JJ Grey and Mofro - Live ( Alligator Records )

"JJ Grey and his band Mofro stir up a Southern storm of soulful grooves. They deliver simmering, funky and propulsive Southern R&B with a rock edge."
 -The New Yorker  
 "A balance of wildness and cool. Southern swamp rock with undercurrents of Memphis soul…his songs chronicle ambiguous truths and unambiguous urges."
–The New York Times 
“World-beating blend of Southern rock, blues and Florida swamp soul”
–Billboard
“Understated elegance...soulful and funky”
–Paste
“Warm and organic, with blasts of hard-edged rock, Memphis soul and gutbucket blues.”
–Philadelphia Inquirer
“Makes an immediate impact with every track dipping back into the swamp for inspiration” 
–Mojo 

Durante il Top Audio ho consigliato a tutti coloro che mi chiedevano un cd blues quello di JJ Grey.  Il motivo lo potrete scoprire anche voi che state a casa ascoltando il suo nuovo cd "live". Un Mix di Southern Rock e Blues ti invadono sin dal primo attacco, l'armonica vibra forte e la voce non delude, anzi , è carismatica. Il "ragazzo" di Jacksonville, Florida, ci sa veramente fare..... gli album dal studio avevano gia' messo in evidenza il suo grande talento ma quest'ultimo lavoro live ti trascina dentro la sua musica. Tra l'altro bella operazione dell'Alligator che ha deciso di accoppiare al cd un dvd in altra definzioen e multicanale 5.1 surround la storia musicale di questo bluesman. Nel dvd, come nei piu' claccici rockumentari, i pezzi live sono alternati da interviste a JJ che prende l'occasione per farci entrare in quel territorio che tanto ha influenzato la sua musica. Inoltre, anticipando il New York Times di qualche giorno, abbiamo indicato questo cd di JJ Grey come una delle uscite piu' belle di questo autunno..... e il famoso quotidiano newyorkese ha ribadito il fatto anteponendo questo cd addirittura a quello di Marsalis - Clapton.... che dire.... lunga vita al Blues, lunga vita al Southern Rock !!!!
Per ascotare in anteprima il cd ( in bassa risoluzione ) clicca qui

http://primoascolto.blogspot.com/

Hans Theessink : Jedermann Remixed

Come tutti sapranno il festival di Salisburgo è uno dei piu' imporanti festival per gli amanti della musica operistica e lirica. Si tiene ogni anni nella citta' che diede i natali ad uno dei piu' grandi geni della musica europea ossia Mozart ed è seguito da tantissime persone, un vero e proprio evento nazionale, con i giovani nella piazze a farla da padrona. Ed è proprio in questo contesto, che nel 1920, quando forse nessuno ancora capiva cosa sarebbe successo, venne presentato sul palco princiapale di quel festival lo Jedermann, divenuto da allora uno dei momenti piu' importanti e piu' seguiti dell'intero festival ( clicca qui x maggiori info Jedermann ). Si tratta della rappresentazione di una novella dove l'uomo , ( rappresentato dal ricco Jedermann ), Dio e la Morte si impersonificano e ci accompagnano durante il nostro ultimo giorno per farci prendere consapevolezza di quanto e come abbiamo vissuto. Da questa rappresentazione è stato tratto un film e la colonna sonora scelta per rappresentare questo viaggio esistenziale è la musica che piu' di ogni altra si adatta con l'anima : l'essenzialita' del Blues. E chi in Austria avrebbero potuto chiamare per un simile progetto se non il nostro Hans Theessink ? Per l'occasione Theessink ripercorre la storia del blues "moderno", quello post bellico per intenderci, affiancando a sue composizione originali brani di Bo Diddley, Tom Waits, Hank Williams, Ray Charles, Johnny Cash fino agli Stones della coppia Jagger/Richards. Classici e composizini originali vengono rielaborate e presentate in una versione essernziale dove a farla da padrona sono la voce e la chitarra semiacustica del nostro.

Dutch morality play Elckerlyc was written in the late 15th-century and may well have been the original source for the English play Everyman. In 1911 Hugo von Hofmannsthal adapted Everyman as Jedermann, and since 1920 Jedermann has been performed every year on the steps of the Cathedral in Salzburg as part of the Salzburger Festspiele. The open-air performances have been one of the highlights of the Festival season ever since. Throughout the years many famous German language actors/actresses have been part of Jedermann in Salz burg. Actors playing Jedermann include Attila Hörbiger, Will Quadflieg, Curd Jürgens, Maximilian Schell, Klaus Maria Brandauer, Helmut Lohner, Gert Voss, Peter Simonischek and Nicholas Ofczarek. His famous “mistresses” (Buhlschaft) include Christiane Hörbiger, Senta Berger, Sunnyi Melles, Veronica Ferres and Birgit Minichmayr ...

Based on Everyman and enhanced with dramatic modern adaptations, Jedermann presents God, Death, the Devil and other abstract beings as personifications. The rich Jedermann is faced by unexpected Death, calling him to his judgment. Allowed company on his final journey, he is deserted by his loyal servant, his friends and his money; the figures of Good Works and Faith help him repent and save his soul before he is lowered into his grave.

In 2011 the Austrian Broadcasting Corporation ORF commissioned film director Hannes Rossacher to produce the film “Jedermann Remixed” to commemorate the success-story of 90 years Jedermann phenomenon in Salzburg. Rossacher used archive footage from 9 decades to put together a cultural historic puzzle and create a unique performance of Jedermann that has not been seen in this form before. ORF and Hannes Rossacher asked me to produce the soundtrack for the film and we selected the songs that would fit the themes and scenes.

Besides several Theessink originals we recorded songs by many legendary songwriters: from Bo Diddley to Tom Waits, Hank Williams to Ray Charles, Johnny Cash to Rolling Stones Jagger/Richards. We also struck gold with some tradi tional songs that have been handed down through time.

For me it was a wonderful challenge to create this soundtrack to support the images of the film.

I‘ve tried to reduce the arrangements to the basic essentials; sometimes just one guitar-one voice.

It‘s the nature of film music that only certain passages of the songs are used where the film needs it. Still we recorded the songs in their full length; resulting in “Jedermann remixed” the soundtrack.

Granà Louise - Gettin' Kinda Rough !

Internationally recognized Graná Louise has delighted countless music fans around the world with her outstanding blues performances. Her deep, rich voice belts out the kind of raw, gut blues that makes your spine tingle and heart ache. Graná performs at Chicago's hottest blues clubs including Blue Chicago, Buddy Guy's Legends, B.L.U.E.S and The Kingston Mines. She has been a repeat featured act at the Chicago Blues Fest, performing both blues and gospel. Graná has rocked the house at the acclaimed Apollo Theater in New York and festivals from Detroit to Mexico, Reykjavik to the French Riviera, Italy, Austria, Switzerland, Latvia, Germany, Brazil and beyond. Getting' Kinda Rough! combines studio and live recordings, brand new original songs and covers that have been personalized so as to make them her own.

Magic Sam Blues Band - West Side Soul

One of the greatest blues albums of all time, West Side Soul was chosen by Living Blues magazine as one of it's top ten Desert Island Blues Discs. The new Digipak case contains previously unissued photos and 1960s pluggers (promoting west side gigs) from the private collection of Bill Lindemann. The source material for the CD is the original 1967 analog stereo mix by Stu Black who recorded many of Delmark's classic 1960s blues and jazz recordings. With Mighty Joe Young, guitar; Stockholm Slim, piano; Earnest Johnson or Mac Thompson, bass; Odie Payne Jr. or Odie Payne III, drums. 12 songs include That's All I Need, I Need You So Bad, Feelin' Good, All Your Love, Don't Want No Woman, Sweet Home Chicago and more

ALLIGATOR BOX: 40 ANNI DI “GENUINE HOUSEROCKIN’ MUSIC”

Quella che a prima vista potrebbe sembrare l'ennesima compilation economica in realta' è un lavoro di ricordi, di confronto e di verifica che l'Alligator, nata a Chicago nel 1971, vuole fare con i suoi fans per riflettere insieme sui suoi primi 40 anni di storia. Per i piu' appassionati sara' sicuramente una grande gioia poter riascoltare brani che hanno fatto da colonna sonora per oltre meta' della nostra vita. Ma questa compilation si rivolge soprattutto alle nuove generazioni che vogliono accostarsi seriamente a questo genere che tanto ha dato alla musica moderna. Ecco allora a voi questo doppio cd di Chicago blues, 38 brani e 157 minuti di musica dove sara' possibile ascoltare il blues piu' puro ma anche “roots-rock”, o “rockabilly” , “porch soul”,“gospel” e tutti quei generi musicali accomunati dalla medesima matrice : Il Blues !!!!

- Alligator Records – 40th Anniversary DeLuxe edition di 2cd, 38 brani, 157 minuti di musica. Feat. Hound Dog Taylor, Steve Ray Vaughan, Roy Buchanaan, Johnny Winter, Holmes Brothers. Eric Lindell, James Cotton, Shemekia Copeland, Albert Collins, e molti dei maggiori artisti Alligator!

You could say that Alligator Records was born in January, 1970, at a little neighborhood bar called Florence’s Lounge on Chicago’s South Side. On a Sunday afternoon, a blues fan newly arrived in the city dropped in to check out a gig by a tall, gangly guitarist that everyone called “Dog.” When I stepped into the crowded little club packed with dancing, drinking, laughing patrons, I was overwhelmed by joyful, raw and energized electric boogie blues. Hound Dog Taylor, perched on a folding chair with a steel slide on the fifth of his six fingers, was pouring out piercing, distorted licks and chords on a cheap Japanese guitar and singing in a high, cracking true bluesman’s voice. He was accompanied only by a broken-toothed second guitarist named Brewer Phillips, playing ever-changing bass lines on an old Fender Telecaster, and a gum-chewing drummer named Ted Harvey who propelled every song forward, picking up the tempo on his minimalist kit, and making it impossible to keep from dancing. It was simply the happiest music I ever heard, and I knew it had to be recorded.

I spent the next year and a half learning everything I could about making and selling records from my boss and mentor, Bob Koester of Delmark Records. Finally, in May of 1971, I was ready to take this amazing little band into the studio. I wanted to capture the spirit of Florence’s Lounge on tape, for all the world to hear. And fueled by a sufficient amount of Canadian Club and the encouragement of my co-producer Wesley Race, they delivered just that spirit. They fulfilled my dream, and started another one—now I wanted to record the other wonderful bands I was hearing every night in the little blues bars on the South and West Sides of Chicago, musicians like Koko Taylor and Fenton Robinson and Carey Bell and Son Seals. And soon, the dream expanded to recording blues musicians from all across the country, legendary artists like Albert Collins and Professor Longhair and Gatemouth Brown and Johnny Otis, and talented newcomers like Shemekia Copeland and Corey Harris.

When I created Alligator Records, the very first promo piece to promote that very first Hound Dog Taylor album was headed “Genuine Houserockin’ Music.” That became our slogan, and we wear it proudly today. “Genuine” because the music we record is deeply rooted in the blues tradition (even when it pushes the standard definition of blues) and is created by musicians who have honed their songs not on synthesizers in their bedrooms, but in front of real audiences, responding to the emotional needs of their listeners. “House” instead of “theatre” or “arena” or “stadium,” because our music is ultimately intimate, even when it’s big and loud. It’s not meant to be presented. It’s meant to be shared between the musicians and the audience, like everyone at Florence’s shared the music with Hound Dog Taylor. And “Rockin’” because it’s designed to move you. Most of Alligator’s records will move your feet or your body, but we’ve tried to make records that will move that other part of you—your soul. Sometimes that can mean music that cleanses your inner pain by pulling it out of you, the “hurts so good” that is so special to the blues. And sometimes it just means the pure release and fun of musicians pouring their energy into a great groove.

Over the forty years, our definition of “Genuine Houserockin’ Music” has expanded to include not only pure blues artists, but also musicians and songwriters who have taken the spirit of the blues and created their own sounds and styles, sometimes called roots rock or rockabilly or front porch soul or, in a few cases, gospel, the ultimate soul-rockin’ music. But our mission has remained the same—to record honest, blues-infused music that moves the feet and soothes the soul, and hopefully makes you feel as good as a Sunday afternoon at Florence’s Lounge.

– Bruce Iglauer ( fondatore dell'Alligator )

Damon Fowler – Devil Got His Way

Grazie a casa Blind Pig, ritorna questo chitarrista di Tampa, Florida, che ha lasciato un segno quanto nel pubblico del rock quanto in quello del blues. Una conferma a livello nazionale ed internazionale per un’autentica promessa dello slide-guitar sound di matrice rock-blues accostato dalla stampa specializzata a personaggi del calibro di Johnny Winter, Jeff Beck e Duane Allman ossia puro Southern rock, swamp blues and lightning slide

Fowler's guitar work has been compared to Johnny Winter and Jeff Beck, while his slide guitar has a hint of the late Duane Allman. He can play fiery guitar runs with the best of them, but it's his lyrical work on lap steel and Dobro that makes him stand out among the legions of guitar heroes.
On Devil Got His Way, Damon fulfills the tremendous potential that his acclaimed Blind Pig debut, Sugar Shack, promised. His remarkable songwriting skills and vocal expressiveness are maturing, and his instrumental voice, by turns incendiary and deeply lyrical, is even stronger. Damon and his band have been touring extensively since the release of Sugar Shack, and there is quite a buzz already about this release.

"Make way for the next big-time guitar slinger, wire-walking Tampa, Fla., native Damon Fowler. This kid can play... Even better, he shows no need to kill you with pyrotechnics on his major-label debut for San Francisco's Blind Pig." -Chicago Sun Times

"After three self-released albums, Florida native Damon Fowler makes his Blind Pig debut with this notable project. Fowler oscillates between country, electric blues and Americana. He's a formidable slide guitar player... He has also mastered lap steel and dobro as well as electric guitar, and his playing throughout the album is deft. Indeed, Fowler may be so skillful that he prefers pickin' tasty to larger-than-life guitar heroics. Fowler wrote nine of the 12 tunes on the album, and his original material is solid. Billboard

"Sugar Shack is lean and slinky, powered by Fowler's exceptional work on electric guitar, slide, Dobro and lap steel...On Sugar Shack, Fowler is first-rate all the way." - Orlando Sentinel

"In the Blues world - or any other genre, for that matter--the complete package is hard to come by...to combine facile fervor on a Tele, a lap-steel, and a flattop with a truly compelling vocal style and soulful songwriting -- that's something rare in an artist of any age. It's even more impressive when such maturity and authenticity come from a 25-year-old like Damon Fowler." - Guitar Player

Aaron Neville - I Know I've Been Changed

When the storm of life is raging Lord

Stand by me

When this old world is tossing me like a ship on a raging sea

Will thou, Mary’s baby…Shelter in the time of storm…

Stand by me.

—–Charles A. Tindley




In his opening notes on I Know I’ve Been Changed, the artist known to millions of devoted fans worldwide as Aaron Neville stands before the microphone not as a musical legend, but as an ordinary man appealing to an eternal God. His signature vibrato rises and dips in a musical prayer full of passion, utterly sincere.

It is perhaps the most powerful moment on a uniquely moving album—his first gospel recording since Hurricane Katrina ripped through the city he cherished, destroying his personal home, and forever altering so much of the life he knew.

Despite that tragic backdrop, the project plays not as a mournful reflection, but rather as a hopeful celebration of the three things that have shaped Aaron Neville most of all—his hometown, his music and his faith.

In grand New Orleans style, I Know I’ve Been Changed celebrates Aaron Neville’s 50th year in recorded music. The album brings the artist’s career full circle, returning him to the music he loved first—gospel music—and reuniting him with Allen Toussaint, the legendary songwriter, musician and producer who produced Aaron’s first recording session in 1960.

Toussaint, who grew up in a nearby New Orleans neighborhood and attended the same school as the Neville brothers, has been a frequent collaborator with Aaron over the years. “Aaron gives the song, the arts, the fullness of his heart and soul every time,” Toussaint says. “He has always been that way. It’s good to know that when something is that good, it’s good forever—the velvet voice of Aaron Neville.”

Producer Joe Henry and Neville recorded I Know I’ve Been Changed over a period of five days, using a stripped-down production approach to showcase the strength of the twelve handpicked songs, as well as the beauty of Neville’s unmistakable vocals.

In true old-school fashion, the musicians played along with Neville’s vocals in-studio to capture the feel of a live set. Arranging and recording such a large amount of material over such a short period, required masterful focus and teamwork. “When I go to the gym, I go to work out. When I go to church, I go to pray.When I go to the studio, I go to sing,” Neville explains.

To handle the challenge of that level of performance, the producer assembled some of the top players. “I call them hard hitters at the bat,” Neville says. “With them playing, there weren’t too many mistakes.”

After four days of working on the instrumentation and lead vocals, Neville pulled together a group of singers who had worked with him on tour and in-studio for many years. They followed Aaron’s vibe, creating classic background arrangements to match the era in which most of the songs were originally recorded.

“It was like a labor of love for everybody. They loved all the songs and they put their all into it,” Neville explains. “It was a fun album, working with those guys.”

Over the past five decades, the indelible spirit of New Orleans has been synonymous with the musical dynasty known as the Neville Brothers. For Aaron Neville the solo artist, there is an equally intimate connection between his music and the faith that has sustained him for his entire life. Through challenge and tragedy, he’s managed to thrive, protecting both his heart and his voice. Ask him how and he says simply this: “He who sings once, prays twice.”

“My Momma, Amelia Landry Neville, always taught the golden rule to us—to treat others as we would like to be treated,” he shares. “One of her favorite sayings was this: ‘I’ll only pass this way once.Therefore any goodness or kindness I can show let me do it now. Let me not defer or neglect it, for I shall not pass this way again.’”

That perspective served him well in the months after Hurricane Katrina. “Right after the storm we’d go places to perform and run into displaced people from New Orleans everywhere,” Neville reflects. “So when we go sing we’re singing for them and letting them know they’re not by themselves. There’s hope.”

The spirit of New Orleans is marked by an undying hope. On this project Aaron Neville captures that spirit—reflecting the hope of his hometown, drawing hope from his faith, spreading hope through his music.