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Pop Culture Radio. Disney Sleep. Physical - Various - Shine On (The 80s Volume 4) (CD) Piano. Country Stuff. If I Know Me. Greatest Hits. Fine Line. The Physical - Various - Shine On (The 80s Volume 4) (CD) Hits. Back In Black. All-American: Tiger Woods. The Lead. A Night In Tunisia. Hi-Res Booklet. Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band.
There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band.
Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging, and shouts of encouragement.
This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage. Long known for their creative arrangements within the context of small-group jazz, the Messengers push the definition of hard bop and blues to the limit here.
Dizzy Gillespie's title track is evidence enough of the creative power of this group: Blakey's steam shovel-like mambo, Morgan and Shorter's wailing solos, and a dramatic ending make for a stunning piece. Shorter's contribution includes the swinging "Sincerely Diana. The Big Beat. Perhaps the best known and most loved of Art Blakey's works, The Big Beat is a testament to the creative progress of Physical - Various - Shine On (The 80s Volume 4) (CD) of the best jazz drummers of all time.
Now over 40 years old, The Big Beat is as thunderous as ever. Here, Blakey combines his rhythm with tenor saxophonist Wayne Shorter's brilliant composing to make what could only be termed a "structurally raw" album. Each track rips through bebop as quickly as Blakey ripped through drum heads. Two alternate versions of "It's Only a Paper Moon" round out the album, both brimming with the fluid integrity of the song and the drive only Blakey could provide.
As one of the few drummers to step out and lead, not just play backup, Blakey created a true jazz treasure in The Big Beat. Free For All. The Witch Doctor. Into the third year of utilizing late-'20s superstars trumpeter Lee Morgan and tenor saxophonist Wayne Shorter on the front line, Art Blakey's Jazz Messengers were showing a progressive compositional stance, mostly due to the emerging creativity of Shorter's sharply off-minor ideas.
Pianist Bobby Timmons, a peer of the front liners, is swimming somewhere in the middle of this stylistic lake, exhibiting soulful backstrokes, straight-ahead sprinting, and the angular chordal complexities or sudden changes any potpourri of modernities might offer. Faithful bassist Jymie Merritt, no young pup at the time seven years Blakey's junior is solid, unspectacular, and right where this band of stars needed him to be. Writing chores continue to be split evenly between the horn players, but Shorter's pieces are distinct with a difference.
Timmons contributes "A Little Busy" which is not far removed from the soul-jazz he is known for, a fun and funky groove biscuit where the pianist is truly in his element. Whether this was or was not the pinnacle for this great band is still up for debate, but it assuredly ranks with Blakey's personal best aside from the popular album Moanin' of the same time frame. Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally.
Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well "The Egyptian" and "Sortie". Jin," and Walton's ballad-cum-post-bop sprint "When Love Is New" -- and the Blakey drive is in full effect, making this album comes closest in feel to the Moanin' sessions with Bobby Timmons.
Here the balance of soul groove and innovative tough bop are about equal. Morgan lends great intensity to this date by being such a perfect foil for Shorter, and their trading of fours and eights in "Sortie" is one of the disc's many high points. Morgan's bluesed-out modal frame is already in evidence here as he was beginning to stretch beyond the parameters of the bar frame and into music from other Physical - Various - Shine On (The 80s Volume 4) (CD) and times.
Buhaina's Delight. Arguably the finest lineup of the Jazz Messengers with the possible exception of the Lee Morgan editionthis incarnation of the band -- Blakey, saxophonist Wayne Shorter here playing tenoryoung trumpeter Freddie Hubbard, trombonist Curtis Fuller, pianist Cedar Walton, and bassist Jymie Merritt -- set the tone for the hard bop movement of the '60s.
This release features six classic modern-jazz icons and four alternate takes. Starting with Shorter's "Backstage Sally," the band jump into a happy, staccato horn chart and the groove-style shuffle that was their signature sound. Shorter's tenor-led ballad "Contemplation" finds the brassmen solidly behind him as he unleashes a breathtaking solo, while the Fuller-penned "Bu's Delight" is a supersonic hard bopper featuring Blakey's cage-rattling drum breaks and a formidable Walton solo.
Written and led by Shorter, "Reincarnation Blues" is another good swinger, with counterpoint and unison lines sprinkled in together. The stunner of the set is Walton's "Shaky Jake," a low, moaning melody with deep-blue harmony soaring over a groove shuffle. On "Moon River," a frisky bopper featuring substantial solos from Hubbard and Fuller and a joyous arrangement modified from the original blue waltz, the song's staggered phrases are introduced and interrupted by drum breaks.
The second takes of "Moon River" and "Backstage Sally" are fairly close to the first takes, while the alternate versions of "Reincarnation Blues" and "Bu's Delight" run one to two minutes shorter than the originals. Overall, you won't find a better representation of what modern mainstream jazz sounds like. Blakey and his band are on it from start to finish. The Freedom Rider. Blakey's unaccompanied drum feature on "The Freedom Rider" is full of drama while the rest of the program two compositions apiece by Morgan and Shorter makes this last chapter for this particular band quite memorable.
Audio-conscious consumers should be aware of the distortion that somewhat marred the original vinyl, as well as all subsequent pressings. Unfortunately, it seems to have been inherent in the master tapes. While it occasionally reveals itself during the more dynamic contrasts and passages, the combo's swinging bop and sheer musicality outweigh any and all anomalies.
Birdland aka "the jazz corner of the world" produced some of Art Blakey's drums most revered live recordings. In addition to these volumes, enthusiasts are equally encouraged to locate the genre-defining A Night at Birdland Bernardo Bertolucci likes to boast that, when he worked with Dario Argento on the screenplay of Once Upon a Time in the Westhe smuggled in quotations — from Johnny Guitar and other American Western classics beloved by cinephiles like themselves — quotations that he knew director Sergio Leone would not recognise.
Bertolucci and Argento kept this a secret because they were trying to engineer a true moment of innocence: Leone would recreate these second-degree quotations, but in the first degree, without knowing it.
Later, when he read the interviews in which his collaborator made this boast, Leone angrily denied that he was the dupe in this game, the savage. He knew. Or so he claimed. Film history always goes something like this: once upon a time, Hollywood directors told innocent, unself-conscious stories about gangsters and pirates, lovers and liars. The characters in these films sadly recognise the gap between their tawdry, unglamorous real lives, and the unreal Hollywood images they love.
And the directors of these films realise that something has been lost for them, also: a certain ease, a fluency, a directness. Everything for them in cinema — and perhaps also in life — is mediated, and premeditated.
So this is a story of The Fall. The Garden of Eden. The Lost Object. Loss of Innocence. Afterwards, after this loss, everything becomes confused. His story will be a story of illusion, and disillusionment.
The taking on and discarding of an American Dream. Filmmaking is often a beam of desire that projects to another country, another land. Projecting yourself into an imaginary geography is another way to recapture, renew, re-invent a state of innocence.
Like a Virgin. Mythology trumps History in these imaginings, these wanderings — for a while, at least.
The Dinosaur and the Baby face off. The older man calls himself a Dinosaur and the younger man regards himself as a Baby. But in this exchange between them, there is also a transmission between generations; Youth — as well as Romance — is all they really talk about for an hour. Filmmaking is about youth, depends on youth, gives the gift of youth, they say.
Eternal Youth, a Fountain of Youth, it seems. By then, the ever-restless Godard will already be past the point of paying respectful homages Physical - Various - Shine On (The 80s Volume 4) (CD) the Dinosaur.
InUne catastrophe reprises a knot of articulations directly derived from Germany 90 : war, visual strobe effects, Labarthe as narrator, German poetry, People on Sunday the same rapturous clip of the kiss, slowed down and stopped differentlythe same snatch of Schumann.
How else but with ambivalence Should one look at this country with its dream of itself? And its end-point is loss:. For what is a cinephile if not someone who acutely longs for an elsewhere, an imaginary world offered by cinema — but an elsewhere mapped to specific projected sites, places, nations? This absence of a background is not uncommon in the cinema.
Indeed, it is an advantage of the medium in terms of immediacy and spontaneity. The story is simply there; we plunge into it assuming that a life only becomes interesting the moment the hero has broken free of family confines. This reference to the confines of family will soon become central to our understanding of the films of Wenders. All of his major films, documentary-essays including Poto and Cabengo and My Crasy Lifereflect upon the strange, fascinating ways of his adopted homeland, and of the difficult passage of his own assimilation into it.
As Gorin explained, the film arose from his sense of the break with deep or vertical History that America represents in relation to his previous home of Europe; here, in the New World, everything is horizontal, on the surface. Hence the Western, the Road Movie In this conception, we can already intuit the profound influence of the recently-deceased American film critic Manny Farber — with whom Gorin worked for Physical - Various - Shine On (The 80s Volume 4) (CD) decades, teaching in San Diego — on Routine Pleasures : wisdom is to be found in a humble patch of earth, a small slice of experience, not in a synoptic sweep of vast expanses.
Gorin finds, fortuitously, a group of fairly old men who run a remarkable model train spectacle, not for the public but their private amusement; complete with landscape, figures, tracks and roads and crossings, it is, incredibly enough, an entire miniaturised Road Movie in itself — a complete world reconstructed in situin a large room.
When these chaps want to eventually get rid of him, they silently give him a fatal, hilarious sign: they place their little model of his red car an earlier sign that they had accepted him in the path of an oncoming train. Gorin must then leave the fantasy bubble of this Americana shed, and weigh up in his montage and voice-over what he has learnt on this spot Let us return to Wenders now. The Westerns that he once adored as a child or teenager proved to be a curious, somewhat treacherous foundation for his adult imaginary.
On the one hand, it provides him with an imaginable Past, a History; on the other hand, it is a pure form forecasting, but cleanly cut off from, the urban capitalism of later American history. But, for Wenders himself — unable to vanish into the mythic air — the conjunction of History and Story will form the basis of a constant, never truly resolved struggle, just as it does for Godard.
Alice in the Cities is a film of special poignancy and beauty. The characters in Alice in the Cities speak of having no past or future, of having lost their secure identity in some unspoken crisis of long ago, of not even knowing how to live. In fact, Alice in the Cities replaces ego-based misery with an ego-less state — a zone in which neither the man nor the child are yet fully formed beings.
The film captures a blissfully prolonged minute moment of ego-less suspension — substituting a temporary, fluid sense of commitment, in place of the grimness associated with the conventional Mummy-Daddy-Child nuclear family unit. A happy instance of filial transmission!
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