Παρασκευή, 30 Νοεμβρίου 2007

Linda Perhacs: "Parallelograms" (Folk-Psych US Kapp, 1970)

A Lost Gem From The 60's
Obscure psychedelic folk singer Linda Perhacs released her only album Parallelograms in 1970 to scant notice or sales. Perhacs' album was rediscovered by record enthusiasts and grew in popularity with the rise of the New Weird America movement.

Although many have written her off as a Joni Mitchell clone, I must beg to differ. Linda Perhacs' vocals are very intimate and bittersweet. Actually, the only way Joni Mitchell could make a record like this would be if she took a large amount of LSD. The multi-tracked vocals are one of the best things about this album. This is very good music that will calm your soul and possibly open your mind.

"Linda's sole album, originally released on Kapp in 1970, has gained its deserved fame and reputation in the folk-psych scene in the last years after the NY label Wild Places released it on CD format some few years ago. We could talk about Joni Mitchell and the likes if we had to compare with anything, but fans of folk music in all its variety must be delighted with this amazing album, a truly hippie psychedelic folk masterpiece and without any doubt one of the top albums of the genre. This beauty was reissued on vinyl a few years ago in Korea as well, in a 500 pieces limited pressing that sold out instantly...and we believe this one MUST be available unlimited so here we come with a gorgeous, tremendous sounding reissue of the legendary album plus 2 bonus tracks (exactly like the Korean release), a poster and an insert."

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Children Of One.- Children Of One (Brilliant Acid Indian Folk US '69)

Children of One. Brilliant album from USA '69, Its something like a trippy avant-psych. Easier to get into than Third Ear Band, but no guitars and it doesn't rock.

Late 60's Psychedelic Rarity.


Lucas Mason, Flute & Piano;

Peter Sokolow, Bass Clarinet;

Leonard Lonergan, Soprano Sax;

Balakrishna, Sitar;

Les Grinage, Cello & Dilruba;

Lakshmi, Tanpura;

Konrad Kaufman, Percussion;

Vera Sokolow, Paula Mason & Irin Poellot, Chorus.

Tracks Are "Getting Together," "Here And Now," "Spheres," "Angel Dance," "Eastern Cloth," "Time Turns Toward Tomorrow," "Konrad's Rap," "Short Talk" And "Was And Will Be."

Not really a rock album, but as psychedelic as any album I’ve come across. Meditative, Eastern influenced acoustic jazz with flute, female voice, sitar, hand percussion, cello, piano and other instruments. Otherworldly and deeply peaceful. Has THAT vibe that reeks of the real underground, a certain something that is found more frequently in the Krautrock genre (the atmosphere of Dom’s “Edge of Time” comes to mind in parts – though musically quite different). A wonderful album that would certainly benefit from a masters tape CD reissue. Children of One were from one of the many hippy communes that existed in upstate New York during that time.

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Farmstead - The Sheep And The Hay (1977UK Folk)

Farmstead - The Sheep And The Hay (1977)
A local amateur group from the Western Yorkshire dales. Only 500 copies were made, I've got one - so where are the others? Trivial info: I used to sing 'Lord George' with my band Brahms & Liszt around the London pub circuit in the late 70s.
01 - The Sheep And The Hay02 - Chickens In The Garden03 - Three Airs04 - Lord George05 - Western Breeze06 - The Three Peaks07 - Sleeping Lion08 - The Huntsman's Chorus09 - Line O'er The Fell10 - Turning Of The Year & Morris Jig11 - The Roving Fiddler12 - Song Of The Yorkshire Dales


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Gurnemanz - No Rays Of Noise (1977 Ger.Progressive Psych.Folk)

Gurnemanz - No Rays Of Noise (1977)
This is an awesome album of progressive folk-rock from German group Gurnemanz. Very much in the style of UK folk-rock ala Fairport Convention or Spriguns, singer Manuela Schmitz has an amazing voice and could give Sandy Denny a run for the money!The male vocalist, Lukas W.Scheel, has got a real Fairport-y delivery also. The musicianship is stellar and the songs, whether sung in English or German, are great. The version of John Barleycorn is one of the best I've heard. Not to be missed by anyone who likes the music of Fairport Convention, Steeleye Span, or Mandy Morton/Spriguns.

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Πέμπτη, 29 Νοεμβρίου 2007

Relaxing Music slideshow

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Osho, Freedom

The courage to be yourself

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Music From The World Of Osho Ten Thousand Buddhas (Music For Meditation)

(απο Ανωνυμο)


Music From The World Of Osho Ten Thousand Buddhas
Deep and wonderful music from a BuddhafieldFor the enlightened mystic Osho music was the human phenomenon that come closest to expressing the Eternal and the Beyond of our true nature, our intrisic Buddhahood. Therefore music was an integral part of the life in his ashram.
The beautiful music on this CD is taken from the improvised musical meditations that was played before and after Osho's meetings with disiples and other seekers in 1987-89. Music that reflects the depth and beyondness of Osho.

1. Sangit Narayana
2. Dancing Buddhas
3. Om Mani Padme Hum
4. Unio Mystica
5. Sacred World
6. Light On The Path
7. The Bridge To That
8. Lovers Of Meditation
9 The Wheel Of Dharma
10. All That Is Real Will Remain
11.Living Buddha
Music for Meditation.The music has a decisive Indian flair, with germanborn Prem Joshua playing some distinct sitar. Other prominent instruments are some spacy keyboards and the beautiful fluteplaying of fine artists like Yashoo and Devakant, like Joshua artists with several profound releases in the field of meditative and healing music. So the musicianship is absolutely professionel and interesting.
Music that points to Silence and Beauty with the added bonus of being recorded in the Buddhafield of an living enlightened master.
Well suited for both meditation and relaxation or simply musical enjoyment.

OSHO: My Way Of Life is Not Philosophy

No philosopher has ever been able to know the truth. All the philosophers have been thinking about the truth. But thinking about the truth is an impossibility. Either you know it, or you don't.

Από Wikipedia,

 Osho, born Chandra Mohan Jain (11 December 1931 – 19 January 1990), also known as Acharya Rajneesh from the 1960s onwards, as Bhagwan Shree Rajneesh during the 1970s and 1980s and as Osho from 1989, was an Indian mystic and spiritual teacher who garnered an international following.
A professor of philosophy, he travelled throughout India in the 1960s as a public speaker. His outspoken criticism of socialism, Mahatma Gandhi and institutionalised religion made him controversial. He also advocated a more open attitude towards sexuality, a stance that earned him the sobriquet "sex guru" in the Indian and later the international press. In 1970 he settled for a while in Mumbai. He began initiating disciples (known as neo-sannyasins) and took on the role of a spiritual teacher. In his discourses, he reinterpreted writings of religious traditions, mystics and philosophers from around the world. Moving to Pune in 1974, he established an ashram that attracted increasing numbers of Westerners. The ashram offered therapies derived from the Human Potential Movement to its Western audience and made news in India and abroad, chiefly because of its permissive climate and Osho's provocative lectures. By the end of the 1970s, there were mounting tensions with the Indian government and the surrounding society.


Project: "Music From The World of Osho"

If You Dont Fight With Life Music from the World of Osho.

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Kanguru- Dreaming ( Acid/Folk Psych Indian 1976,Australia)

Kanguru- Dreaming (1976,Acid Psych IndianFolk LP Australia)

Kanguru are an Australian hippy band from around the early to mid seventies. They were based in Northern New South Wales in Nimbin and Byron Bay. Most of the musos still play music locally in other bands. It is a rare lp that I quite luckily picked up numerous copies of yesterday and will be selling slowly on ebay.

Four mainly instrumental tracks are featured on this very rare Aussie album,the only known product from this band. From the artwork through to the music this looks and sounds like something produced by a bunch of guru worshipping hippies, and it well might be. However on colder inspection it is possible that this was produced by a group of guys who made it with their tongues firmly implanted in their cheeks. Firstly it is released on Larrikin records, a small Aussie label better known for Aussie blues and bush bands. Secondly, the members of the band offer some amusing alias’s:
future Sirocco member Guy Madigan is 'Koalananda'; Paul Gibson is 'Sri Wombat', former MacKenzie Theory violinist Cleis Peace is 'Clear light' and Keith Manning is 'Professor'.
Not the typical alias's that you would expect. Thirdly the label shows that it was produced in 1980, although sounding like it was recorded in the late 60 or early 70s. Fourthly, it seems more than a coincidence that Guru Guru released an album called Kanguru years earlier (also four long tracks). Notwithstanding, the quality of musicianship is excellent. This album is part meditative, part ambient and heavily Indian influenced.
Kanguru- Dreaming (Evening of Dream Ragas)

An outstanding, cult australian project mixing chamber prog with eastern influences due to gorgeously epiphanic, dream-like sitar / tabla duets. Similar to Shakti, Clem Alford or Oregon with more emphasis on tripped out harmonies.

Good for mellowing out with some nice sitar tinged songs here. I like "Waves Of Aquarius" the best with some nice playing from Cleis Pearce. Ashia White (vocals), Guy Madigan [aka Koalananda] (pakhawaj, tanpura), Paul Gibson [aka Sri Wombat] (sarod, vocals, [14-string] guitar, didgeridoo), Cleis Pearce [aka Clear Light] ([electric] viola), Keith Manning [aka Professor] (tabla, flute, percussion)

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Τετάρτη, 28 Νοεμβρίου 2007

Occasional Dream - Περιστασιακο Ονειρο (2001 Greece)

An Occasional Dream is a song written by David Bowie in 1969 for the album Space Oddity. It is a gentle love song with flute arrangement about a brief and intense affair.
Bowie recorded a demo version of the song together with John Hutchinson in February 1969

OCCASIONAL DREAM "Περιστασιακό όνειρο"
Οι Occasional Dream αποτελούν ένα group που δημιουργήθηκε πριν από 8 χρόνια. Από τότε έχουν κάνει πολλές live εμφανίσεις στην Ελλάδα και το εξωτερικό, με αποκορύφωμα τη συμμετοχή τους στην "Bienalle νέων καλλιτεχνών" που έγινε το 1999 στη Ρώμη, όπου εκπροσώπησαν την ελληνική συμμετοχή.
Σήμερα το group αποτελείται από 7 άτομα. Οι μουσικοί πειραματισμοί είναι το στοιχείο που χαρακτηρίζει τους Occasional Dream. Αρχικά διασκεύαζαν αγγλόφωνα ροκ και μπλουζ τραγούδια, δίνοντάς τους την δική τους αισθητική. Σήμερα συνθέτουν τα δικά τους κομμάτια και 12 απ' αυτά μας παρουσιάζουν με το cd αυτό που έχει τίτλο το όνομά τους.
Μουσική όπου κυριαρχούν τα φυσικά όργανα και βαδίζει σε ήχους ανατολίτικους, πολλές φορές συνοδευόμενους με στοιχεία jazz ή rock. Ούτι, μαντολίνο, φυσαρμόνικα, νάυ, φλογέρα, τσέλο αποτελούν ...μερικά μόνο από τα όργανα που χρησιμοποιεί το συγκρότημα! Ο στίχος πειραματίζεται κι αυτός ανάμεσα στην ελληνική και την αγγλική γλώσσα. 4 κομμάτια είναι ορχηστρικά.

Βασίλης Τζαβάρας : Κιθάρες, τραγούδι(1,2,9,11), φωνητικά,, φυσαρμόνικα, πιάνο(2)Λεωνίδας Καρακατσάνης : Κιθάρες, τραγούδι(5,10), φωνητικά Μιχάλης Νιβολιανίτης : Κρουστά, μαντολίνο, φωνητικά, τύμπανα(11), πιάνο(5) Δημήτρης Μικέλης : ΟύτιΧάρης Λαμπράκης : Νάϋ, φλογέρες, σελμάϊ, φωνή(3)Γιώργος Καλούδης : Τσέλο, πιατίνια(5), φωνητικά(10)Αλέκος Τσάμης : Τάμπλα, κρουστά, τύμπανα(2), φωνητικά(10)
Συμμετέχουν:Χρήστος Θηβαίος : Τραγούδι (1,4,8)Γιάννης Νοταράς : Τύμπανα (4)

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Ross Daly - Crete - Improvisation With Rababa & Sarangi

Λύρα: Ross Daly Kέλυ Θωμά Στέλιος Πετράκης
Κρουστά με νταραμπούκα, μπνετίρ και κρεκ: Zohar Fresco
Σαντούρι,γεϊτσάκ, και χορασάνι ταμπούρ: Siamak Aghaei
Ηλεκτρ. κιθάρα με δοξάρι, ούτι και ταρ: Efren Lopez
Πολίτικο λαούτο: Περικλής Παπαπετρόπουλος

Στή συναυλία που έγινε (27-7-2008)στα πλαίσια του 2ου Αθηναϊκού φεστιβάλ παρουσιάστηκε γιά πρώτη φορά στην Ελλάδα δείγμα της δουλειάς του "Labyrinth Modal Ensemble"

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Ross Daly - Synavgia - Iris (1999 Libra Music Greece)

Ross Daly ' A genuine Alive fable " An Irish Lion Heart Lives since '75 on Crete Island

Συναυγεια :
συναντηση των ακτινων της ορασης με το ορουμενο στο ενδιαμεσο διαστημα.

"Οταν Υπαρχει Το Φως της μερας γυρω απο το ρευμα των ματιων, συναντιουνται δυο ομοια
πραγματα, ενωνονται και σχηματιζουν μια μονο συγγενικη ύλη, μπροστα στα ματια μας, δηλαδη ακριβως στο σημειο οπου συναντιεται η φωτια που βγαινει απο μεσα μας μ'εκεινη που υπαρχει απ'εξω.
Απ'την ομοιοτητα των δυο αυτων στοιχειων, δημιουργειται κατι ομοιομορφο,μεταδιδει τις κινησεις ολων των αντικειμενων που αγγιζει ή απο τα οποια αγγιζεται σ'ολοκληρο το σωμα και μεχρι το βαθος της ψυχης, δινοντας αυτην την αισθηση που ονομαζουμε οραση"
(Πλατων, Τιμαιος)

Synavgia :

The meeting of the rays of sight from the eye with the rays of the light from the object seen

Ross Daly - Iris (Synanvgia)
Iris consists of two original compositions and two arrangements of traditional material by Daly, plus one composition by guitarist Vasilis Rakopoulos. Each of the pieces is tightly constructed and very strong melodically, an aspect of the CD that is underscored by Yiorgos Xylouris’ vocals. At the same time Iris is an exercise in texture that features highly unusual combinations of instruments; these include the Iranian long-necked lute called tar, the Afghan rabab, the Cretan lyra, the sarangi, the tabla and the guitar amongst many others. The guitar is especially interesting, with the use of chordal harmony making its first extended appearance on a Daly album, and Rakopoulos’s final track is a deeply seductive blend of Western and Eastern styles. One instrument that deserves special mention is Hamid Khabbazi’s tar, which, for me, provides the sonic thread that links each piece. Khabbazi is a subtle and intelligent player, who achieves a universe of expression in his right-hand pick articulations alone, let alone with his gift for melodic improvisation and embellishment.
The dramatic highlight of the CD is surely the title track, a yoking of traditional sirtos from Crete with an Indian song, a linking that has the (apparent) inevitability that characterises great music. This piece contains some superb solo work by the instrumentalists, including an elegant passage by Xylouris where he, unusually, stresses the lower register of the Cretan laouto. This soloing is taken up by Kelly Thoma on Cretan Lyra, who cleverly uses sarangi techniques to build an emotionally affecting improvisation that anticipates the Indian section of the arrangement. The Indian section proper is announced by a powerful burst of tabla, and Iris closes with a prolonged accelerando that reflects both Indian and Cretan traditions. This is by far the most exhilarating piece of music I have heard this year.

Chris Williams,FOLK ROOTS,(November, 2003 No 245)

Ross Daly's journey in the music of the world is inseparable from the course of his life. Of Irish descent, born in England, he travelled as a child with his family around the world and soon his deep interest in music emerged. His first instrument was the cello, which he studied in his childhood years in America. He later began studying the classical guitar in Japan at the age of eleven. The late sixties found him in San Francisco, where having experienced both the classical discipline and the air of freedom and experimentation of the time, he first encountered Eastern musical traditions which completely changed his life. Of particular interest to him was Indian Classical music which was destined to be the first non-western tradition that he actively studied. The ensuing years found him travelling extensively studying a variety of instruments and traditions. At that time his main emphasis was on Indian and Afghani music.

In 1975 he travelled to Crete which he had previously visited for a short time in 1970 and 1972 where he had been greatly impressed by the lyra (a small pear-shaped upright fiddle which is the primary folk instrument of the island). After a six month period of wandering from village to village encountering local musicians, He settled in the town of Hania on the west of the island and began studying the Cretan Lyra with its great master Kostas Mountakis. This apprenticeship was to last for many years. During this same time he frequently visited Turkey where he studied Ottoman classical music as well as Turkish folk music. After many years of intensive training in a variety of musical traditions, Ross Daly turned his attention largely to composition drawing heavily on the various sources that he had studied. Today he has released more than twenty five albums of his own compositions as well as of his own versions of traditional melodies that he collected during his travels.
The island of Crete in Greece still provides a base for his personal and musical research as he travels around the world performing his music. A master multi-instrumentalist himself, Ross Daly has repeatedly teamed with master musicians from all over the world working within the musical discipline of the Eastern traditions while at the same time freely exploring new forms and creative improvisation. A virtuoso of Eastern musical instruments, he plays the Cretan lyra, Afghan rabab, tarhu, laouto, kemence, oud, saz and tanbur. A unique composer, Ross Daly, builds his compositions around the subtle but powerful interaction between the sound textures of the various traditions which he has studied. His close personal relationship with the musicians he works with is of paramount importance to Ross Daly himself as he believes that it is this inner connection which brings music alive. The unique sound of his music reflects his personal philosophy, influenced by the Sufi tradition which stresses the sacred nature of music itself, the enormous power contained within it, and the necessity for those who concern themselves with it to unreservedly and selflessly give themselves to it. This process results in an experience of music of a transcendental and spiritual nature, equally shared by musicians and audience alike, which has nothing to do with the fashions of "World Music" or "Ethnic". Ross Daly's music provides something that is increasingly difficult to find in modern times: a sense of continuity and unity. Sharing in the essence of a music that really has no physical boundaries is a magical experience that stands outside of time and space, connecting the natural flow of ancient traditions with the most complex needs of today's audiences.
He has collaborated with some of the most important musicians from all over the world such as: Habil Aliev, Djamchid Chemirani, Omer Erdogdular, Munir Bashir, Kostas Mountakis, Nikos Xylouris, Huun Huur Tu, Stelios Foustalierakis, Dhruba Ghosh, Rakesh Chaurasia, Shubankar Bannerjee, Vassilis Soukas, Ballake Sissoko, Mehmet Erenler, Talip Ozkan, Matthew Barley, Hossein Omoumi, Mohammad Rahim Khushnawaz, Khaled & Hossein Arman, Necati Celik, Goksel Baktagir, Derya Turkan, Georgi Petrov, Naseer Shamma and many more.Apart from his intense concert activity in festivals all over the world with his group Labyrinth, which he established in 1982, Daly is particularly known for the creation and artistic direction of large multi-ethnic music groups with the participation of musicians coming from many different traditions and for his rich and impressive compositions and orchestrations that emerge from the collaborations of all these musicians. Some of the most well known projects of this nature are IRIS (Greece, India, Iran) and The White Dragon (Tuva, Iran, Greece).In Summer 2004 he was the artistic director of the cultural program of the Olympic Games for the Olympic city of Heraklion on the island of Crete, titled “Crete, Music Crossroads”. He organized and artistically supervised 15 concerts with the participation of 300 musicians from all over the world. Amongst others there were musicians of international fame as : Jordi Savall, Eduardo Niebla, Huun Huur Tu, Habil Aliev, Dhoad Gypsies of Rajasthan, Mohammad Rahim Khushnawaz, Trio Chemirani, Adel Selameh and many others.Since 2003 he is the artistic director of the Musical Workshop Labyrinth http://www.labyrinthmusic.gr/,
in the village of Houdetsi in the Heraklion province of Crete in Greece, where concerts, seminars and master classes are organized every summer. Each year hundreds of students from all continents arrive in Houdetsi in order to study with some of the most renowned teachers of traditional music. Also Ross Daly’s impressive collection of more than 200 instruments which he has collected over the years during his travelling is permanently on exhibition in the building of Labyrinth.
Ross Daly has performed in many important venues and festivals such as: Migration Festival, Taipei, Taiwan (2006), International Lute Festival, Tetouan, Morocco (2006), Madrid Summer Festival, Sabatini Gardens, Spain (2006), International Festival, Warsaw, Poland (2006), Manresa Festival , Barcelona,Spain (2006), Athens Concert Hall (1993, 2006), National Concert Hall, Dublin, Ireland(2005), Konzerthaus Mozart Saal, Vienna, Austria (2005), San Francisco World Music Festival, U.S.A (2005), State Theatre Company, Adelaide, Australia,(2005), Theatre de la Ville, Paris, France (1992-93, 2002,2003,2005), Festival de Saint Chartier, France(2003), Urkult Festival, Sweden(2003), Passionskirche, Berlin, Germany (1994,95,96),Rudolstadt Festival, Germany (2002), Aarhus, Denmark(1997), Huset theatre, Ahlborg, Denmark (1995-97),Copanhagen, Denmark (1995-97, 2003), Les Nuits Atypiques Festival, Langon, France (1995), Archaeological Museum, Madrid, Spain (1998-99, 2001), Festival of Murcia, Spain (1999), Cemal Resit Rey Conser Salonu, Istanbul, Τurkey (1997, 2005, 2006), Lycabbetus theatre, Athens (1987,91,93,98). Queen Elizabeth Hall, London, U.K (1998-2000-2), WDR, Munich, Germany (1999), WDR Wuppertal, Germany(1992), Belgium (2001),Luxemburg (1992, 1994), Nuremberg, Germany (1992, 2006), Frankfurt, Germany (1992), Epidaurus Theatre, Greece, Herodion Theatre, Greece and many others.
Today, Ross Daly continues travelling and performing in Greece and abroad whilst simultaneously directing the Musical Workshop "Labyrinth" in the village of Houdetsi on Crete.(http://www.labyrinthmusic.gr/)

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Τρίτη, 27 Νοεμβρίου 2007

τριπλό CD από την εταιρεία Libra, αφιερωμένο στον K. Γιαννουλόπουλο («In Free Fall: a Tribute to Costas Yianoulopoulos»).the universality of jazz


In Loving Memory Of Costas Yiannoulopoulos

"Think possitive"
.. Δεν Επιλεγω δηλαδη.. ποτέ δισκους οι οποιοι μου δημιουργουν Αρνητικα Συναισθηματα (απο συνεντευξη του)

αφιερωμενο εξαιρετικα ,
στην Μεγαλη - Μικρη Οικογενεια της Jazz στην Ελλαδα..

Η γνωστή φωνή ακούγεται: "Τα πρωινά όλου του κόσμου. Μια εκπομπή του Κώστα Γιαννουλόπουλου. Ένα ταξίδι στο διαφορετικό ήχο της μέρας". Η εκπομπή άρχισε. Το 'IN FREE FALL' είναι απλά μία ακόμη εκπομπή του Κώστα. Η LIBRA MUSIC αφιερώνει αυτή την παραγωγή της στον Κώστα Γιαννουλόπουλο, εκτιμώντας το σημαντικό έργο που προσέφερε στη μουσική. Οι κυριότεροι σταθμοί της πορείας του παρουσιάζονται στο βιβλίο που συνοδεύει το άλμπουμ και πλούσιο φωτογραφικό υλικό σκιαγραφεί το πορτρέτο του. Το μουσικό τοπίο του αφιερώματος είναι ευρύ: κλασική, σύγχρονη, jazz, fusion, ethnic και world μουσική. Μουσικοί και μουσικές του κόσμου δημιουργούν ένα πολύμορφο τοπίο συνεύρεσης και αποδεικνύουν αυτό που ο Γιαννουλόπουλος πάντα υποστήριζε, πως στη μουσική δεν μπορούν να τεθούν ταμπέλες και όρια.
Απο τον Αττικ,στον Γαννη Σπαρτακο,στοΓιωργο Μουζακη,στον Μανωλη Μικελη, στον Τιτο Καλλιρη, Στον Μιμη Πλεσσα, και απο εκει , στον Γερασιμο Λαβρανο, στον Γιωργο Μπαρακο με το θρυλικο Jazz Club στην Πλακα σε χρονους δισεκτους - χαλεπους, οχι ομως και για την δημιουγικοτητα τους.

Φορος Τιμης τους τεραστιους δρομους που ανοιξαν, κι αυτοι και αλλοι συννοδοιποροι της εποχης τους ,το Θρυλικο-Καναλι 1 του Ρουσσου Κουνδουρου,αλλα και αλλοι που ακολουθησαν και απο εκει στον Σακη Παπαδημητριου,στους Sphinx.. και τελος(?) στον Κωστα Γιαννουλοπουλο....

Εκδοσεις -βιβλια για την συγχρονη παγκοσμιοτητα της μουσικης ,συναυλιες στον Ορφεα, στο Παλλάς,στο θεατρο Λυκαβητου,PRAXIS JAZZ FESTIVAL,παραγωγες δισκων, και τελος ραδιοφωνο ,πολυ Ραδιοφωνο ! Κρατικο , Top Fm,Jazz Fm, Cool Fm...

Τιποτα δεν ειναι οπως πριν - τιποτα δεν αλλαξε..
'η μηπως αλλλαξε?
Ποιο Τελος?
Ο Αργος Θα περιμενει για παρα πολυ καιρο!
...Δεν Υπαρχει Τελος!!
..η Ιστορια συνεχιζεται ... Η Σπορα επεσε....
ραντεβου στο μελλον,για ενα καλυτερο παρον!
αφιερωμενο εξαιρετικα , στην Μεγαλη - Μικρη Οικογενεια της Jazz στην Ελλαδα..
In Loving Memory Of Costas Yiannoulopoulos

Ψηλός, ολίγον βαρύς, ο Kώστας έμοιαζε πάντα λίγο πιο ηλικιωμένος απ' ό,τι ήταν... Kι όμως είχαμε μόλις απολυθεί από τις αγκάλες της Mαμάς Πατρίδας.
«aκούς τζαζ;», με ρωτάει. Nαι, του λέω... «Nα τον αγοράσεις, είναι καλός», μου προτείνει. Eτσι άρχισε μια σχέση φιλική με τον δάσκαλο πολλών από εμάς, με τον οποίο απολαμβάναμε τη μαγεία της τζαζ, της Tέχνης του aυτοσχεδιασμού, με κάθε ευκαιρία. Δίσκο ή συναυλία. Tο μόνο που ο Kώστας, αυτήν του τη σχέση με τη μουσική την είχε αναγάγει από νωρίς σε επιστήμη. Oι ήχοι γι' αυτόν, περιείχαν το κοινωνικό πλαίσιο της δημιουργίας τους, την προσωπικότητα του δημιουργού τους, αλλά και τη διείσδυση στον ψυχισμό του αποδέκτη τους... Tα προσέγγιζε ολιγόλογα, εύστοχα, είτε στα γραπτά του είτε στις έξοχες ραδιοφωνικές του εκπομπές στον Top FM, στο Tρίτο, και, τελικά, στον κοινό μας στόχο: τον Jazz FM 102,4.

Μηνάς Αλεξιάδης, ANASTASIA, Ross Daly, Ανδρέας Γεωργίου, Hartmut Geerken, Βαγγέλης Κατσούλης, Γιώργος Μαγκλάρας, Kora Michaelian, Jemeel Moondoc, Famoudou Don Moye, Μιχάλης Νικολούδης, NOR DAR, Sun Ra, Salah Ragab, Θωμάς Σλιώμης, Βασίλης Σούκας - LABYRINTH, Κυριάκος Σφέτσας, Jon Tchicai, Omar Faruk Tekbilek, Arto Tuncboyaciyan, Λητώ Βογιατζόγλου, Haig Yazdjian.

‎14 Χρόνια χωρίς τον ΚΩΣΤΑ ΓΙΑΝΝΟΥΛΟΠΟΥΛΟ

_____ (1948 - 17 του Νοέμβρη του 1997) _____
(απο τον Ιλάν Σόλομων)
H στιγμή της γνωριμίας μας, στα μέσα της δεκαετίας του εβδομήντα, είχε στο επίκεντρό της -τι άλλο;- έναν δίσκο τζαζ.
Σ' ένα δισκάδικο της Aθήνας.
Ψηλός, ολίγον βαρύς, ο Kώστας έμοιαζε πάντα λίγο πιο ηλικιωμένος απ' ό,τιήταν. Kι όμως, είχαμε μόλις απολυθεί από τις αγκάλες της Mαμάς Πατρίδας.
«Aκούς τζαζ;», με ρωτάει. Nαι, του λέω... «Nα τον αγοράσεις, είναι καλός»,
μου προτείνει. Eτσι άρχισε μια σχέση φιλική με τον δάσκαλο πολλών από
εμάς, με τον οποίο απολαμβάναμε τη μαγεία της τζαζ, της Tέχνης του Aυτοσχεδιασμού, με κάθε ευκαιρία. Δίσκο ή συναυλία. Tο μόνο που ο Kώστας, αυτήν του τη σχέση με τη μουσική την είχε αναγάγει από νωρίς σε επιστήμη.

Oι ήχοι γι' αυτόν, περιείχαν το κοινωνικό πλαίσιο της δημιουργίας τους, την προσωπικότητα του δημιουργού τους, αλλά και τη διείσδυση στον ψυχισμό
του αποδέκτη τους... Tα προσέγγιζε ολιγόλογα, εύστοχα, είτε στα γραπτά
του είτε στις έξοχες ραδιοφωνικές του εκπομπές στον Top FM, στο Tρίτο,
και, τελικά, στον κοινό μας στόχο: Τον Jazz FM 102,4.

Mέχρι τη χρονιά της ίδρυσής του, ο Kώστας Γιαννουλόπουλος είχε διευθύνει
με μαεστρία το έντυπό του «παιδί». Tο περιοδικό «Jazz» κυκλοφορούσε,
ενώ ο «Oρφέας», το «Παλλιάς» ή το Θέατρο του Λυκαβηττού, φιλοξενούσαν
τις εμπνευσμένες συναυλιακές στιγμές του Φεστιβάλ «Πράξις» (Praxis).

Aποτέλεσε (μέχρι το 1986, που απηυδησμένος από την πολιτιστική πολιτική,
ο Γιαννουλόπουλος κήρυξε τη... λήξη του) τη μοναδική διοργάνωση που δεν
είχε τη λογική και την αισθητική της... «αρπαχτής».

Συγκροτήματα και μουσικοί που εκπροσωπούσαν κυρίως το παρόν της Tέχνης
του Aυτοσχεδιασμού, συναντιούνταν με το αθηναϊκό κοινό, που λίγα έως τότε ήξερε για την τζαζ.

H εποχή της ελεύθερης ραδιοφωνίας είχε φτάσει στο αποκορύφωμά της όταν,
το 1990, με δική του πρόταση, συναντηθήκαμε (μαζί με τους Λεωνίδα Aντωνόπουλο, Eλενα Γαβρεσέα, Kώστα Γεωργίου, Σπύρο Kατσιγιάννη, Zακ Σαμουήλ, Bασίλη Σταματίου, Σταύρο Μούτσελο κ.ά.) σ' ένα σκοτεινό μπιστρό του Kολωνακίου, στο οποίο ο Kώστας σύχναζε, για να συζητήσουμε την πιθανότητα ίδρυσης ενός ειδικού ραδιοφωνικού σταθμού με αντικείμενο την
τζαζ και τις άλλες μουσικές της «ψυχής». Kάτι που έως τότε έμοιαζε σαν ένα μεγάλο, απραγματοποίητο όνειρο. Oμως οι καιροί είχαν αλλάξει. Kαι το
«πείραμα» ξεκίνησε στις 11 Mαρτίου του 1991.

______________________ O JΑΖΖFM102,4 _______________________

Στη διάρκεια των πεντέμισι χρόνων που ο «μικρός» Jazz FM άντεξε την πίεση
των διαπλεκόμενων ερτζιανών ανταγωνιστών του, η 25άδα των παραγωγών
που δούλευαν με ενθουσιασμό, και, σχεδόν... μηδενικές αποδοχές, είχαν από
τον «Διευθυντή», τον Kώστα Γιαννουλόπουλο, τη δημιουργική εποπτεία, και
τη φιλική ανταλλαγή απόψεων και, ιδίως, πολύτιμων πληροφοριών για την
κοινή μας αγάπη, την τζαζ.

Hταν μια πραγματική εμπειρία να βρίσκεσαι με τον Γιαννουλόπουλο στα ράφια
ενός δισκοπωλείου. Σου κόστιζε κάτι παραπάνω, αλλά ήταν ανεκτίμητα τα
σχόλιά του, η κριτική του, το σκεπτικό του για τη μουσική, τους μουσικούς
και το ιστορικό πλαίσιο της εποχής της κάθε ηχογράφησης.

Σήμερα λείπει η ολόφρεσκη «πινελιά» του, είτε από τους «Hχοτονισμούς»
του στο περιοδικό «Hχος», είτε από την τακτική του σελίδα στα «Nέα» της Tετάρτης, στην οποία το αναγνωστικό κοινό έσπευδε να ανταποκριθεί, για
να γευτεί τις αισθητικές τάσεις της εποχής και τη διεισδυτική άποψη του Γιαννουλόπουλου γι' αυτές.

___________________ Tα «Πρωινά» του Tρίτου ___________________

O φίλος και δάσκαλος, μέσω της μουσικής του ανάλυσης, πραγμάτωνε ένα
σχεδόν ουτοπικό σχέδιο για το μέλλον της ανθρωπότητας. Tελευταίες στιγμές
της πολύτιμης επικοινωνίας του με το ευρύ κοινό, στο Tρίτο Πρόγραμμα,
το δικό του ουτοπικό πλάνο έπαιρνε σχήμα μέσα από το ονειρικό ερτζιανό
ταξίδι «Oλων των Πρωινών του Kόσμου» που ακουγόταν στις έντεκα το πρωί

Aκούω ακόμα τη βαθιά, διεισδυτική φωνή του και τους δίσκους που αγόρασα
μετά από δική του προτροπή...

IΛaN ΣOΛOMΩN Παραγωγός ραδιοφώνου*

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Σάββατο, 24 Νοεμβρίου 2007

Nick Drake - Bryter Later (1970 UK Island Rec.)

Birth name Nicholas Rodney Drake
Born June 19, 1948 Died November 25, 1974 Tanworth-in-Arden, England
Bryter Later Released November 1, 1970
Recorded Sound Techniques Studio, London
Label Island Records
Producer Joe Boyd

Nick Drake
Guitar (Acoustic), Guitar, Piano, Vocals

Robert Kirby Arranger, String Arrangements, Brass Arrangement, Bass Arrangement

P.P. Arnold Vocals, Vocals (bckgr) Patrick ArnoldVocals (bckgr)
John Cale Organ, Piano, Celeste, Cello, Harpsichord, Viola
Ed Carter Bass Lyn Dobson Flute Paul Harris Piano
Mike Kowalski Drums Dave Mattacks Drums
Chris McGregor Piano, Vocals Dave Pegg Bass
Richard Thompson Guitar Doris Troy Vocals, Vocals (bckgr)
Ray Warleigh Flute, Sax (Alto)

by Ned Raggett
With even more of the Fairport Convention crew helping him out — including bassist Dave Pegg and drummer Dave Mattacks along with, again, a bit of help from Richard Thompson — as well as John Cale and a variety of others, Drake tackled another excellent selection of songs on his second album. Demonstrating the abilities shown on Five Leaves Left didn't consist of a fluke,

Bryter Layter featured another set of exquisitely arranged and performed tunes, with producer Joe Boyd and orchestrator Robert Kirby reprising their roles from the earlier release. Starting with the elegant instrumental "Introduction," as lovely a mood-setting piece as one would want, Bryter Layter indulges in a more playful sound at many points, showing that Drake was far from being a constant king of depression. While his performances remain generally low-key and his voice quietly passionate, the arrangements and surrounding musicians add a considerable amount of pep, as on the jazzy groove of the lengthy "Poor Boy." The argument could be made that this contravenes the spirit of Drake's work, but it feels more like a calmer equivalent to the genre-sliding experiments of Van Morrison at around the same time. Numbers that retain a softer approach, like "At the Chime of a City Clock," still possess a gentle drive to them. Cale's additions unsurprisingly favor the classically trained side of his personality, with particularly brilliant results on "Northern Sky." As his performances on keyboards and celeste help set the atmosphere, Drake reaches for a perfectly artful reflection on loss and loneliness and succeeds wonderfully.

by Richie Unterberger
A singular talent who passed almost unnoticed during his brief lifetime, Nick Drake produced several albums of chilling, somber beauty. With hindsight, these have come to be recognized as peak achievements of both the British folk-rock scene and the entire rock singer/songwriter genre. Sometimes compared to Van Morrison, Drake in fact resembled Donovan much more in his breathy vocals, strong melodies, and the acoustic-based orchestral sweep of his arrangements. His was a much darker vision than Donovan's, however, with disturbing themes of melancholy, failed romance, mortality, and depression lurking just beneath, or even well above, the surface. Ironically, Drake has achieved a far greater stature in the decades following his death, with an avid cult following that grows by the year.Part of Drake's failure to attract a mass audience was attributable to his almost pathological reluctance to perform live. It was at a live show in Cambridge, however, that a member of Fairport Convention saw Drake perform, and recommended the singer to producer Joe Boyd. Boyd, already a linchpin of the British folk-rock scene as the producer for Fairport and the Incredible String Band, asked Drake for a tape, and was impressed enough to give the 20-year-old a contract in 1968.Drake's debut, Five Leaves Left (1969), was the first in a series of three equally impressive, and quite disparate, albums. With understated folk-rock backing (Pentangle bassist Danny Thompson plays bass on most of the cuts), Drake created a vaguely mysterious, haunting atmosphere, occasionally embellished by tasteful Baroque strings. His economic, even pithy, lyrics hinted at melancholy, yet any thoughts of despair were alleviated by the gorgeous, uplifting melodies and Drake's calm, measured vocals. Bryter Later (1970) was perhaps his most upbeat effort, featuring support from members of Fairport Convention, and traces of jazz in the arrangements.

On some cuts, the singer/songwriter, remarkably, dispensed with lyrics altogether, offering only gorgeous, orchestrated instrumental miniatures that stood well on their own.Neither album sold well, and Drake, already a brooding loner, plunged into serious depression that often found him unable to make music, work, or even walk and talk. He managed to produce one final full-length work, Pink Moon (1972), a desolate solo acoustic album that ranks as one of the most naked and bleak statements in all of rock. He did record a few more songs before his death, but no more albums were completed, although the final sessions (along with some other fine unreleased material) surfaced on the posthumous compilation Time of No Reply.Drake's final couple of years were marked by increasing psychiatric difficulties, which found him hospitalized at one point for several weeks. He had rarely played live during his days as a recording artist, and at one point declared his intention never to record again, although he wished to continue to write songs for others. (It's been reported that French chanteuse Françoise Hardy recorded some of Drake's songs, but she hasn't released any.) On November 26, 1974, he died in his parents' home from an overdose of antidepressant medication; suicide has been speculated, although some of his family and friends dispute this.In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose aliena
Nick Drake's Lyrics
For More Information See Here & Here
Tanworth In Arden Nick Drake's Hometown

And Now We Rise, And We Are Everywhere

Nick Drake - A Skin Too Few (Documentary)


I never felt magic crazy as this
I never saw moons knew the meaning of the sea
I never held emotion in the palm of my hand
Or felt sweet breezes in the top of a tree
But now you're here
Brighten my northern sky.
I've been a long time that I'm waiting
Been a long that I'm blown
I've been a long time that I've wandered
Through the people I have known
Oh, if you would and you could
Straighten my new mind's eye.
Would you love me for my money
Would you love me for my head
Would you love me through the winter
Would you love me 'til I'm dead
Oh, if you would and you could
Come blow your horn on high.
I never felt magic crazy as this
I never saw moons knew the meaning of the sea
I never held emotion in the palm of my hand
Or felt sweet breezes in the top of a tree
But now you're here
Brighten my northern sky.


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