But advanced smooth would arguably not exist had he not opened the door with his tangy acoustic guitar. It could be what you listen to cooking something delicious. Anyone but yourself, that is. A classically trained pianist, and a guitarist whose self-designed instruments contained 10, 12, or even 14 strings, Egberto Gismonti has followed a wide path in pursuit of his muse. Those experiences fed into Sol do Meio Dia , a album, recorded with Nana Vasconcelos, Ralph Towner, Collin Walcott, and Jan Garbarek, that unites tabla, berimbau, kalimba, flute, and lilting choruses in songs that teem with invisible life.
An entire strain of ambient-leaning neo-classical music, including Stars of the Lid and Nils Frahm, is virtually unthinkable without his example. Had he made records solo, without interesting percussion, they would have been notable but likely not as quirky and wonderful as they are. But it is the tabla playing of Marcus Wise that makes the album so unique. The songs are never linear, but they never go off track either, instead revolving around some unseen magnetic core.
Though Big Map Idea is from 28 years ago, it sounds new now. Meredith Monk is not so much a singer as a sculptor, theorist, and alchemist of the voice.
Far Off I Hear a Lover's Flute (High voice) Sheet Music by Charles Wakefield Cadman
Composed as the score to a film of her own making, her album Book of Days further develops the laser-like focus of earlier albums, such as Dolmen Music , Turtle Dreams , and Do You Be , collapsing classical minimalism into medieval plainsong with uncanny emotional resonance. Jan's home was a melting pot - driven by the art and music and food of Asia. It was a new world for me and I still consider myself fortunate to have been included for a time.
The influence was profound. Jan and Ravi Shankar were close friends and corresponded by mail. Ravi would hang Jan's letters on his wall - letters I'm sure that were covered with her art. When George visited Ravi, he'd ask about the letters, so eventually Ravi introduced them and she started creating art for a variety of George's projects.
One day, as I was leaving Jan's, I ran into him outside her home. He was exiting a robin's egg blue Jaguar. I didn't know what to do!
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I wanted to hug him and get his autograph, but I did not think this would be a good approach. I was scared but I couldn't just walk on by, so I gave him my card, told him I was a flutist, and asked him to come hear me play that night down in Redondo Beach. We were in Silverlake, mind you, so that was a long drive - but I had to do something! He leaned against the Jaguar, folded his arms, crossed one leg over the other and gave me a very bemused look.
I'm pretty sure he thought I was cute, but he didn't come hear me play. I still remember I was wearing a long multi-colored dress, had Roman sandals, and my hair was flowing and dyed the same color of mauve as my Maltipoo dog's coat. I'm glad that happened! It's a silly good memory. Q: I would imagine over the decades you performed the songs of the Beatles. A: All the time and I still do.
I play the songs I've recorded and songs like "Here, There and Everywhere" - "When I'm 64" is fun on the piccolo and I use alto flute when it feels right. I think their melodies invite the flute to play. I was in a group called Silverlake in the '60s that included a wonderful Chicano singer named Paul Pablo Rodriguez and we played Beatles covers, songs by Donovan, Bob Dylan, original material, whatever was on our minds.
Our band was busy for a time - a hippie band - kids would toss notes to us with marijuana joints wrapped inside. We had fun and we were pretty good but when somebody wanted to represent us and wanted us to make changes, we split up. I doubt we would have known how to adjust as a group.
That's why a lot of groups split up. They can't grow as a unit, too many differences musically and sociologically. A: We recorded in the late '60s. It was one of the first eclectic albums that included classical, standards and jazz tunes. It got 5 stars in Downbeat Magazine. I listened to it recently and I think it still holds up.
Chuck also did some of the arrangements. Someone should release that album again. Paul, who died recently, as you just informed me, was an influence and recording with him helped put me on the map. That ensemble also toured so it was a good period. Paul had a warm flute sound and a sense of melody in his improvising that I could relate to. His obituary material labels him the father of new age music but he had been a good be bop player, and, a good clarinetist!
Just because he recorded his flute at the Taj Mahal and blew some notes with the whales doesn't make him the father of new age music although maybe that moniker sells albums. A: There are so many!! Who knows how many. A: I didn't know at the time how long their music would last and still don't, but the song writers and bands of that era were and still are so good: Bob Dylan, Paul Simon, Harry Nielson, for instance; and wonderful women songwriters and singers came to the front, too: Joni Mitchell, Laura Nero, Dolly Parton on the country side to name a few.
I wonder who history will pick as the greatest of these writers and bands?? Such a profusion of talent!
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But the Beatles had the magic that caused a cultural turnaround. But think of this: There may be a great writer from that era we don't know about whose music may be in an old cardboard box in a dusty attic somewhere - or on somebody's computer - that is yet to be discovered! Bach was considered a minor writer until Felix Mendelssohn discovered him 70 years after his death. The story goes that a janitor who fired up the church furnace where Bach had been choirmaster was using Bach's manuscripts to light the kindling and Felix Mendelssohn, who was by then choirmaster, heard noise coming from the cellar went down and stopped him!
That is mind blowing! As to the Beatles continuing influence: I played at a party about a year or so ago where a four-year-old girl requested Beatles' songs. Her mother said she picked them up from listening to the radio and she had their lyrics memorized. Sang along with us, and no fear. They've carried well beyond their generation. To further comment on Jane Getz: She was a child prodigy playing with Charlie Mingus when she was still a teenager. Her credits include recording with Ringo Starr and performing with Herbie Mann.
Q: How did you happen to pick the opening song, "Do Wrong Shoes? He played it for me one day and I said I'd like to record it. Hirth wrote the catchy blues-based melody and Donald Fagen wrote the lyrics, so "Fagenesque. Hirth Martinez is a songwriter's writer and his material has been recorded all over the world.
Far Off I Hear a Lover's Flute (High voice)
He still lives in East L. He has a large underground following and the celebrities of the music and film world, including Federico Fellini and Donald Sutherland, are among his followers and have been known to beat a path to his door and to his table where he sits writing music and playing endlessly. Hirth is indeed both earthy and mystical and his lyrics can range from the funkiest to the outer spaciest. But his feet are planted firmly in L. That's why he's called "Hirth From Earth.
Q: Your vocal quality has changed. More seasoned. I did a lot of performing in between recordings: in Southern California, the Central Coast and in Australia for the Music Muster festival where I met some great musicians! So I paid some dues and gained more courage. Consequently we can end up believing we have solid opinions on records we may never have given our honest and sustained attention.
Watching it blow his mind, I changed mine.
This list is designed for anybody interested in extending their aural attention span and genuinely challenging their preconceptions. Hopefully you can hear the influence of these albums on some of your own favourites. Helen Brown. Chris Harvey. The Queen of Soul gave herself the same space. Propulsive polyrhythms drive against the lyrical pleas for us to stop and take stock. Same as it ever was. The album that carried reggae music to the four corners of the world and made Bob Marley an international superstar also set the political tone for many artists to follow. Released outside of Jamaica by Island Records with guitar overdubs and ornamentation, the original Jamaican version is a stripped-down masterpiece.
An unprecedented hours of studio experimentation saw George Martin and The Beatles looping, speeding, slowing and spooling tapes backwards to create a terrifically trippy new sound. The album was also about an artist taking control over her own narrative, after releasing records that asked the audience — and the press — to like her. Millennials coming at this album can end up feeling like the guy who saw Hamlet and complained it was all quotations.
Oh no. Oh no no no no no, no one ever did teen heartbreak quite like the Shangri-Las. But the Shangri-Las sang with an ardour that was so streetwise, passionate and raw that it still reaches across more than half a century without losing any of its power. This compilation captures them at their early Sixties peak.
He may have come to rue his Ziggy Stardust character, but with it, Bowie transcended artists seeking authenticity via more mundane means.
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It was his most ambitious album — musically and thematically — that, like Prince , saw him unite his greatest strengths from previous works and pull off one of the great rock and roll albums without losing his sense of humour, or the wish to continue entertaining his fans. In their brief career, ended by the suicide of year-old singer Ian Curtis, Joy Division created two candidates for the best album by anyone ever.
Closer may be a final flowering, but Unknown Pleasures is more tonally consistent, utterly unlike anything before or since. The mood is an all-pervading ink-black darkness, but there is a spiritual force coming out of the grooves that is so far beyond pop or rock, it feels almost Dostoevskyan. The answer to whether Robyn could follow up the brilliance of her self-titled album came in a burst of releases in , the EPs Body Talk Pt 1, Pt 2 and Pt 3 , and this track effort, essentially a compilation album.
Body Talk is simply jammed with great songs. Produced by Quincy Jones, the sophisticated disco funk nails the balance between tight, tendon-twanging grooves and liberated euphoria. Glitter ball magic. How good can rap get? This good. There are albums where the myth can transcend the music — not on Illmatic, where Nas vaulted himself into the ranks of the greatest MCs in , with an album that countless artists since have tried — and failed — to emulate.
Nas used the sounds of the densely populated New York streets he grew up on to vividly depict that life in his music. This is the album that changes everything. All electronic dance music starts here. Kind of Blue is unrepeatably cool. Recorded in just two eight-hour sessions, in which Morrison first played the songs to the assembled musicians then told them to do their own thing, Astral Weeks still feels as if it was made yesterday.
An unanswered prayer for a united and forgiving USA. It is the greatest articulation of his alchemic experiments with musical fusion — the sum of several projects Prince was working on during his most creatively fruitful year. Stitched together with the utmost care, as if he were writing a play with a beginning, a middle and an end, the album is a landmark in both pop and in art. Caught in the psychological undertow of family trauma and all those commercial surf songs, year-old Brian Wilson had a panic attack and retreated to the studio to write this dreamlike series of songs whose structural tides washed them way beyond the preppy formulas of drugstore jukeboxes.
Notes pinged from vibraphones and Coke cans gleam in the strange, sad waves of bittersweet melody. Weave a circle round her thrice… Joanna Newsom is dismissed by some as kookily faux-naif, but her second album, before she trained out the childlike quality from her voice, may be the most enchanted record ever made. Producer Hank Shocklee creates a hard-edged sound from samples that pay homage to soul greats such as James Brown and Isaac Hayes, and Flavor Flav gives it an unmistakeable zest. Play loud, alone and after dark. Lauryn Hill raised the game for an entire genre with this immense and groundbreaking work.
Its sonic appeal has a lot to do with the lo-fi production and warm instrumentation, often comprised of a low thrumming bass, tight snares and doo-wop harmonies. Why has it taken the world so long to appreciate her? Let England Shake digs deep into the soil of the land, where buried ploughshares lie waiting to be beaten into swords. Boy in da Corner goes heavy on cold, uncomfortably disjointed beats, synths that emulate arcade games and police sirens, and Dizzee himself delivering bars in his trademark, high-pitched squawk.
The human vulnerability of her voice and traditional instruments are given an electrical charge by her pioneering use of synthesisers. Thrilling and immersive. Desert meets Delta Blues. It can be found in every song on this brilliant track compilation. All the irreplaceable soul voices, from Aretha Franklin to Bobby Womack, were steeped in gospel. This is a great place to hear where they came from.
Companion album The Great Gospel Women is a marvel, too. The horrors of drone warfare, paedophilia and global warming are held up to the bright lights in disconcertingly beautiful rage.