Give the Drummer Some's
Favorite Downloads from the MP3 Blogosphere
Being a true-blue union man, your Miner is off to fulfill his contractually mandated vacation time. Trust me, he'd rather remain in his underground perch, pickaxing his way through the cultural substrata on your behalf. (And besides, it's about 50 degrees cooler down there!) This will be the last Motherlode for a few weeks, so it'll be up to you to work out your own time-eviscerating activity. I hear you can poke around the Internet and find thing or two to do. Stay hydrated!
Chiemi Eri & Tokyo Cuban Boys ~ Chiemi's Folj Song Collection
(Blog: Jenny Is in a Bad Mood)
"Eri rarely sang traditional Japanese themes, so the album reviewed here is a rarity. This was accompanied by the Tokyo Cuban Boys, who were obviously a big band that played Latino issues. Formed in 1949, was one of the first formations to introduce the mambo in the country of the rising sun. In the 70 concerts offered by different parts of the world as the USSR, Mexico and Cuba itself. The band dissolved in 1980. This big band serves as a support group for showcasing Eri and gives brilliant luster to compositions." (Google Translate version of description by Roberto, at Jenny Is in a Bad Mood )
J.E. Mainer ~ At Home (With Family and Friends)
Volume 1 | Volume 2
(Blog: Allen's Archive of Early and Old Country Music)
"Joseph Emmett Mainer worked as a professional musician for some four decades and exemplified much of the best in old-time string music band music. His work on radio stations in the 1930s with his Mountaineers for the Crazy Water Crystals and for Bluebird records between 1935 and 1941 established him as one of the legendary figures in country music history. Although continuously active through the forties and fifties, Mainer again won a national following in the sixties with his numerous latter day recordings and festival appearances. He died in the spring of 1971 while preparing to perform at a festival." (From the liner notes)
Oulad El-Bouazzaoui ~ Milouda
(Blog: Bodega Pop)
"Another of the many CDs I picked up while in Marrakech a few years ago. I think of this band as the Fezmatics, sort of like the Klezmatics--though, yes, I'm aware that that's the name of the production company or CD series and not the band. (And thanks to Hammer and Tim Abdellah for providing band and album name after this was originally posted—for track list, see comments.) I love the matching djellabas; it gives them a kind of early Beatles/Garage look that is oddly fitting with their music. (They are, after all, rawqin' Moroccans.) The abrupt opening and sudden ending of the sample above are due to the tracks sort of just sliding into each other like interlocking, uh, grooves. It sounds fine when you play the whole album." (Description by Gary, at Bodega Pop )
Bill Hardman Quintet ~ Saying Something
(Blog: ¿Que Parte no Entendiste?)
"This was Bill Hardman's first recording as a leader. In iTunes, you'll see that the track for sale lists Art Blakey as the leader—no doubt a marketing decision, since Bill played with Blakey and Blakey's name is more well-known. Hardman had been in demand as a recording sideman since his first date with Jackie McLean in August of 1956. Both then became the front line for Art Blakey and the Jazz Messengers, making several recordings. Johnny Griffin was added to the front line, and he stayed with Bill in the Messengers when Jackie McLean left in May 1957. Bill returned to the trumpet/alto sax front line format in 1960, when he started a long relationship working and recording with Lou Donaldson. Bill obviously liked the trumpet/alto sax combination and invited Sonny Red to join him for this session." (Description at Jazz Lead Sheets & More )
Errol Parker Tentet ~ Love at the Wollman Auditorium
(Blog: Orgy in Rhythm)
Alternate Side Parker
"…Mr. Parker's drum patterns push the band like pistons. His drum set has a conga in place of a snare drum, and his rhythms center on tom-toms and bass drum, suggesting African music. Mr. Parker stays out of the spotlight; in Friday's first set, there were only a few seconds of solo drums. Instead, he knocks out Afro-Latin grooves that propel such strong, fluent soloists as Rory Stuart on guitar, Steve Coleman, Doug Harris and Bill Saxton on saxophones and Wallace Roney on trumpet." (Description from an NYT review by Jon Pareles, reprinted at Orgy in Rhythm)
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