Masterpiece.
Guitar player /singer Findlay called this third CD his debut, because he mixes his jazz with more rhythm ’n’ blues and funk than on Fraser’s Dream and Manna.
His thoughtful melodies are full of unexpected tempo changes, measured funking rhythms and fiery guitars. Sometimes these genres blend, sometimes they grind profoundly against each other.
He sings emotionally on top of grooving blues riffs and quirky southern rock, adding equal parts of Continue reading
Superb folk-blues.
Singer-songwriter Louise Taylor’s sixth record is released after a long pause, because her first five CDs were released between 1992 and 2003.
Whether the crisis in the record industry caused this, is unclear. It can hardly have been an artistic crisis though, because Taylor plays eleven songs in which she Continue reading
De Amer programmeert al jaren elk seizoen een groot aantal muzikale optredens waar wij ook naartoe zouden willen.
Nu hebben Jan de Haan, Harry de Jong en Gerrie van Barneveld het seizoen 2011-2012 rond en kun je reserveren. Dat is zeer de moeite waard, want de lijst is lang en interessant.
Op zaterdag 20 augustus start De Amer met inschrijven en reserveren voor de concerten. Vanaf die datum kan elke dag worden gereserveerd, met uitzondering van woensdag. Dan is De Amer gesloten.
De ererste weken kan alleen in De Amer zelf worden gereserveerd en zul je dus daarheen moeten. Dat komt doordat De Amer een organisatie van vrijwilligers is en geen modern reserveringssysteem heeft.
Na de eerste weken mag bellen of mailen met Harry de Jong via Continue reading
Just because any categorisation is arbitrary, we follow our own taste and we beg you to differ, although we do ask you to consider if our choices couldn’t be yours as well.
That is why we created the category we call Contemporary classics. Our personal preferences are in that category: records that should surely stand time and be just as good in ten years’ time, or longer still.
You will understand that the artist’s reputation is not the reason we picked the record. It is the music itself and first and foremost the feeling we get every time we take the trouble to really listen to it.
If you don’t know these records, that is just what we advise you to do: listen to them, as long as you are aware that you might get addicted to them.
www.robjungklas.com www.madjackrecords.com
Triptych.
Rob Jungklas was on the brink of musical success at the end of the eighties, but married and found a job. As a result of the divorce of his wife and son and the purchase of a second-hand guitar the English teacher from Memphis made an overwhelming come-back in 2002. Arkadelphia, the CD with which he tore apart the silence, still is of an unknown, timeless ferocity, just like Gully, which was released five years later.
In the ten songs on his third CD there is no way of comparing Jungklas to Continue reading
Surrender.
Kirsten Thien chose guitar playing and singing above the banking world some ten years ago and already released She Really Is in 2001 and You’ve Got Me in 2006.
It resulted in many live gigs, but no breakthrough. From the very first notes of Love Is Made To Share Thien proves how unjust that is. That opener overpowers because of Continue reading
Stylishly composed grieve.
Randall Bramblett already played once in Chuck Leavell’s Sea Level, did all kinds of session work and was part of Traffic’s line-up a few years ago. Continually, jazz was not very far off in this sax player/keyboardist’s work.
On his all-in-all fourth solo disc that is Continue reading
Monument for love.
Ruby James’ debut Desert Rose went by unnoticed in the Netherlands. That proves to be more than sad now, because that record contains almost only impressively beautiful songs.
Fortunately, Happy Now is at least just as good and even rootsier. Still, it almost had not been recorded. James, then living in LA, wanted to give up singing after that first one for lack of succes in music and love, but this successor was born from despair, necessity and chance. Continue reading
Voodoo master.
According to critics plagued by a strong homesickness for their own youth, Dr. John’s best work stems from the early seventies, but Mac Rebennack strings together one pearl after another unhesingtatingly in his third youth, like beads on a Mardi gras-chain from hometown New Orleans.
They are made of plastic, but the sixteen songs on Tribal’s European version are not: one Harold Batiste song, two new gems from Allen Toussaint and thirteen songs (co)written by Rebennack radiate mostly inspiration and pleasure in playing music in a crystal clear production by himself and Lower 911-drummer Herman Ernest III.
With bassist David Barard, guitarist John Fohl and new percussionist Kenneth “Afro” Williams they practise the art of Continue reading
Funkmaster.
Troy Andrews a.k.a. Trombone Shorty is a real New Orleanian. He grew up in Backatown Tremé and got a music traineeship with brother James, the jazz trumpeter, from his earliest days. A gandson to legendary singer Jesse Hill Troy, Andrews learned to play the drums, the trumpet and the trombone when he was very young.
Now only 24 years old, the trombone player made four jazz CDs between his sixteenth and nineteenth, but spent the years after that playing countless gigs with U2, Green Day, Allen Toussaint, Lenny Kravitz and with his own band, Orleans Avenue.
Andrews, playing the trombone, the trumpet, keyboards, the drums and percussion and sometimes also singing in an expressive and socially conscious way, is backed intensely swingingly by Joey Peebles (drums), Dwayne “Big D” Williams (percussion), Mike Ballard (bass), Pete Murano (guitar), Tim McFatter (tenor sax) and Dan Oestreicher (bariton sax).
In thirteen songs of his own plus Toussaint’s On Your Way Down (with the old master on piano) Andrews combines all sorts of influences in the best New Orleans tradition. Continue reading
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