terça-feira, 25 de abril de 2017
Ce coffret comprend 4 CD et 90 titres issus de la filmographie impressionnante de Michel Legrand. Sans être exhaustif (mais peut-on l'être), il apporte une approche assez complète de la musique de Legrand, entre jazz et classique. De «L'Amérique Insolite» (1959) à «La Bicyclette bleue » (2000) en passant par les musiques de film oscarisées, Jacques Demy et des réussites moins connues, cette fabuleuse compilation permet de découvrir l'univers cinématographique du génial Michel Legrand. Cette sélection d'une vie largement consacrée au 7ème art a été réalisée par Stéphane Lerouge, un jeune musicologue qui dirige la collection «Ecoutez le cinéma». On imagine immédiatement les deux principales difficultés de ce travail colossal: d'abord le choix des films, Michel Legrand ayant beaucoup travaillé et ensuite le choix des titres, car une partition de cinéma ne se limite généralement pas à une seule composition. Agrémenté de quelques bonus (notamment des musiques refusées par certains réalisateurs), d'une longue interview du compositeur et des témoignages d'Agnès Varda, Jean-Paul Rappeneau, Norman Jewison, Sydney Pollack, Alan et Marilyn Bergman, ce coffret comprenant de nombreux inédits en CD enchantera les fans et interpellera, espérons-le, ceux qui pensent que la musique de film est un art mineur... Le respect s'impose donc pour celui qui sonorise depuis plus de 50 ans les longs métrages des plus grands réalisateurs de la planète. (in Amazon)
segunda-feira, 24 de abril de 2017
domingo, 23 de abril de 2017
Original released on LP Barclay 80 334
(FRANCE 1967, January 23)
Premier album studio du chanteur à ne pas être une compilation de EP sortis précédemment. Comme d'habitude, Gérard Jouannest cosigne la moitié des titres. Cela ne signifie pas que Jacques soit moins inspiré que jadis. Il a beau dire: «Je ne suis pas inquiet, je suis sûr que ça va m'arriver, d'être à sec», rimes et refrains continuent à se court-circuiter dans son crâne. Depuis 1954, il a gambergé plus de cinq cents chansons. Certaines, en se fondant, ont donné des chefs-d'oeuvres. Mais, en 1965 et 1966, il n'avait plus le temps de respirer ses découvertes, de les couver, de guetter leurs pulsations. Par ailleurs, il se sent étouffer, devenir un robot dans la mécanique du show-business. Il est écoeuré de bouffer des kilomètres, a envie de prendre le temps de se balader, de devenir un homme complètement libre, donc nomade. Sans ecuse, ni repentir, il décide d'arrêter le tour de chant. «Je sors», dit-it, et il précise: «...de l'adolescence.» A 37 ans. A l'été 67, Jacques Brel se détourne provisoirement de la chanson pour tourner aux côtés d'Emmanuelle Riva son premier long métrage sous la direction d'André Cayatte. Il s'agit des "Risques du Métier", dans lequel Brel joue un instituteur accusé à tort de pédophilie.
A1. MON ENFACE (Enregistré le 2 Janvier, 1967)
A2. LE CHEVAL (Enregistré le 30 Décembre, 1966) Musique de Gérard Jouannest
A3. MON PÈRE DISAIT (Enregistré le 3 Janvier, 1967)
A4. LA, LA, LA (Enregistré le 30 Décembre, 1966)
A5. LES COEURS TENDRES (Enregistré le 18 Janvier, 1967)
B1. FILS DE... (Enregistré le 2 Janvier, 1967) Musique de Gérard Jouannest
B2. LES BONBONS 67 (Enregistré le 30 Décembre, 1966)
B3. LA CHANSON DES VIEUX AMANTS (Enregistré le 3 Janvier, 1967) Musique de Gérard Jouannest
B4. À JEUN (Enregistré le 2 Janvier, 1967) Musique de Gérard Jouannest
B5. LE GAZ (Enregistré le 30 Décembre, 1966) Musique de Gérard Jouannest
sábado, 22 de abril de 2017
quinta-feira, 20 de abril de 2017
I stumbled across this triple album by accident on Amazon and what a delightful surprise. It will appeal to pop aficionados of the late 50s and doubtless lots of Italians! The box is a mixture of original Italian songs from the likes of Sophia Loren, Mario Lanza, Marino Marini, Domenico Modugno, Gino Paoli, Claudio Villa and many others...The sound quality is excellent and the liner notes by Joseph Adair set the tone for this most entertaining collection. The 3 discs come in a quality gatefold sleeve with short but informative notes on one side. The gorgeous photograph of Sophia Loren on the cover is a bonus! (in Amazon)
Etiquetas: Cafe Italia
quarta-feira, 19 de abril de 2017
Original released on CD Capitol B002625002
(US 2017, February 17)
Alison Krauss is one of the artists who helped break down the barriers between bluegrass and mainstream country music, but even though country radio was willing to make room for her, Krauss never seemed to be interested in courting their favor. Krauss has always followed her own creative path and let the audience come to her with her mature and adventurous approach to acoustic music. Thirty years into her recording career, Krauss has made her most specifically "country" album to date, though it's a musical left turn into a very specific time and place in country's history. Released in 2017, "Windy City" is a polished and carefully crafted tribute to the countrypolitan sounds of the '50s and '60s, music that fused the emotional honesty and personal storytelling of country with smooth, sophisticated production dominated by pianos and strings, and the set list draws from old standards rather than contemporary compositions. Producer Buddy Cannon has designed "Windy City" as a showcase for Alison Krauss the vocalist, with her stellar fiddle work appearing on only one track. While pale shadows of contemporary country can be heard in these performances, numbers like "Losing You," "You Don't Know Me," and the title track owe far more to Patsy Cline's classic "Nashville sound" sides than anything that's come out of Music City in the past decade.
Even when the music takes on a twangier approach on "Poison Love" and "It's Goodbye and So Long to You," Cannon's production and arrangements are steeped in the sounds of the past; while Krauss's bluegrass music always sounded fresh and contemporary in its approach, "Windy City" is the sound of her moving forward into the past. If this is a very different Alison Krauss album, it's also a good one; the accompaniment is slick, but it's brilliantly executed, and Cannon favors the clarity and emotional range of Krauss's voice. She meets the demands of the material beautifully, and she brings a warmth and subtle passion to songs like "Gentle on My Mind" and "You Don't Know Me" that makes you briefly forget the definitive recordings of these classics. It remains to be seen if "Windy City" is a brief creative detour for Alison Krauss or the first salvo of a new creative direction. But if Krauss wants to be the new voice of retro countrypolitan music, "Windy City" leaves no doubt that she has the talent and the intelligence to make it work, and this album is a richly satisfying experience. (Mark Deming in AllMusic)
terça-feira, 18 de abril de 2017
Edição original em EP Decca PEP 1303
Os Musica Novarum foram os vencedores do I Festival de Conjuntos de Música Moderna da Costa do Sol que se realizou no Pavilhão dos Salesianos do Estoril no dia 16 de Julho de 1969. «Foi a vitória da modéstia e da simplicidade sobre a exuberância, quase sempre excessivamente barulhenta, da grande maioria dos competidores», escreveu o "Diário Popular" no dia seguinte. Os Musica Novarum eram formados por Nuno Rodrigues (viola), António Lobão (flauta), Daphne Stock (voz e adufe) e Judi Brennan (voz), todos residentes em Carcavelos. O ficheiro contém 6 temas-bonus: Musica Novarum (1), Daphne (3) e Family Fair (2).
segunda-feira, 17 de abril de 2017
The Librettos were, at one point in the mid-'60s, the top rock & roll group in New Zealand - a status they deserved based on their recordings, which were among the hardest-rocking sides of this era to come out of New Zealand or their transplanted home, Australia. And at least one of their members, Brian Peacock, went on to an international career that took him all the way to England. The band was formed in 1962 at Rongotai College in Wellington, where all five of the original members - Roger Simpson (vocals, piano), Rod Stone (lead guitar), Paul Griffin (bass), Johnny England (guitar), and Gordon Jenkins (drums) - attended school. They built a reputation locally in Wellington, at dances and the like, before their first breakthrough, a residency at a club called Teenarama - the latter became to Wellington's (and New Zealand's) rock & roll community something akin to what the Cavern was in Liverpool and the 2I's was in London, a mecca for audiences seeking good music and managers and producers seeking worthwhile talent. The band gained a huge fandom in 1963, though they did lose their original drummer, Gordon Jenkins, who was replaced by Dave Diver late that year. And they were soon spotted by Kevan Moore, a television producer who installed them as the house band on his weekly program, Let's Go, a kind of pop/rock showcase aimed at younger viewers.
They lost rhythm guitarist Johnny England a little later, and he was succeeded by Lou Parun, who had already recorded four singles under his own name. And Paul Griffin left and was succeeded by Brian Peacock on bass, formerly with a band called the Downbeats. And with the departure of Roger Simpson later in 1964, this left the Librettos as a quartet, of which lead guitarist Rod Stone was the only original member. This configuration was leaner and punchier, mixing the British beat sound that they were hearing on records coming in from England and Australia with American R&B. The group got a recording contract in 1964 with the EMI label imprint HMV and debuted with "Funny Things" b/w "I'll Send It Your Way," followed by "Young Blood" b/w "That's Alright with Me" a few months later. "Baby It's Love" b/w "Great Balls of Fire" was released in late 1964, and "It's Alright" b/w "Walkin' the Dog" appeared in 1965. And amid that string of four singles, they also issued their first and only LP in 1964, "Let's Go with the Librettos". That record has a pleasingly raw, crunchy garage band sound to it, reminiscent of the early Kinks. They also got to appear with Roy Orbison and the Rolling Stones when they toured New Zealand, and shared a bill with Billy Thorpe & the Aztecs, one of the top rock & roll bands in Australia.
The Librettos realized by the start of 1965 that they'd gone as far as they could in New Zealand and turned their sights toward Australia. They turned down another season of Let's Go and headed to Sydney, where they found a thriving - and also almost impossibly competitive - band scene. Dave Diver went back to New Zealand, to be replaced by Craig Collinge, and the band soldiered on, releasing a single of "Great Balls of Fire" b/w "Twilight Time" in the spring of 1965. Another single, "Ella Speed" b/w "I Want Your Love," followed in the fall of that year, which was only issued in New Zealand. Gradually, they broke through to a serious fandom and began separating themselves from the competition, and even managed to return home to New Zealand every so often to huge audiences. Meanwhile, back in Australia, they left HMV for the Sunshine label, through which they released "I Cry" b/w "She's a Go-Go." Both that record and a follow-up, "Rescue Me" b/w "What Do You Want to Make Those Eyes at Me For," failed to chart. By 1966, Parun had returned to New Zealand, and the Librettos decided to continue as a trio. They also relocated to Melbourne and recorded the single "Kicks" b/w "Whatcha Gonna Do About It," which proved to be their swan song. Peacock and Stone were offered spots in the Playboys, the backing band for Normie Rowe, who was getting ready for a British tour, and that was it for the Librettos. Their final recording, "It's Loving Time," cut in the summer of 1966, wasn't even issued, and remained in the vaults until 1997. Brian Peacock later formed Procession, while Rod Stone became part of a late-'60s band called the Groove, and was still active in music at the start of the 21st century. Meanwhile, the Librettos' music was unearthed in a CD compilation, which included most of their recorded output, released by EMI in 1997. (Bruce Eder, All Music Guide)