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STO LEGGENDO
HO VISTO
cose che voi umani non potreste immaginare... navi da combattimento in fiamme al largo dei bastioni di Orione. E ho visto i raggi B balenare nel buio vicino alle porte di Tannhauser. E tutti quei momenti andranno perduti nel tempo come lacrime nella pioggia.
STO ASCOLTANDO
Kenny Wheeler
ABBIGLIAMENTO
del GIORNO
oggi un po' elegante ma con scarpe sportive
ORA VORREI TANTO...
quattro bassi nuovi
IN QS PERIODO STO STUDIANDO...
le scale trasversali
OGGI IL MIO UMORE E'...
andanteconbrio
ORA VORREI TANTO...
ORA VORREI TANTO...
ORA VORREI TANTO...
PARANOIE
Nessuna scelta effettuata
MERAVIGLIE
Nessuna scelta effettuata
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“Nessun'arte è stata tanto ostacolata nel suo sviluppo dai suoi insegnanti quanto la musica, perchè non esiste custode più geloso dei suoi averi di chi sa che essi, in fondo, non gli appartengono:quanto più è difficile dimostrare la legittimità del proprio possesso, tanto maggiore è lo sforzo di procurarsela.
A.Schönberg ”
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venerdì 28 gennaio 2005
ore 23:15 (categoria:
"Informatica")
Quizzze
secondo voi che cosa sta dicendo questa faccina?leggete il labiale..
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venerdì 28 gennaio 2005
ore 17:05 (categoria:
"Vita Quotidiana")
ED IL MAL DI GOLA...
si trasformò in influenza, ed è la seconda volta...
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giovedì 27 gennaio 2005
ore 19:02 (categoria:
"Riflessioni")
QUASI QUASI..
ricomincio...
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giovedì 27 gennaio 2005
ore 18:39 (categoria:
"Fotografia e arte..")
KLEE
parlando del più e del meno è saltato fuori il suo nome...che spettacolo!!
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giovedì 27 gennaio 2005
ore 08:53 (categoria:
"Lavoro")
Gola
ho un mal di gola e voglia di lavorare zero
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mercoledì 26 gennaio 2005
ore 16:42 (categoria:
"Riflessioni")
prima
e la prima è andata, bene o male non lo so, perchè non sentivo un cacchio, o meglio sentivo solo me stesso e il mitico ride di ayeye.
se Carlo mi fa suonare un altra volta da quella parte lo...
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martedì 28 dicembre 2004
ore 13:06 (categoria:
"Musica e Canzoni")
LC sito ufficiale
LINK
Visitare!!!
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sabato 18 dicembre 2004
ore 16:37 (categoria:
"Vita Quotidiana")
influenza
c'è voluta la febbre a 39 per farmi aggiornare sto blog..che palle in più durante il weekend...mi mangeranno vivo gli altri della band
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giovedì 8 aprile 2004
ore 20:52 (categoria:
"Musica e Canzoni")
D.W.
Doug Wimbish has had an amazing career. From his early days with Sugarhill records to pioneering work with Tackhead to his continuing work with Living Colour; he is truly best described as a journeyman.
Doug hails from Hartford, Connecticut, but got his career started as many do: in New York City. There he cut his teeth as the bassist in the house band of the legendary rap label Sugar Hill, backing Grandmaster Flash and the Furious Five on their epochal Message album, among many others. As the '80s wore on, though, Sugar Hill found itself overtaken by hip-hop innovations outside its stable of artists, and its house band had already formed a productive relationship with British dub reggae experimentalist Adrian Sherwood. Wimbish, guitarist Skip McDonald, and drummer Keith LeBlanc began working on a variety of projects with Sherwood, including backing ex-Pop Group member Mark Stewart on his solo recordings and issuing their own 12" singles under the name Fats Comet.
Major Malfunction was released in 1986 under Keith LeBlanc's name, although it was essentially a group collaboration; that group dynamic became official when the trio christened themselves Tackhead and began recording full-length works with Sherwood. However, their two albums -- 1989's Friendly as a Hand Grenade and 1990's Strange Things -- didn't quite capture the avant-garde Funkadelic-meets-Lee Perry experiments of their earlier work or LeBlanc's "solo" albums.
When Living Colour bassist Muzz Skillings departed his band in 1992, Wimbish was tapped as his replacement. However, after 1993's Stain, the group disbanded, and Wimbish returned to session work, playing on albums by Madonna, Annie Lennox, Mick Jagger, the Rolling Stones, Ron Wood, Seal, Joe Satriani, and many others, plus the occasional Sherwood project. Wimbish also reunited with Living Colour drummer Will Calhoun in the experimental funk/electronica trio Jungle Funk.
In 1999, Sherwood's On-U Sound label issued Wimbish's first solo album, Trippy Notes for Bass. Then on December 22, 2000 Living Colour re-formed for a one-off show at New York's legendary CBGB's. The show was dynamite and rekindled the desire of Doug, Vernon, Will and Corey to play together. A small tour of the West coast drew huge and enthusiastic crowds. Then they were off for a string of dates in Europe, including the Montreux Jazz Festival. The summer of 2001 saw LC playing another mini tour of the States, this time on the East Coast. The tour was highlighted by an amazing show in central park.
Always busy, Doug's work with Mos Def continued in 2001 and 2002 with more studio sessions and a concert filmed for broadcast on HBO's Reverb show.
After over 20 years as an innovator, collaborator and explorer of music and bass, Doug continues to ride the cutting edge.
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martedì 6 gennaio 2004
ore 22:07 (categoria:
"Vita Quotidiana")
from the past
Rick Laird by Chris Jisi
(Reprinted from Bass Player magazine: November 1999)
Bass Notes: Where Are They Now?
--------------------------------------------------------------------------------
Rick Laird anchored the Mahavishnu Orchestra, one third of the hallowed triumvirate of seminal '70s fusion bands. Yet unlike Stanley Clarke with Return To Forever or Jaco with Weather Report, Laird never aspired to become a household name -- he just wanted to be himself. "That's the best advice I can give any musician. I loved Scott LaFaro and Charles Mingus, but my heroes were Ray Brown and Paul Chambers." Like his heroes, Laird played a supporting role, forging solid lines out of Mahavishnu's odd-time signatures or doubling only phrase-anchoring notes in blinding unison riffs. With founder/guitarist John McLaughlin, drummer Billy Cobham, keyboardist Jan Hammer, and violinist Jerry Goodman seemingly driven to see who could play fastest and loudest, "someone had to say *one*," Rick recalls, "and that was me."
The quintet released two landmark albums, "The Inner Mounting Flame" and the gold-selling "Birds Of Fire" [both available on Sony Legacy] as well as the live "Between Nothingness and Eternity", but its offstage chemistry quickly grew as tempestuous as the music. "We were five testosterone-filled, immature young men suddenly thrust into the spotlight by a shrewd manager," Laird explains. "We were neither given nor did we take the time to rehearse or develop the music. As a result we ended up destroying the band by our own hand without reaching our full potential." Another problem came to light with the discovery of the master tapes of Mahavishnu's unreleased third studio album, which Sony Legacy has just issued as "The Lost Trident Sessions". "We had finally convinced John to let the rest of us write -- but he wasn't too happy about it." While everyone except Cobham contributed to the disc (which includes Laird's 'Steppings Tones'), McLaughlin's domineering, Stravinsky-meets-Indian-music vision is firmly in place. The unit broke up in '73, soon after the Trident sessions. "Overall, Mahavishnu was a very valuable learning experience, musically and personally," Rick stresses. "I'm proud of our albums."
Laird began his musical career as a teen in New Zealand, where his family had moved from his native Dublin, Ireland. Raised on the sounds of his mother's jazz records, Rick began playing bass on a guitar's low strings before being given the first Fender Bass and amp in New Zealand. He toured in a pop cover band at 18, but eventually got an upright and returned to jazz. In 1962 he hit London's fertile music scene, working with Brian Auger (whose band included McLaughlin) and taking lessons from a London Philharmonic bassist. Laird landed the house gig at Ronnie Scott's, where he backed jazz legends ranging from Ben Webster and Wes Montgomery to Sonny Rollins and Freddie Hubbard. With an eye on coming to the U.S., he won a scholarship to Boston's Berklee in '66. There he became in demand on upright, working with such artists as Mel Torme and Zoot Sims.
In 1968, while playing in a large ensemble with guitarists John Abercrombie and Mick Goodrick, Laird returned to the electric bass "so I could be heard." Also inspiring his electric side was a 1969 Boston concert by Tony Williams's Lifetime featuring McLaughlin. Laird headed to Los Angeles soon after to join Buddy Rich's big band for a year. In 1971 he moved back to London, only to get a cable from McLaughlin asking him to come to New York to join his new group.
Following his emotionally draining years with Mahavishnu, Laird remained in New York, recording his lone solo disc, the acoustic "Soft Focus" [Timeless Music] and supplementing local gigs with tours and album dates for Chick Corea, Stan Getz, and Richie Cole. "My heart wasn't into being a musician anymore; I began to hate the hustle of being a bassist-for-hire. I felt I wasn't growing and I needed to find something else to do with my life." That came courtesy of Billy Cobham. "Billy got me into photography while touring Japan with Mahavishnu. When I settled back in New York I took lessons and built my own darkroom. Like bass, you're dealing with form, tonal relationships, and communicating an idea in the moment." Friends started asking Rick to shoot their album covers, and he gradually became a top stock photographer. (Over 500 of Rick's photos can be found at fpg.com; type in "Richard Laird.")
The 57-year-old Laird, who put down his Fenders and his 100-year-old Czech acoustic for good in 1982, recently got back into composing music on his daughter's Mac. "I have no agenda. It's just for my own enjoyment. Besides, I've come to realize our main gig on this planet is not what we do for a living -- it's to find out who we are, and to learn how to love ourselves and love others."
Made avalible by Rod Sibley
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