Mosalini a Página/12–. Después, fue el sello discográfico con el que trabajábamos el que se entusiasmó y nos planteó hacer un disco con obras nuevas. Así fue como, además de una versión de ‘Tristezas de un Doble A’, de Piazzolla, me rodeé de autores que me interesaban, y encargué obras a Tomás Gu-bbitsch, a Beytelman, Sánchez, y me sumé yo mismo. Y la fuerza, que hoy vuelve a aparecer con esta nueva formación, estaba en que había unas ganas bárbaras y músicos con fuertes personalidades. En ese sentido, los integrantes actuales están entre los mejores músicos de Buenos Aires; Zárate es un pianista excepcional y Pablo Agri, más allá de cuestiones dinásticas, no sólo lleva el apellido del padre. Es un violinista de excepción.”
Considerado en su momento uno de los renovadores del tango e, incluso, una de las esperanzas blancas de una nueva música en la que la tradición porteña se encontrara con los sonidos de la época, Mosalini, más allá de no haber seguido experimentando en esa dirección, reivindica sus buceos de hace más de tres décadas. “Yo no sé hasta dónde pesa en mi manera actual de tocar o componer mi paso por experiencias cercanas al rock, a comienzos de los setenta. Es difícil mirarse al espejo y hacer un análisis más o menos objetivo. Lo que siempre intenté hacer fue meterme y hacer lo mejor posible cada cosa, tomándola como un desafío. Me pasa ahora, por ejemplo, haciendo cosas de raíces folklóricas, junto a Leonardo Sánchez, que es un compositor fantástico. Cuánto queda de cada una de esas exploraciones y de esas aventuras en territorios en los que por ahí uno nunca antes había estado, yo no lo sé. Lo que sí sé es que cada cosa que hacemos, si la hacemos con profundidad, de alguna manera nos transforma. Y esa transformación en algo debe notarse, supongo.”
Optimista en cuanto a las nuevas generaciones de músicos de tango argentinos, Mosalini descree de las nacionalidades obligatorias. “He escuchado excelentes músicos de tango noruegos o japoneses. Si fuera necesario haber nacido en Buenos Aires para hacer tango, también habría que ser negro y norteamericano para hacer jazz. Y sabemos que no es así. Lo que sí es necesario es haber mamado ese lenguaje; haber escuchado y estudiado muchísimo.” Dice que, al fin y al cabo, las especies de vacas que andan por La Pampa llegaron de otras partes. “Pero la carne argentina es argentina; esas especies llegaron de afuera pero se alimentaron y crecieron con el pasto de acá.” Y en el momento de trazar las líneas que dibujan su propia tradición dice: “Mi árbol genealógico, en el bandoneón, tiene que ver, en primer lugar, con la generación a la que pertenezco –explica–. Yo aprendí con mi padre, que no era un profesional pero conocía muy bien el instrumento, y con todas las influencias que eran habituales en esos años, empezando por Pedro Maffia y Pedro Láurenz. Y también estaban los más tapados, como De Filippo, que tenía recursos técnicos extraordinarios. Y después están los que a uno lo atrapan con su música, que tal vez tienen menos recursos pero más cosas para expresar. En mi caso, los que se fueron agregando a las influencias iniciales fueron Troilo y Osvaldo Ruggero, alguien de una economía y una profundidad únicas, un tipo que hacía música cuando respiraba entre nota y nota. Y, aparte de todos ellos, Leopoldo Federico, a cuyos ‘Arreglos antológicos’ tuve acceso, que fue, en muchos aspectos, mi gran maestro.”
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Bergalli - Navarro TRÁFICO PORTEÑO




Comentario de Cesar PradinesLa Nación-César Pradines-(17/10/04)
"Una equilibrada combinación entre el sonido hardbop de la trompeta de Bergalli y el aire clásico y de enorme fortaleza rítmica de Navarro revelan la naturaleza de una propuesta anclada en la tradición, pero con un sano criterio de reexposición que le da una frescura particular."

Gustavo Bergalli, um dos melhores trompetistas da Argentina, que vive em Estocolmo há décadas, gravou no Notorious esse cd com o trio do pianista Jorge Navarro, que tem Jorge López Ruiz no contrabaixo e Fernando Martínez na bateria. O repertório está calcado em standards de jazz, temas que fazem Bergalli se sentir à vontade para solar. Bergalli é um trompetista de talento e de uma expressividade fluida à prova de complexidades, ao passo que Navarro mostra em seus solos um rico fundo emocional rodeado por uma simplicidade harmônica. Os destaques desse cd são “What’s new?”, “Waltz for Debbie”, “Up jumped Spring” e a música-título “Trafico Porteño”. — clubedejazz.com.br

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PORTEÑADA (thanks mY)

LO QUE VA EN ESTE POSTEO ESTÁ un poco lejos de lo que suelo subir, pero resulta que hace unos días estuvo por mio casa una deliciosa criatura prfumada que tuvo la delicadeza de regalarme unos cuantos discos. Tantos que aún no he terminado de escucharlos.

Estos dos que van hoy me parecen bastante interesantes, un poco pretenciosos quizás (viene con el paquete), sobre todo para aquellos que están lejos del río de la plata

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ACHO ESTOL MÍ PELÍCULA

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LA CHICANA LEJOS

… los años y la maduración musical hicieron que el último disco de la banda fuera uno de sus mejores albumes (quizá el mejor) y que el total de su cancionero quede perfectamente ensamblado en la formación actual sin resignar esa cuota de frescura implícita en la búsqueda y la experimentación. Y la cantante como suele (o debe) ocurrir sobre el escenario es más expresiva que en los discos…” Calif: Muy bueno.
Crítica show presentación de “Lejos” Mauro Apicella. La Nación. Argentina. 2007
“El cuarto volumen de la fascinante trayectoria de Acho Estol y su compañera Dolores Solá amplía el horizonte que se bocetaba en el no menos espléndido “Tango agazapado”…” Crítica de “Lejos”Vanguardia. Barcelona 2007
“Fascina esa dualidad camaleónica de Dolores Solá y Acho Estol: Tradicionales y posmodernos, rurales y porteños…
La leyenda del tango se agiganta con discos tan valientes y hermosos como este.
Crítica de “Lejos” El País. España 2007
“Lejos es un disco más que interesante, con geniales composiciones, una novedosa combinación de ritmos y una interpretación vocal que logra transmitir atmósferas cargadas de poesía y sentimientos. Sin dudas, para atesorar en un rincón privilegiado de la discoteca.” Cinema paradiso . España 2007
“…el proyecto de Dolorés Solá y Acho Estol se revela a cada nuevo disco como una de las propuestas más actuales e interesantes que podemos escuchar hoy. Con Lejos, que pese a su nombre suena muy cerca del oyente, se consolidan como unos creadores únicos.” El duende de Madrid 2007
“La Chicana sigue rompiendo las barreras estéticas del tango cantado… la voz de Dolores Solá cada vez más seductora y las composiciones de Acho Estol ingeniosas y poéticas como siempre.
Un disco adictivo a partir de la tercera escucha!” Revista Efe eme. España 2007
“Este grupo conjuga de forma brillante los ritmos tangueros con otros géneros musicales meramente folclóricos no sólo argentinos sino de otros lugares como Brasil, Uruguay o Senegal. Lejos es su cuarto disco (sin contar Canción Llorada, un recopilatorio que se publicó sólo en Europa). Y a pesar de ser el más "rockero", Dolores Solá canta el tango impecablemente.”Blogpocket España 2007
“Y mañana cae el telón con un gran acontecimiento, el estreno nacional del nuevo disco de La Chicana, acaso la formación más insólita, transgresora y brutalmente poética que ha alumbrado últimamente el río de la Plata.”El país. España 2007
“El grupo ha logrado conquistar tanto al público tanguero como a un numeroso público joven que nunca antes se había sentido atraído por el tango, pero que se encuentra identificado con la expresividad inmediata y actual de La Chicana. En el transcurso de sus giras europeas por plazas como Berlín, Hamburgo, Munich, París, Londres, Barcelona y Madrid, y festivales como Los Veranos de la Villa, La Mar de Músicas, Pa'Vigo me voy, Trowbridge y Traumzeit, el grupo se ha revelado como uno de los principales atractivos en el circuito de las Músicas del Mundo.” La verdad. España 2007
“La música de esta chicana es de actitud rockera, mucho riff, percusión, y también contrapuntos barrocos; música completa que se pierde en el tiempo. Es la guitarra plurisonora de Acho Estol la que nos transporta al ayer del mañana, es la exótica y profunda voz de Lola Solá que nos hace conocer una nueva forma de pensar el concepto tanguero, es una excelente propuesta actual sobre un género que se ha vuelto tan popular que muchas veces tiende a perder el sentido esencial de la gente común en el puerto de Buenos Aires que lo vio nacer y consolidarse.” Vanessa Alanis Fuentes. Narrativas. Mexico 2007

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MEDESKI MARTIN & WOOD RADIOLARIANS

Los que siguen este blog saben de nuestra debilidad por MM&W. Acá van tres opus más. Enjoy

RADIOLARIANS I

Medeski, Martin & Wood have been incorporating seemingly every corner of the musical universe, from funk to gospel to progressive sambas, into their sound for some time now, so it should come as no surprise that Radiolarians 1, the first of three planned and linked releases for the group in 2008, is all over the map, from country funk to sweet piano jazz, and that it coheres (since there are occasions when the band overloads and overreaches, although that isn't the case here) is really good news for their many admirers and fans. With a bright, and at times even sunny and joyous, sound, this first of the planned trilogy is a complete delight, moving from thundering fusion funk grooves to delicate atmospherics in the blink of an eye, and it shows the tight, detailed connection keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood have with each other. There's so much to like here, including the gut-bucket soul-jazz bounce of "Sweet Pea Dreams," the spooky atmospherics of "Muchas Gracias" (which sounds like Augustus Pablo thrown in a dub blender with Thelonious Monk), the skewed, New Orleans piano of "Professor Nohair," and the deliciously fractured and delightful turn the trio takes on the traditional "Free Go Lily." It's all joyous and filled with graceful touches of humor and elegance, all the while churning to both big and little grooves, stomping, skating and skipping lightly by turns, and it reminds just how remarkably well these three musicians work together, making, as they say, improvisation fun again.

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RADIOLARIANS II

The second volume in keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood's Radiolarians series is, much like the first, wildly eclectic. Certainly all the trio's records could be classified in this way, but few of them are as playful and musically adventurous as the ones in this series. Once more, the band incorporates everything in its own brand of modern jazz: from funk and rhythm & blues to the vanguard tradition; from soul and rock through carnival music, country, and beat-conscious grooves. "Flat Tires" opens the set and comes off all distorto-rockist in the intro thanks to Wood's nasty bassline that feels more like an electric guitar riffing before it's addressed by a couple of taut rolls by Martin and some wailing carnival organ by Medeski. This feels like film music, but it's more centered than that, because there are some stunning jazz improvs as Medeski's acoustic piano takes center stage. "Junkyard" follows. This cut, easily one of the best on the set, is a dead cross between some incidental music by Ennio Morricone spaghetti western and the Tom Waits of the Mule Variations. The shuffle, pop, and groove is given space, dimension, and atmosphere by shimmering keyboard sounds -- including accordion -- shuffling rimshot drums accented by forceful bass drum, and a downright nasty bassline. Like the previous volume, there is a cover on this set as well. Medeski plays the Rev. Gary Davis' "Baby Let Me Follow You Down" as a jazzy lounge tune with considerably more improvisational heft in his wonderfully labyrinthine acoustic piano lines. He adds some killer funky clavinet toward the middle to create an infectious groove that makes the timeless tune a modern-day groover. Check "Riffin' Ed" with its New Orleans second line funkiness, all done acoustically with some excellent work by Wood who gets his bass into the lower registers to push a bit against the melody line even as Martin breaks his beats and accents the taut end-line chords of Medeski's piano. Ultimately, what transpires on Radiolarians II is the notion of song. Certainly these tunes are played with great instrumental technique and musical acumen, but they are performed with the full intent of the listener's participation in the experience because each cut is so utterly memorable on its own. Chalk this one up as a must-have for longtime fans of MM&W, and an excellent introduction to what this group does best -- making jazz both provocative and fun.

ACA RADIOLARIANS III All three volumes of Medeski, Martin & Wood's Radiolarians series were reportedly to be recorded and released in 2008. Only the first volume appeared, but it provided a solid clue to both the formula and the wild adventurousness that the series would embody.Radiolarians III is the final volume in the series. What inspired it was a formula, pure and simple, a reversal of what is usually the case for a band to follow. Rather than write new material, then record it and tour, the trio reversed the process. They went out and toured incessantly, improvised and wro te new material on the road, gave it real form and focus, and then, finally, recorded it. This volume is as delightful as its predecessors, and offers inarguable proof that after 18 years, MM&W are still discovering new ways to stretch the jazz trio format, finding new music to integrate, spindle, warp, re-form, and refresh, without sacrificing it to endless synthetic edits and samples. In essence, they remain a live trio, and virtually everything they play comes out that way on record. This set was recorded in three days. The meld of jazz, vanguard classical music, gospel, rock, funk, New Orleans stride and second line, country, blues, modal music, Indian classical, and other world folk forms is simply staggering, and it is seamless -- even when the music gets the party rockin'. Check the second track, "Satan Your Kingdom Must Come Down." It commences withJohn Medeski's elliptical 20th century vanguard improv piano dissonance eventually entering into the musical terrain of James Booker before becoming a psychedelic, funky arrangement of "This Train," while Chris Wood's fuzzed-out bass plays the melody, and Billy Martin's drum skitters in syncopated breaks and march rhythms. "Undone" is a rock tune with breaks, rolling shuffles, and crescendos galore. Wood's bassline offers a lead into exploration that checks early New Order's "bass first" approach. But it is as rhythmically in the pocket as theMG's -- it even gets a bit Hendrixian in the middle section just for good measure, withWood's use of a wah-wah pedal and the organ by Medeski sounding like something fromElectric Ladyland instead of Steve Winwood. "Walk Back" is full-on funky B-3 trio groove with Medeski ripping it up. "Jean's Scene" feels a lot like Eddie Palmieri's more improvisational jazz thangs, but with the impeccably articulate Medeski being cleaner , lighter, and more on the soul tip à la Ramsey Lewis. While it may not be the most fingerpopping track on the set, "Kota," with gorgeous arco work by Wood -- who also apes the sound of various Asian and African stringed instruments with his bass -- begins as a speculative, hesitant mediation by Medeski in the upper register and eventually becomes an exotic, minor-key droning, tranced-out groove that doesn't let up even when he lets loose with some wild improvisation in the middle section. Radiolarians III is a fitting parting shot in an experiment that perhaps worked beyond its participants' expectations. The entire series should be purchased and spun repeatedly. There is so much to discover, it will still sound new in a decade or even two.

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