segunda-feira, 24 de abril de 2017
Maria Ana Bobone is unanimously recognized as one of the best of her generation's fadistas. She sings it and she does it in a distinct way: in the tradition of all the great voices. Maria Ana Bobone started singing Fado at age 16, after completing courses in both Piano and Singing at the National Conservatory of Music. Her debut album entitled "Alma Nova", performed in partnership with two other singers, would set the beginning of a brilliant career. he qualities and enormous talent of Maria Ana Bobone led her to make various incursions in other musical projects, constantly engaging in successful partnerships. It were those same qualities that led her to gather around her prestigious guitarists as Ricardo Rocha and Pedro Caldeira Cabral, each contributing with the uniqueness and beauty of their own compositions that reached, in the voice of Maria Ana Bobone, the pursued sonority of it's creators.
From Magal's Archives
domingo, 23 de abril de 2017
Maestrina, multi-instrumentista é muito pouco para falar de Aurea Regina, aqui ela faz parte do nosso quadro que é profissional da gaita, o que demonstra de fato ser ( das melhores ). Aproveitando o mes das mulheres, para homenagear ela que não deixa nada a dever aos nossos harmonicistas (homens). Um dos trabalhos que escolhemos aqui foi aproveitar o filme Buena Sorte em que toca 2 musicas (com gaita, tem participação com outros instrumentos) mais 2 musicas ao vivo, alem de outros trabalhos seu tocando gaita.
01. Soundtrack Buena Sorte - My uai
02. Soundtrack Buena Sorte - Tema do Zorro
03. A Rã (ao vivo)
04. Canta Loucura (ao vivo)
06. Groove Dreams
07. Love song
08. Mother Child
09. O Arvoredo
10. Pedal Blues
11. Wild Dance
Considerado uma das autoridades no mundo quando o assunto é gaita diatônica, o harmonicista norte-americano Joe Filisko é também um dos melhores customizadores/luthiers de gaitas do mundo, com um trabalho que afeta a maneira de tocar e trabalhar dos músicos e fabricantes. O músico, que já tocou em quatro continentes e participou de diversos documentários sobre o instrumento, domina vários estilos de blues, ora tocando a gaita acusticamente tirando sons dos mais variados, ora utilizando-se de um amplificador valvulado, emulando com perfeição os sons de mestres do blues elétrico de Chicago como Big Walter Horton, James Cotton e Little Walter.O músico se destaca por resgatar a sonoridade dos anos 1930 e 1940, pouco explorada pelos músicos contemporâneos, uma espécie de arte perdida de se tocar gaita.
01 - I.C. Special
02 - Gridlock Blues
03 - Now She's Gone
04 - Me & Sonny
05 - Angry Woman
06 - Good Friend
07 - Too Much Whiskey
08 - Girl O' MIne
09 - Made Me Lonesome
10 - Busy Man
11 - Leadfoot Stomp
12 - Jaybird Moan
13 - Head on Outta Here
14 - Stranded
15 - No One Gets...
sábado, 22 de abril de 2017
A Go Graal Blues Band faz a sua aparição em 1975, integrando João Allain (guitarra), Artur Paes (baixo), Zito (bateria), Tony Sousa (guitarra) e José Carlos Cordeiro (voz) e definiam-se como um grupo que se dedicava a tocar e a cantar blues. Após várias experiências a formação estabiliza com Paulo Gonzo (voz e harmónica), João Allain (guitarra solo), Raúl Barrigas dos Anjos (bateria), Augusto Mayer (harmónica), António Ferro (baixo), João Esteves (guitarra) e José Carlos Cordeiro (voz principal). Em 1979 assinam contracto com a Imavox e lançam, ainda nesse ano, Go Graal Blues Band, o seu primeiro LP, onde o grupo assume totalmente uma postura dedicada ao blues eléctrico, notório em temas como "Baby, I Wanna…", "The Fault Is Her Own" e "The Last One". Nesse ano entra Tó Andrade para o lugar de baixista. A 22 de Setembro, a convite de José Nuno Martins realizam o primeiro concerto com raios laser no Instituto Superior de Agronomia. Este concerto foi transmitido em directo pela RTP 1 e consta dos arquivos da RTP.
Em 1980 lançam o single "They Send Me Away", apresentando um som mais rock, muito próximo do estilo dos Dr. Feelgood. O apresentador do programa Rock Em Stock, Luís Filipe Barros, produz o single "Lay Down", vindo este a atingir o primeiro lugar do Top no Rock Em Stock.
Em 1982 é lançado o segundo LP da banda, "White Traffic". Da formação original já só restam Paulo Gonzo e João Allain. O baixo está a cargo de Fernando Delaere e a bateria de Hippo Birdie. Deste LP fazem parte temas como "N'Roll", "Lonely" e "Guetto Drunk". A evolução musical do grupo é notória e o sucesso mede-se não tanto pelas vendas de discos, mas sim pelo número de espectáculos.
Divergências internas quanto à autoria dos temas levam à saída de Delaere e Birdie que vão para os Roxigénio e novos membros são recrutados. Entra para a bateria Mário Pereira (Márito) e Henrique Leite fica encarregue do baixo. É editado o Mini-LP "Blackmail" onde se podem escutar temas de blues/rock como "Champagne All Night", "Love Fashion" e "Midnight Killer".
Em 1984 é editado o Máxi-Single Dirty Brown City com temas como "Dirty Brown City", "Fast Flirt" e "Wild Beat Blues". Nesse ano dá-se a reentrada de Tó Andrade para o baixo, a convite de João Allain.
Em 1987,é lançado o último álbum da banda, "So Down Train", com uma sonoridade mais amadurecida mas longe do sucesso de outras épocas. O último disco da Go Graal traz-nos temas como "They Don't Give A Damn", "A Little Bit" ou "City Lights".
Após o lançamento desse LP, Paulo Gonzo abandona a banda para se lançar numa carreira a solo. É substituído por João Melo, passando a banda a ser constituida por João Melo, João Allain, Tó Andrade, Leonel Cardoso (sax), Fernando Costa (teclas) e Chico Cardoso (bateria). Após cerca de seis meses, regressa Mário Pereira à bateria e o 1º cantor José Carlos Cordeiro.
Devido ao fracasso comercial do LP "So Down Train", reflectindo-se na diminuição do número de espectáculos, o grupo toma a decisão de se dissolver, levando, no ano de 1989, à extinção de um dos grupos mais marcantes de blues/rock em Portugal. Tiveram uma carreira recheada de espectáculos, onde se destacam a primeira parte do espectáculo dos The Shirts em Lagos, a 1ª parte de Jan Akkerman no Dramático de Cascais, a 1ª parte da Blues Band no Coliseu e um concerto memorável no Coliseu de Lisboa como cabeça de cartaz.
Direto dos arquivos do Magal
sexta-feira, 21 de abril de 2017
Aragon biography (http://www.progarchives.com/artist.asp?id=25)
Before listening the music of the Australian band ARAGON, I took my time reading all the info available, and the information provided is not very good, comments go from they suck (specially directed towards John Poloyannis in the guitars) but being that I'm part of the Neo Prog Team and having to make a new bio for this band I tried their music.
The truth is that they were always pretty good, but their orientation was hardly Prog until their surprisingly strong last album, I believe they were in the borderline that divides Neo Prog from Prog Related, with clear MARILLION influence and RUSH luike vocals, but of course oriented towards the softer and more commercial side, also you can get some Yes sounds similar to the 90125 era and three men Genesis touch.
So my conclusion is that they were always good but not too Prog oriented, but most of the people who talk about them, haven't heard their last album, which is a pity, because they are loosing the opportunity to listen very good Prog.
ARAGON could be called a subsidiary of the United Nations because Scottish-born Les Dougan (Vocals), Italian-born Tony Italia (Drums), German-born Tom Behrsing (keyboards) and Greek-born John Poloyannis (guitar), joined forces in Melbourne Australia to form ARAGON on 1987, the four guys with the help of Ron Bacon in the bass, release their debut album "Don't Bring the Rain" in 1990, mainly inspired in MARILLION and 80's GENESIS but very mainstream oriented.
Until 1998 they manage to release 5 albums and keep the same lineup withourt radical musical changes, but after the release of "Mister Angel" they seem to vanish in the air as many bands who never found their own identity.
The surprise is that in the year 2005 the band reappears as a trio formed by John Poloyannis (guitar, bass, keyboards, percussion) Les Dougan (vocals, drums, percussion) and Tom Behrsing (keyboards), this time with a stronger sound and definitely more oriented towards Prog, seems the Sabbatical made good effect on them, because sounds almost as a different band with many similarities to early MARILLION but a unique touch.
According to their website, we must expect more of them and if the new stuff is like the latest album, we can only wait with great hope, because they have reached maturity and an own unique sound.
Iván Melgar Morey - Perú
Cosmos biography (http://www.progarchives.com/artist.asp?id=4485)
Swiss outfit COSMOS can trace it's roots back to 1990, when Reto Iseli (drums, vocals) formed his first band, at that time called Glacier Eagles. Late in 1993 they decided that Cosmos was a better sounding and describing name for their Pink Floyd influenced musical ventures, and the following year saw them release their debut album The Deciding Moments of Your Life.
The album was met with a fairly good reception; and for the next few years Cosmos enjoyed a fair degree of success in their native country with live shows combining their own original material with Pink Floyd covers. However, in 1998 internal tensions saw to it that the band broke up.
Come 2003 and a solo project started by Heiko Garrn (bass) and Olivier Maier (guitars) invited Iseli to join them; and with the addition of Silvia Thierstein (vocals) and Daniel Eggenberger (keyboards) it was decided to scrap the solo project, and to revive Cosmos again.
From Magal Files
Discipline biography (http://www.progarchives.com/artist.asp?id=82)
DISCIPLINE is one of those rare cases of obscurity combined with reverence. Much like Änglagård was the Swedish phenomenon, DISCIPLINE was the U.S. counterpart. They are bands that released two highly praised studio albums in the '90s, and then disappeared. The ensuing passage of time allowed them to become legendary. The most obvious difference from Änglagård being that the DISCIPLINE albums are still readily available.
Even though they did not have an official release until 1993, the band had been around since 1987. Guitarist John Preston Bouda, drummer Paul Dzendzel, bass player Mathew Kennedy, and singer/multi-instumentalist Matthew Parmenter began in a place that is not usually considered fertile ground for prog. When one thinks of Detroit (Michigan) music, it usually conjures images of Motown, Ted Nugent, or Iggy Pop. I lived in the area in 1987, and I can tell you that I was not looking for the next best thing to Marillion to emerge in my neck of the woods. However, they took the bull by the horns, and created a loyal following in the Detroit area. It wasn't just the challenging music that drew fans. The live shows harkened back to Gabriel-era Genesis. Matthew Parmenter changed costumes for each song, and wore his now trademark mime makeup. This led to his nick name, The Magic Acid Mime. They had no recording contract, but their cassette tapes were very well received.
In 1993 Discipline recorded their first proper album, "Push & Profit." It wasn't exactly a smash, but it was a critical success. A supporting tour in Norway also proved that they had moved far beyond local hero status. To get proper albums out there, they created their own independent label. DISCIPLINE, and Matthew Parmenter, are the only artists on Strung Out Records. "Push and Profit" was not your typical Neo fare. They took cues from many different areas of the prog realm. Where lesser bands using this approach might seem unfocused, DISCIPLINE blended it together as if this is the way it is supposed to be done.
1997 saw the release of the much-heralded "Unfolded Like a Staircase." Most (if not all) of the whimsy found on the debut was gone. This was a much darker album, and consisted of four long tracks. For this album, a Peter Hammill influence was very much in the forefront. That did not deter the fans, and it solidified what was to become their legendary status.
Although the studio albums were spaced out over four years, that did not mean these guys didn't keep busy. They toured often, and played ProgDay for five consecutive years. Parmenter also appeared as a guest on other artists' albums. However, by the end of the decade, it was over. Mathew Kennedy joined Parmenter's nephew in Eyestrings, and Matthew Parmenter focused on a solo career. He released his first solo album, "Astray," in 2005. The only other musician appearing on the album was Mathew Kennedy, so it wasn't that far from home. DISCIPLINE was not completely out of sight before this either. There were a series of live recordings released between 2000 and 2005.
So, that brings us to 2008. Just when you thought it would never happen, DISCIPLINE is reforming. The band was booked to play NEARfest 2008, and is doing a small gig on their home turf, with fellow Detroit proggers Tiles. At this time, these are the only dates scheduled. We can only hope it will lead to a full reunion, and new music.
H.T. Riekels (bhikkhu)
quinta-feira, 20 de abril de 2017
Vocalist, Hammond B 3 specialist and educator, Adrienne Fenemor unveils a tasteful musical treat with the dynamic Mo' Puddin' presenting an explosive session of organ-based music offering a selection of six originals and three standards full of swing and swagger. A New York-based performer and educator since moving to the USA in 2008, Fenemor was born and raised in New Zealand and hailed from a musical family. With no jazz organ players in the country, in 2003 she imported a Hammond B 3 organ and taught herself how to play it. Inspired by the great Jimmy Smith, Richard "Groove" Holmes, Jack McDuff and Joey DeFrancesco, she studied and copied their styles.
Having performed professionally prior to her move to the states, Fenemor has several other recordings she made for the Asian market and one in New Zealand. Those previous albums featured Fenemor on the vocals and piano while this date, is her very first instrumental album performing on the organ only. For this recording the leader chose to use a trio format with Willie Jones III on the drums and the great Peter Bernstein rounding out the rhythms on the guitar.
The title track and first original, kicks off the program with the inevitable call-and-response between her and the guitarist establishing the template for the date. After the swinging "Minor Mixup," which features both Bernstein and Fenemor on a quick-paced, powerful performances, the infectious bluesy standard from Jimmy Smith, "Back at the Chicken Shack" takes on a whole new life with a propulsive rendition by the trio.
Fenemor show us a bit of her soft side on the beautiful original ballad "Lovers Embrace" performed slow and gentle with Bernstein also weighing in with delicate guitar work as the leader takes and keeps center stage on this track. The organist's affinity for the music of Smith is confirmed here with another version of the legend's classic "The Boss," in able hands here as the lady kicks back and delivers a burner.
The music finalizes on two amazing performances first, on the high-energy original "Caribbean Day Dream" then percolates and finally explodes on the oft-recorded Bobby Timmons finale tune "Moanin,'" where Fenemor is at her best sounding much like Joey DeFrancesco on a steamy solo performance. Adrienne Fenemor is a surprisingly gifted musician with one very sweet sugar-high treat on Mo' Puddin', offering delicious swinging organ-based grooves sure to resonate with aficionados and audiences everywhere.
Track Listing: Mo' Puddin'; Minor Mixup; Back at the Chicken Shack; Old Yeller; Lovers Embrace; The Boss; Sunday Sermon; Caribbean Day Dream; Moanin'.
Personnel: Adrienne Fenemor: Hammond B 3 organ; Peter Bernstein: guitar; Willie Jones III: drums.
Year Released: 2016 | Record Label: Self Produced | Style: Straight-ahead/Mainstream