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Oct 27, 2008 11:56 AM
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End Titles.
Song: Calling All Angels
Artist: Jane Siberry with k.d. Lang
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Oct 22, 2008 9:32 PM
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Would anyone be able to tell me who the original artist is for the song, "Calling All Angles" that's was sung in the fifth series, episode 6 - Rainbow of Her Reason? Ta.
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Oct 2, 2008 11:21 PM
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Miles Davis Classic "Kind of Blue" Still Kicking at 50
By Steve James
NEW YORK (Reuters) - As record albums go, Miles Davis' "Kind of Blue" may not by the biggest seller of all time, but it has influenced generations of jazz and other musicians and is about to celebrate its 50th birthday.
The record has sold more than three million copies since its 1959 release and was named No. 12 on Rolling Stone magazine's list of the 500 Greatest Albums Of All Time in any genre, let alone jazz.
Davis' horn has been silent for 17 years now, but mention the album's five tracks, "So What," "Freddie Freeloader," "Blue in Green," "All Blues" and "Flamenco Sketches" and any jazz fan will hear that haunting, reedy sound again.
"Kind of Blue" -- the result of less than ten hours of actual recording time at Columbia Records' 30th Street Studio -- featured the iconic Davis and his band, Julian 'Cannonball' Adderley on alto saxophone, John Coltrane on tenor saxophone, Bill Evans or Wynton Kelly on piano, Paul Chambers on bass and drummer Jimmy Cobb, the only surviving member.
To mark the 50th anniversary of the groundbreaking work, Columbia/Legacy, a division of Sony, is putting out a luxury collector's edition, which went on sale on Tuesday (September 30).
It includes two compact discs of the original album, plus outtakes and alternative versions, a documentary DVD, a book of essays and photos, as well as the original 12-inch LP package pressed on blue vinyl.
"We wanted to commemorate one of the greatest, most influential albums," said Vince Wilburn Jr., Davis' nephew and a manager of the jazz great's estate, along with Davis' son Erin and daughter Cheryl.
Wilburn told Reuters that "Kind of Blue" has been reissued and remastered several times. Although it took three decades to sell one million copies, it has sold another two million since Davis died in 1991.
"PEOPLE LOVE MILES"
"I'm not surprised it's selling still, this is Miles Davis," said Wilburn. "It's music, groundbreaking and fresh. People love Miles."
Davis' son Erin said the phenomenon was astounding because Davis was never one to dwell on the past and always moved on to embrace new styles.
"Maybe he would be scratching his head wondering why this one? He liked people to like the music he was making at the time, but he was always looking ahead," Erin Davis said.
Wilburn said there was no end to Miles Davis' music that can be released in the future. "There is tons of material, bootleg sessions and endless hours of music. The trouble is deciding what to release.
"The quality is there, but it's a question of respecting the music," said Wilburn, who played drums with the band in his uncle's later years.
In addition to the 50th anniversary album release, there is a Miles Davis exhibition planned for the Cite de la Musique complex in Paris and a feature film starring Don Cheedle as the famously idiosyncratic and contrarian artist.
Erin Davis, who moved in with his father when he was 15, has more personal recollections of the man. "He taught me what class means in different ways. Like it was not wearing an ascot and walking with a cane, but how you carry yourself in public.
"He taught me how to eat soup with the spoon away from you rather than shovel it in your mouth," he recalled. "When he dressed, he told me 'Always start with the shoes - shoes make the man.'"
Davis' influence can be heard in today's music. "Everybody I run into, they were influenced by Miles -- Sting and Keith Richards, Q-Tip and Nazz, Joni Mitchell," said Wilburn. "Everybody was touched by Miles. His spirit lives on."
Asked if people would still be listening to "Kind of Blue" in 2026, the centenary of Davis' birth, his son replied:
"Why not? Definitely, there's such a lack of inspiring music now."
(Reporting by Steve James)
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Aug 26, 2008 12:03 PM
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Trailblazing Band Radiohead Casts Hypnotic Spell
By Craig Rosen
LOS ANGELES (Hollywood Reporter) - While millions around the world spent Sunday watching the closing ceremony of the Beijing Olympics, 7,000 fans lucky enough to score a ticket to Radiohead's show at the Hollywood Bowl witnessed not only a band at the top of its game but also an act that at times seemed to be the best on the planet.
Certainly that's high praise, but during its two-hour set -- the first of two sold-out nights at the Bowl -- the quintet from Oxford, England, managed to cast a spell over the crowd without resorting to fist-pumping anthems like U2, Bruce Springsteen, Pearl Jam or even Coldplay. Radiohead simply operates on a completely different level: It connects with the audience through sublime and hypnotic intensity rather than by pummeling a crowd into submission via bravado.
Even its politics are subtle. Throughout the set, two Tibetan flags were draped on the backs of keyboards; this was never addressed but nonetheless sent a message as the rest of the world celebrated the Olympic Games in China. And, in the jaw-dropping, fuzz-bass-fueled "The National Anthem," the band employed snatches of audio hijacked from infomercials that effectively mocked mindless consumerism.
Radiohead has enough confidence in its music and fan base that it initially offered its latest album, the superb "In Rainbows," as a name-your-own-price download. That self-assuredness also was on display Sunday (August 24). Frontman Thom Yorke performed several songs, including the sinuous "All I Need," at the piano with his back to the crowd, a move that came off not as standoffish but organic, as did the band's tasteful yet stunning video and lighting presentation.
As it has since the release of its third album, 1997's landmark "OK Computer," Radiohead served up an intoxicating mix of acoustic and electronic instrumentation at the Bowl that somehow managed to sound thoroughly modern and incredibly human. "Faust Arp," from "In Rainbows," was performed by the duo of Yorke and multi-instrumentalist Jonny Greenwood, on acoustic guitar. On the other end of the spectrum, the electronic and live percussion of "Idioteque," from "Kid A," packed enough punch to fuel a rave.
The band's heart and soul is Yorke, whose voice at times resembled the cries of a wounded animal. For nonbelievers, it might have sounded like an endless stream of whining, but those who felt an emotional connection with Yorke were moved not so much by his insightful lyrics as by his wordless vocalizing, which can be just as effective.
Before launching into the set-closing "Everything in Its Right Place," Yorke sang a few lines from R.E.M.'s "Electrolite," in a nod to the band's alt-rock forefathers. On Sunday, Radiohead proved that the torch has long been passed, and the band is running at full speed with no need to look over its shoulder.
Reuters/Hollywood Reporter
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Re: What is the song in the last chapter ??
Aug 21, 2008 2:40 PM
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"Breathe Me", by Sia
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Aug 19, 2008 11:11 PM
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Dave Matthews Band Sax Player Leroi Moore Passes Away
By RAQUEL MARIA DILLON, Associated Press Writer
6 minutes ago
LOS ANGELES - LeRoi Moore, saxophone player for the Dave Matthews Band, died Tuesday of injuries suffered in an accident on an all-terrain vehicle in June. He was 46.
Moore died at Hollywood Presbyterian Medical Center in Los Angeles, the band said on its Web site.
He was initially hospitalized in late June after the accident on his farm outside Charlottesville, Va. He had recently returned to his Los Angeles home to begin physical rehabilitation when complications forced him back into the hospital July 17.
It was not immediately clear what the complications were. A message left with Hollywood Presbyterian was not immediately returned.
Ambrosia Healy, the band's publicist, says the group's show Tuesday night in Los Angeles has not been canceled.
(This version CORRECTS the date Moore returned to the hospital to July 17, not Sunday.)
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Re: What is the song in the last chapter ??
Aug 13, 2008 4:24 PM
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not sure, but do you know if they are going to be making a feature length movie based the the show?
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What is the song in the last chapter ??
Aug 13, 2008 3:55 PM
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in the last chapter in the ending scene, what is the name off the song thet we hear when they die???!!!
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Aug 12, 2008 1:13 AM
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Rolling Stone Magazine Goes Down a Size
By Alex Dobuzinskis
LOS ANGELES (Reuters) - Rolling Stone magazine unveiled plans on Monday for a major design overhaul, scaling down its signature large-format pages to a standard magazine size in a bid to bolster advertising and sagging newsstand sales.
The U.S. pop culture magazine will end the oversized look that for more than 30 years has distinguished it from rival publications starting with an issue set to hit newsstands on October 17.
"It feels to me just like a natural step for us to take," said Will Dana, managing editor at Rolling Stone. "It's always exciting to shake things up a bit and to grow and to do things differently."
Officials with Wenner Media, the magazine's publisher, said Rolling Stone's circulation has grown to an all-time high of nearly 1.5 million.
But single-copy sales on news racks slumped to 115,644 for the first six months of 2008, down from 119,735 for the same period in 2007, the company said.
"We've been challenged at the newsstand recently, which is an industry-wide trend, and the decline pretty much mirrors where we are vis-a-vis our competitors," Dana said.
The company expects the new format will boost single-copy sales because in the past the magazine's size has proved somewhat unwieldy for retailers to prominently display.
With the new format, the magazine's pages will be glued together instead of stapled, making it easier to include advertising supplements, said Beth Jacobson, a spokeswoman for Rolling Stone.
The redesign also will allow publishers to add 16 to 20 more pages of editorial content and to more easily run full-page ads, Wenner Media spokesman Mark Neschis said.
One of the few major U.S. magazines of the same size as the current Rolling Stone is the sports-oriented publication ESPN, an offshoot of the cable network, officials from Wenner said.
Rolling Stone began in 1967 in San Francisco, and the magazine is mainly dedicated to music and pop culture. Appearing on its cover has long been coveted by musicians around the world, and was even the subject of a hit song, "The Cover of The Rolling Stone," by Dr. Hook & the Medicine Show.
Reuters/Nielsen
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Jul 30, 2008 11:30 AM
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Finally, a "Top 20 of all time" list that justifies its criteria:
http://new.music.yahoo.com/blogs/yradish/15499/the-top-20-albums-of-all-time-for-real
If you go to that link each selection has a button where you can play the entire album on Rhapsody.
#20. Faith - George Michael
Play Album
Year: 1987 Units Sold: 10 Million
SPV: $9.19 Rating (Stars): 4 Grammys Won: 1
Calculated value per unit based on the formula: $9.79
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#19. Appetite For Destruction - Guns N' Roses
Play Album
Year: 1987 Units Sold: 15 Million
SPV: $8.81 Rating (Stars): 4 Grammys Won: 0
Calculated value per unit based on the formula: $9.81
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#18. Purple Rain - Prince
Play Album
Year: 1984 Units Sold: 13 Million
SPV: $8.74 Rating (Stars): 4.75 Grammys Won: 2
Calculated value per unit based on the formula: $9.82
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#17. Houses Of The Holy - Led Zeppelin
Play Album
Year: 1973 Units Sold: 11 Million
SPV: $9.10 Rating (Stars): 4.5 Grammys Won: 0
Calculated value per unit based on the formula: $9.93
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#16. Born In The U.S.A. - Bruce Springsteen
Play Album
Year: 1984 Units Sold: 15 Million
SPV: $8.91 Rating (Stars): 5 Grammys Won: 0
Calculated value per unit based on the formula: $10.29
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#15. Nevermind - Nirvana
Play Album
Year: 1991 Units Sold: 10 Million
SPV: $10.07 Rating (Stars): 4 Grammys Won: 0
Calculated value per unit based on the formula: $10.67
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#14. Van Halen - Van Halen
Play Album
Year: 1978 Units Sold: 10 Million
SPV: $10.23 Rating (Stars): 4.25 Grammys Won: 0
Calculated value per unit based on the formula: $10.84
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#13. Rumours - Fleetwood Mac
Play Album
Year: 1977 Units Sold: 19 Million
SPV: $9.52 Rating (Stars): 5 Grammys Won: 1
Calculated value per unit based on the formula: $11.47
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#12. The Wall - Pink Floyd
Play Album
Year: 1979 Units Sold: 23 Million
SPV: $10.20 Rating (Stars): 4.75 Grammys Won: 1
Calculated value per unit based on the formula: $12.51
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#11. The Joshua Tree - U2
Play Album
Year: 1987 Units Sold: 10 Million
SPV: $11.50 Rating (Stars): 4.5 Grammys Won: 2
Calculated value per unit based on the formula: $12.54
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#10. Metallica - Metallica
Play Album
Year: 1991 Units Sold: 14 Million
SPV: $12.08 Rating (Stars): 4.25 Grammys Won: 1
Calculated value per unit based on the formula: $13.38
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#9. Led Zeppelin - Led Zeppelin
Play Album
Year: 1969 Units Sold: 10 Million
SPV: $12.83 Rating (Stars): 4 Grammys Won: 0
Calculated value per unit based on the formula: $13.60
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#8. Hotel California - Eagles
Play Album
Year: 1976 Units Sold: 16 Million
SPV: $12.00 Rating (Stars): 4.75 Grammys Won: 0
Calculated value per unit based on the formula: $13.81
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#7. The White Album - The Beatles
Play Album
Year: 1968 Units Sold: 19 Million
SPV: $12.00 Rating (Stars): 5 Grammys Won: 0
Calculated value per unit based on the formula: $14.39
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#6. Led Zeppelin IV - Led Zeppelin
Play Album
Year: 1971 Units Sold: 23 Million
SPV: $12.42 Rating (Stars): 5 Grammys Won: 0
Calculated value per unit based on the formula: $15.44
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#5. Abbey Road - The Beatles
Play Album
Year: 1968 Units Sold: 12 Million
SPV: $14.94 Rating (Stars): 4.25 Grammys Won: 1
Calculated value per unit based on the formula: $16.23
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#4. Physical Graffiti - Led Zeppelin
Play Album
Year: 1975 Units Sold: 16 Million
SPV: $14.31 Rating (Stars): 4.75 Grammys Won: 0
Calculated value per unit based on the formula: $16.38
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#3. Thriller - Michael Jackson
Play Album
Year: 1982 Units Sold: 27 Million
SPV: $13.49 Rating (Stars): 4.5 Grammys Won: 4
Calculated value per unit based on the formula: $17.39
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#2. Dark Side Of The Moon - Pink Floyd
Play Album
Year: 1973 Units Sold: 15 Million
SPV: $16.08 Rating (Stars): 5 Grammys Won: 0
Calculated value per unit based on the formula: $18.57
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#1. Songs In The Key Of Life - Stevie Wonder
Play Album
Year: 1976 Units Sold: 10 Million
SPV: $16.84 Rating (Stars): 5 Grammys Won: 2
Calculated value per unit based on the formula: $18.71
Some interesting things to note are that Led Zeppelin takes up fully 20% of the list with 4 different albums noted but NOT their second one with Whole Lotta Love on it.
Beatles and Pink Floyd each get 2 spots, the only other artists to appear multiple times.
Biggest surprise for me was Metallica coming in at #10. Metallica? Jeez...what crap. I guess that just shows to go ya that my tastes are definitly not mainstream.
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Jul 29, 2008 6:28 PM
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Now aint this the odd couple?
Alicia Keys, Jack White Team for Bond Theme
By Ann Donahue
LOS ANGELES (Billboard) - Alicia Keys and the White Stripes' Jack White have recorded the theme song to "Quantum of Solace," the 22nd James Bond film, which will be released worldwide in November, Columbia Pictures said Tuesday.
The song, "Another Way To Die," is the first duet in Bond soundtrack history, the studio said in a statement. White wrote and produced the song, and also played drums. The soundtrack to the movie will be released October 28 by Keys' J Records label.
"Quantum of Solace," starring Daniel Craig and directed by Marc Forster, will be released in North American theaters on November 7. Amy Winehouse and Leona Lewis had previously been rumored as the vocalists for the latest Bond theme.
The theme for the previous Bond film, 2006's "Casino Royale," was sung and co-written by former Soundgarden/Audioslave vocalist Chris Cornell.
Reuters/Billboard
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Jul 26, 2008 10:37 PM
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Mingus' Magnum Opus: 'Epitaph' in Concert
NPR.org, July 24, 2008 - As creative chair for jazz at the Los Angeles Philharmonic, bass player Christian McBride gets to program four concerts a year. The moment he got the job, he put Charles Mingus' monumental, 2 1/2-hour jazz symphony "Epitaph" at the top of his list.
"When you hear Mingus' music, that's about as advanced as you can get," McBride says. "But it's always rooted ? it's always coming out of that real indigenous black tradition. I'm talking about, like, work songs and gospel, you know, all the way up through Ellington, all the way up through the strife of the '60s. All of that is in his music."
Jazz historian and composer Gunther Schuller conducted the entire concert in front of a 31-piece jazz orchestra. He says that Charles Mingus was a man of many moods ? and that he sees them in the very fabric of Mingus' masterpiece.
"I knew him quite well," Schuller says. "He could be as gentle as a baby, and he could also be so full of tantrums and explosive and angry, and all of this range of feelings is in this piece. It's all there: It's like a musical picture of Mingus' personality ? from the most beautiful gentle ballads, lyric pieces, to these extremely chaotic, disorganized, wild pieces."
By the time "Epitaph" premiered in 1962, Mingus was already well-known as a composer, bandleader, and virtuoso bass player, a musician who had worked with Miles Davis, Charlie Parker, and Duke Ellington, among others. But how Mingus came to write the piece remains something of a mystery.
Gunther Schuller says Mingus probably composed most of the piece over a three-year period in the late '50s. He scored it for a 31-piece double jazz orchestra, and got an all-star group to play it. But the first performance was a travesty.
"There's this famous, legendary disastrous concert and recording session in Town Hall [in New York], where I happened to be present," Schuller says. "And it was one of the most chaotic and frustrating and disastrous concerts that anybody has ever heard, because the music was so difficult and so strange. He hadn't had a chance to rehearse it properly and the copyists were, indeed, even still copying some of the music ?- it wasn't even fully ready. And so the musicians couldn't handle it, and so eventually the concert was aborted when the union stage crew said, 'Wait a minute, it's midnight, we've gotta stop this.'"
Distraught, Mingus never visited the score again in his lifetime. But 10 years after his death in 1979, the score ? four feet high and 4,235 measures long ? was discovered in a closet in his apartment. Composer and arranger Andrew Homzy reconstructed it, and Schuller conducted the premiere in 1989. According to Schuller, the work was titled "Epitaph," because a few movements in the score had that word in block letters.
Astonishingly, when the enormous score for "Epitaph" was found, it was missing one thing -? a finale. So Schuller says that he and the band improvised one, using Mingus as a guide.
"I decided, in putting this piece together, that we should do what he did so many times in his own appearances at clubs with his groups ?- that is to say, he dictated an ending," he says. "And he would cue everybody: What they should do and when they play and be hollering and playing on his bass at the same time. And so we did something like that for the entire orchestra."
© Copyright 2008 NPR
Follow this link to hear the audio: http://www.npr.org/templa...d=92884124
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Jul 26, 2008 7:15 PM
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Not too much out there on this yet but I just heard that session and performance guitarmeister extraordinaire, Hiram Bullock has passed away.
RIP Hiram
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Jul 22, 2008 1:41 PM
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I remember you posting about that Italian show back when it happened and I was so envious. It's very rare to hear Pharoah play outside his usual acoustic quartet outfit.
My favorite album of his is the Bill Laswell produced Message From Home where there are lots of electric instruments and 11 players including Bernie Worrell.
You're right about "rowdy" audience members joining the performance from their seats univited.
Some dork at the Lesnsic show was chanting , "The Creator has a master plan" over a soft passage from a completely different compositon and he got the Ssshhhhhhh treatment as well, thank goodness.
I think it must have been Kevin Mahogany that you saw. I can't imagine Pharoah letting just anybody up on the stage. Was he a great big football lineman sized dude?
KM does scat but I don't think he's exceptional. Here's a clip:
http://muzetunes.com/playback.asx?c=PHPWTguqp-6FcQwNnJzJY_aYUyUGyoq-2BolvbBEDrE=&f=B
Sounds like you're waaaaaay overdue for an injection of some seriously good music.
I would have prescribed the Steely Dan but they've already completed the northeast segment of their tour.
So don't go too much longer without, eh buddy?
Hey, did you view that Youtube clip of Sun Ra I posted a while back? Not to be missed.
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Edited by mortitia at 07/22/2008 5:51 PM PDT
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Jul 22, 2008 10:43 AM
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Oh, I do know that Sharon Jones tune, Dia. Never saw the video before. Nice stuff, in a great retro way. I think it's the organ and horn arrangements that do it, but great tune. And Sharon of course -- nice to hear an honest to goodness singer these days without the baggage (rehab, stripping, stupid boyfriends, etc).
Re: Pharoah, the clips you sent are light years better in every way than the show I heard back in '91. The group were all in pinstripe suits, and seemed kind of comatose. Nothing remotely inspired solo-wise, in the least. Maybe it was in the middle of a long run, and/or maybe Pharoah was ill, I don't know, it just was one of the most disappointing concerts I've ever heard (Adrian Belew and the Bears in 1987 was up there too, but I probably should have listened to their disc before expecting them to sound anything like the groups he played with before (Heads, Crimson, Zappa, Laurie Anderson), of even his previous solo albums. Should have known when I saw a bunch of frat-boys and cheerleader-types in the audience on that one). Sorry. Pharoah in Italy was a gas though, albeit completely different. The band was Jean-Paul Bourelly on electric guitar (very loud, very screaming, lots of solos -- loved it), Matt Garrison -- Jimmy's son -- on bass, and Will Calhoun formerly of Living Color on drums. Most of the set was a wall of huge neurotic funk of the early 70s Miles variety, aka, right up my alley in every sense. And Pharoah had a similarly electric blue sequined thing on, and would just let loose these humongous screams through the horn over it all. Probably doesn't transcend to recordings, or certainly not in print, but it kind of took hold of you inside like what I'm told drum circles do in Brazil if you're too close to it for too long. One of the best shows I've ever heard live frankly. But admittedly not getting to the core of what Pharoah does best.
Re: the '91 show, the funniest and saddest part of it - which didn't refelect badly on anyone but the guy sitting next to me, which was right next to the stage on the right behind a pillar where you could reach out and touch the drummer, but not see Pharoah. Anyway, he did the call and response vocal thing later in the set -- more uptempo tune than the one on the youtube clip -- and then I noticed the guy sitting next to me talking to the drummer -- yes, that drummer who wasn't working for me at all. Anyway, it appeard after the fact that he'd talked the drummer into talking Pharoah into giving him a shot, so the guy got up and traded some scat with Pharoah. Not bad really, in fact pretty good, although of course no one paid to hear the dude. Then the dude kind of "star is born"-ed and took a few chorsus by himself, couldn't tell if Phroah let him loose or if he just took off. As one who can count maybe 6-7 people who I'd pay to hear scat, ever (Armstrong, Ella, Hendricks, Gillespie, Torme, Jarreau, and it gets hazy after that), I'm even more open to bass solos, but anyway, the dude brought a little life to the proceedings, and the audience gave him a good hand. So, the sad part was as the tune wound down -- the last tune of the show -- Pharoah was playing various bowls and bells and you could hear that great sort of existential hum that one pays to hear from him, and the audience member/singer, now sitting back next to me, starts singing "A love supreme, a love supreme..." over and over as the band winds down. Somehow I don't think Pharoah put him up to it, nor anyone else (fortunately he was off-mike by that time). The capper is that after about 30 seconds of this the guy on the other side of him just goes "SSSSHHHH!!!", and the dude stops. Cracked me up, imagining this sort of thing happening at 100 Coltrane concerts in the 60s. Alas, now I'll hear that the singer/wannabe turned out to be Kevin Mahogany [sic] or something. Kevin doesn't scat though, does he? Anyway, again, you probably had to have been there, which I wouldn't recommend to anyone. The videos are great though Mortitia. Thanks for correcting that unfortunate notion in my head of Pharoah's more recent acoustic outings.
Missed the Siren festival in Coney Island for the first time in like 4 years this year. No time, and no desire to hear Malkmus, whom I never got. As for the other bands, the Voice itself -- they who gave their own festival the lamest review posible last year, if you want to dignify the ramblings of what sounded like a soririty girl's first concert by actually calling it a review (she actually said that "highlights" included two stage-divers. Would anyone who's even been to 1 rock concert before give one sh-- about stage divers? In this decade?) -- gave a huge preview-rave to a group called Dragons of Zynth, who didn't slay me on youtube, but then rarely does the Voice ever give a preview rave to anything that works for me. Invariably their best work is coming along late and thumbs-upping someone who already has a rep -- or mor often than not, trying to be the first paper to instigate the backlash, like they heard it before all the uncool people or something. So, now the question is do I renew my subscription to a paper that laid off the best rock writers in the country (whom I also never agreed with -- Christgau for one loved Malkmus, although I don't see that as a failing, just tastes I don't share), and all their classical writers, but still has the best movie reviewers, jazz critics (ok, well 1 or 2 of them) and gossip columnist (even if the jazz guys only show up once a month), for $99?
These and other questions....
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Edited by kojannon at 07/22/2008 7:55 AM PDT
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