Πέμπτη 30 Μαρτίου 2023
ON THIS DATE (53 YEARS AGO) March 30, 1970 – Miles Davis: Bitches Brew is released. # ALL THINGS MUSIC PLUS+ 5/5 # Allmusic 5/5 # Rolling Stone (see original review below) Bitches Brew is a studio album by Miles Davis, released on March 30, 1970. It reached three Billboard charts - Jazz Albums (#1), Top R&B Albums (#4) and Billboard 200 Top LP's (#35). The album won a Grammy Award for Best Large Jazz Ensemble Album in 1971. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style. The concept of a double album had become fashionable for rock music. Miles Davis made it his own, creating pieces over 20 minutes long that were built on a few fragments he offered to the musicians in his new quintet. Joining this group were several invited artists whose role was to enlarge the rhythm section and to help rein in the members of the ensemble who were known to venture toward the edge of chaos during their concerts. Cutting extensively, Teo Macero tried to create some order in the tapes, eliminating, editing, and elaborating refrains and improvised ritornellos from a few notes repeated in the introduction, in the interlude, or in the course of a long solo; elsewhere he injected his own electronic effects. From then on, the monochromatic blue night that had dominated In A Silent Way was infused with flushes, flames, and blazes—but they were under control. The title “Spanish Key” indicated that Miles had returned again to the modal adventure exactly where he had left it ten years earlier in “Flamenco Sketches” and “Teo.” __________ ORIGINAL LINER NOTES The following are Ralph J. Gleason’s Original LP Liner Notes. there is so much to say about this music. i don't mean so much to explain about it because that's stupid, the music speaks for itself, what i mean is that so much flashes through my mind when i hear the tapes of this album that if i could i would write a novel about it full of life and scenes and people and blood and sweat and love. and sometimes i think maybe what we need is to tell people that this is here because somehow in this plasticized world they have the automatic reflex that if something is labeled one way then that is all there is in it and we are always finding out to our surprise that there is more to blake or more to ginsberg or more to trane or more to stravinsky than whatever it was we thought was there in the first place. so be it with the music we have called jazz and which i never knew what it was because it was so many different things to so many different people each apparently contradicting the other and one day i flashed that it was music. that's all, and when it was great music it was great art and it didn't have anything at all to do with labels and who says mozart is by definition better than sonny rollins and to whom. so lenny bruce said there is only what is and that's a pretty good basis for a start. this music is. this music is new. this music is new music and it hits me like an electric shock and the word "electric" is interesting because the music is to some degree electric music either by virtue of what you can do with tapes and by the process by which it is preserved on tape or by the use of electricity in the actual making of the sounds themselves. electric music is the music of this culture and in the breaking away (not the breaking down) from previously assumed forms a new kind of music is emerging. the whole society is like that. the old forms are inadequate, not the old eternal verities but the old structures. and new music isn't new in that sense either, it is still creation which is life itself and it is only done in a new way with new materials. so we have to reach out to the new world with new ideas and new forms and in music this has meant leaving the traditional forms of bars and scales, keys and chords and playing something else altogether which maybe you can't identify and classify yet but which you recognize when you hear it and which when it makes it, really makes it, it is the true artistic turn on. sometimes it comes by accident. serendipity. with the ones who are truly valuable, the real artists, it comes because that is what they are here to do even if they can say as miles says of his music i don't know what it is, what is it? they make music like they make those poems and those pictures and the rest because if they do not they cannot sleep nor rest nor, really, live at all. this is how they live, the true ones, by making the art which is creation. sometimes we are lucky enough to have one of these people like miles, like dylan, like duke, like lenny here in the same world at the same time we are and we can live this thing and feel it and love it and be moved by it and it is a wonderful and rare experience and we should be grateful for it. i started to ask teo how the horn echo was made and then i thought how silly what difference does it make? and it doesn't make any difference what kind of brush picasso uses and if the art makes it we don't need to know and if the art doesn't make it knowing is the most useless thing in life. look. miles changed the world. more than once. that's true you know. out of the cool was first. then when it all went wrong miles called all the children home with walkin'. he just got up there and blew it and put it on an lp and all over the world they stopped in their tracks when they heard it. they stopped what they were doing and they listened and it was never the same after that. just never the same. it will never be the same again now, after in a silent way and after BITCHES BREW. listen to this. how can it ever be the same? i don't mean you can't listen to ben. how silly. we can always listen to ben play funny valentine, until the end of the world it will be beautiful and how can anything be more beautiful than hodges playing passion flower? he never made a mistake in 40 years. it's not more beautiful, just different. a new beauty. a different beauty. the other beauty is still beauty. this is new and right now it has the edge of newness and that snapping fire you sense when you go out there from the spaceship where nobody has ever been before. what a thing to do! what a great thing to do. what an honest thing to do there in the studio to take what you know to be true, to hear it, use it and put it in the right place. when they are concerned only with the art that's when it really makes it. miles hears and what he hears he paints with. when he sees he hears, eyes are just an aid to hearing if you think of it that way. it's all in there, the beauty, the terror and the love, the sheer humanity of life in this incredible electric world which is so full of distortion that it can be beautiful and frightening in the same instant. listen to this. this music will change the world like the cool and walkin' did and now that communication is faster and more complete it may change it more deeply and more quickly. what is so incredible about what miles does is whoever comes after him, whenever, wherever, they have to take him into consideration. they have to pass him to get in front. he laid it out there and you can't avoid it. it's not just the horn. it's a concept. it's a life support system for a whole world. and it's complete in itself like all the treasures have always been. music is the greatest of the arts for me because it cuts through everything, needs no aids. it is ... it simply is. and in contemporary music miles defines the terms. that's all. it's his turf. - ralph j. gleason __________ ORIGINAL ROLLING STONE REVIEW Miles' music continues to grow in its beauty, subtlety and sheer magnificence. Bitches' Brew is a further extension of the basic idea he investigated in his two previous albums, Filles De Kilimanjaro and In A Silent Way. In a larger sense, however, the record is yet another step in the unceasing process of evolution Miles has undergone since the Forties. The man never stops to rest on his accomplishments. Driven forward by a creative elan unequaled in the history of American music, he incorporates each successive triumph into the next leap forward. The wonderful thing about Miles' progress is that he encourages others to grow with him. Within the context of his sound there is more than enough room for both his musicians and his listeners to pursue their own special visions. Looking back on the history of Miles' ensemble, we find the likes of John Coltrane, Cannonball Adderley, Bill Evans, Tony Williams, Ron Carter, and Wayne Shorter. He always seems to select the best young jazzmen in the country and then gives them the freedom to develop their own unique modes of playing. Miles is known to be a stern disciplinarian, but never a tyrant. When a man has performed with the group long enough to gain a firm footing, he leaves as a recognized giant on his instrument. The present Miles Davis organization is certainly no exception to this tradition. There is more pure talent here than in any group of any kind currently performing. Chick Corea's piano is so full of technical and conceptual innovations that one is caught between a feeling of wonderment and the gnawing question, "I wonder how he does all those things?" It was about a year ago that a Downbeat reviewer went totally ga-ga trying to understand Chick's playing (he gave it "no stars" and complained about how far out it was), so rather than risk the record reviewer's funny farm I'll just ask you to listen to it. Dave Holland's bass and Jack DeJonette's drums lay down the amorphous rhythmic patterns for Miles' electrified sound. To put it briefly, these chaps have discovered a new way to cook, a way that seems just as natural and just as swinging as anything jazz has ever known. The soloists on the album—Wayne Shorter on soprano sax, Bennie Maupin on bass clarinet and John McLaughlin on electric guitar—are fully accustomed to this new groove and take one solid solo after another. The freedom which Miles makes available to his musicians is also there for the listener. If you haven't discovered it yet, all I can say is that Bitches' Brew is a marvelous place to start. This music is so rich in its form and substance that it permits and even encourages soaring flights of imagination by anyone who listens. If you want, you can experience it directly as a vast tapestry of sounds which envelop your whole being. You'll discover why fully one third of the audience at Miles' recent Fillmore West appearances left the hall in stunned silence, too deeply moved to want to stay for the other groups on the bill. As a personal matter, I also enjoy Miles' music as a soft background context for when I want to read or think deeply. In its current form, Miles' music bubbles and boils like some gigantic cauldron. As the musical ideas rise to the surface, the listener also finds his thoughts rising from the depths with a new clarity and precision. Miles is an invaluable companion for those long journeys you take into your imagination. But don't let my cerebral bent influence your listening. Whatever your temperament, Bitches' Brew will reward in direct proportion to the depth of your own involvement. (RS 59) ~ Langdon Winner (May 28, 1970) TRACKS: All pieces were written by Miles Davis, except where noted. Side one "Pharaoh's Dance" (Joe Zawinul) – 20:00 Side two "Bitches Brew" – 26:59 Side three "Spanish Key" – 17:29 "John McLaughlin" – 4:26 Side four "Miles Runs the Voodoo Down" – 14:04 "Sanctuary" (Wayne Shorter) – 10:52 #milesdavis
Τετάρτη 29 Μαρτίου 2023
Corcovado (Quiet Nights Of Quiet Stars), performed by Stan Getz and João Gilberto A favorite bossa nova standard from the album Getz/Gilberto, recorded this month in 1963 for Verve Records. This is one of the best known and bestselling albums in the history of jazz and bossa nova. It is not the first that combined the genres. The craze started two years earlier with Jazz Samba (Stan Getz and Charlie Byrd) and other albums, but this album brought bossa nova to millions of listeners. According to the book Stan Getz/A Life in Jazz, this is how Astrud Gilberto ended up singing on the album, an event that launched her career: "One day, while rehearsing, Stan asked Gilberto's wife, Astrud – the only Brazilian who spoke English – to sing the lyrics of songs in English. Stan was immediately taken by the vulnerable sensuality of her voice and asked her to sing on the album. Astrud had performed with her husband at small parties, but had never sung professionally. She had difficulty keeping in tune, but she seduced the listener with an intriguing combination of melancholy warmth and cool restraint. In Stan's recollection, he had to overcome considerable resistance to get Astrud included on the recording: Gilberto and Jobim didn't want Astrud on the album. Astrud was not a professional singer, she was a housewife." Not after this session. Stan Getz – tenor saxophone João Gilberto – guitar, vocals Antônio Carlos Jobim – piano Sebastião Neto – double bass Milton Banana – drums, pandeiro Astrud Gilberto – vocals on "The Girl from Ipanema", "Corcovado" https://www.youtube.com/watch?v=VEMWhrfFVDc And of course, the signature song from the album, The Girl from Ipanema: https://www.youtube.com/watch?v=N-TKOh0zsvU #stangetz #astrudgilberto #joaogilberto #antoniocarlosjobim #tomjobim #bossanova
Τρίτη 28 Μαρτίου 2023
Δευτέρα 27 Μαρτίου 2023
Gruppo Storico Akragas unico gruppo di rievocazione storica siceliota di Sicilia. Noi Siciliani di Akragas in Sicilia siamo fieri del nostro passato è non dimentichiamo mai la nostra propria identità ellenica! noi siamo la Magna Grecia. Il grande passato greco della Magna Grecia è anche il suo futuro. https://www.facebook.com/gruppostoricoakragas/ Ιστορική Ομάδα Ακράγας, τη μοναδική ομάδα ιστορικής αναπαράστασης της Σικελιώτες στη Σικελία. Εμείς οι Σικελοί από τον Ακράγαντα στην Σικελία είμαστε περήφανοι για το παρελθόν μας και ας μη ξεχάσουμε την δική μας ελληνική ταυτότητα! είμαστε η Μεγάλη Ελλάδα.Το μεγάλο ελληνικό παρελθόν της Μεγάλης Ελλάδας είναι και το μέλλον της.
Κυριακή 26 Μαρτίου 2023
Surveying is not an easy work in engineering . ➡️ follow Instagram @civilengineeringce ➡️ follow Instagram @civilengineeringce ➡️ follow Instagram @civilengineeringce ➡️ follow Instagram @civilengineeringce . . #civil_engineering_ce #civil #civilengineering #engineering #civilengineer #engineer #construction #civilconstruction #engenharia #engenhariacivil #construccion #architect #architecturelovers #civilengineers #architecture #mechanicalengineer #mechanicalengineering #instagram #facebook #twitter #ingenieríacivil #India #us #brazil #russia #europe #germany #canada #uae #dubai ________________________________ **If you have any issues with copyright infringement on this post, or if you feel that this post is not properly sourced, please direct message to @civilengineeringce . We will take the post down immediately or work something out, whichever you prefer!** All rights and credits reserved to the respective owner(s). If you are the copyright owner of this content direct message us to claim credit or content removal.
Un barbone a passeggio? No... è forse il più grande matematico vivente al mondo. Il russo Grigorij “Grisha” Jakovlevič Perelman è stato l’unico uomo che sia riuscito a risolvere uno dei sette "Problemi del Millennio", dimostrando la Congettura di Poincaré e ha rifiutato il premio da un milione di dollari che gli era stato assegnato dal Clay Mathematics Institute per questa scoperta. La Congettura di Poincaré, è un complesso problema di topologia e quando trovò la soluzione disse: "Per me è del tutto irrilevante, in quanto se la soluzione è quella giusta, non c'è bisogno di alcun altro riconoscimento." Vive in un mini-alloggio all’interno di un palazzone popolare, uno di quelli costruiti da qualche zar del socialismo reale. Per lui i soldi non contano nulla: "Non voglio essere uno scienziato da vetrina, ma uno che studia la scienza per il bene degli altri." Gira con capelli e barba incolti e scarpe da ginnastica sformate, le immagini più recenti di lui lo ritraggono con un look trascurato: un blogger l’ha scovato in metropolitana e l’ha immortalato con il cellulare mettendo poi le sue foto su internet. Dicono che nella sua città, che fu la capitale degli zar, sia di moda indossare una t-shirt con il suo volto e la scritta: "In questo mondo … non tutto si può comprare" Pagine di R-Esistenza
Σάββατο 25 Μαρτίου 2023
Παρασκευή 24 Μαρτίου 2023
Πέμπτη 23 Μαρτίου 2023
Τετάρτη 22 Μαρτίου 2023
Τρίτη 21 Μαρτίου 2023
Δευτέρα 20 Μαρτίου 2023
Κυριακή 19 Μαρτίου 2023
Σάββατο 18 Μαρτίου 2023
Παρασκευή 17 Μαρτίου 2023
Κάποτε θα με διαβάσεις ίσως, θ’ ακούσεις τα τραγούδια μου, θα με κατανοήσεις. Αλλά δεν θα’ μια πια εγώ. Θα’ ναι αυτή η μάσκα που φορούν στους πεθαμένους. Όσους τους χρησιμοποιούν μετά το θάνατο τους, όταν οι ίδιοι δεν υπάρχουν. Όσο υπήρχα με φοβόσουν. Όσο υπήρχα δεν με άντεχες. Δεν είχες την δύναμη να μείνεις ένα δευτερόλεπτο κοντά άμα στο ζητούσα. Θα προτιμούσα να μη με διάβαζες ποτέ. Είναι καλύτερο ν’ αγοράσεις ή να κλέψεις ένα μπλουζάκι με την φάτσα μου επάνω τυπωμένη. Και σου φαίνεται γέλιο. Και ας μου φαινόταν γελοίο. .......................... Στην μνήμη του Νικόλα για τα 35 χρόνια από το φευγιό του την Πέμπτη 17 Μαρτίου 1988. Από το βιβλίο του αναζητώντας κροκανθρώπους .... https://www.patrisnews.com/vre-mpagasa-pernas-kala-ekei-pano-feygei-san-simera-o-nikolas-asimos/?fbclid=IwAR342T3p6L7-con-K7snLhPY343_g-RCDuJncvO2vjRNESrVsC6VJeDC4eM
Πέμπτη 16 Μαρτίου 2023
The Dark Side of the Moon es el octavo álbum de estudio de la banda de rock inglesa Pink Floyd, lanzado el 1 de marzo en Estados Unidos y el 16 de Marzo en el Reino Unido, ambas fechas datadas en 1973 por Harvest Records. Desarrollado durante presentaciones en vivo antes de que comenzara la grabación, fue concebido como un álbum conceptual que se enfocaría en las presiones que enfrenta la banda durante su arduo estilo de vida y en parte trataría los problemas de salud mental del ex miembro de la banda Syd Barrett, quien dejó el grupo en 1968. Se grabó material nuevo en dos sesiones en 1972 y 1973 en EMI Studios (ahora Abbey Road Studios) en Londres. El disco se basa en ideas exploradas en grabaciones y actuaciones anteriores de Pink Floyd, al tiempo que omite los instrumentales extendidos que caracterizaron el trabajo anterior de la banda. El grupo empleó grabación multipista, bucles de cinta y sintetizadores analógicos, incluida la experimentación con el EMS VCS 3 y un Synthi A. El ingeniero Alan Parsons fue responsable de muchos de los aspectos sonoros de la grabación y de la contratación de la cantante de sesión Clare Torry. que aparece en "The Great Gig in the Sky". The Dark Side of the Moon explora temas como el conflicto, la codicia, el tiempo, la muerte y la enfermedad mental. Se presentan fragmentos de entrevistas con el equipo de gira de la banda junto con citas filosóficas. La portada, que representa un espectro de prismas, fue diseñada por Storm Thorgerson en respuesta a la solicitud del teclista Richard Wright de un diseño "simple y audaz" que representara la iluminación de la banda y los temas del álbum. El álbum fue promocionado con dos sencillos: "Money" y "Us and Them". The Dark Side of the Moon se encuentra entre los álbumes más aclamados por la crítica y, a menudo, aparece en las listas profesionales de los mejores álbumes. Le dio fama internacional a Pink Floyd, brindando riqueza y aplausos a los cuatro miembros de la banda. Un lanzamiento de gran éxito de la era del álbum, también impulsó las ventas de discos en toda la industria de la música durante la década de 1970. The Dark Side of the Moon está certificado 14 veces platino en el Reino Unido y encabezó la lista Billboard Top LPs & Tape de EE. UU., donde estuvo en las listas durante 974 semanas. A partir de 2013, The Dark Side of the Moon ha vendido más de 45 millones de copias en todo el mundo, lo que lo convierte en el álbum más vendido de la década de 1970 y el cuarto álbum más vendido de la historia. En 2012, la Biblioteca del Congreso lo seleccionó para su conservación en el Registro Nacional de Grabaciones de EE. UU. como "cultural, histórica o estéticamente significativo".
Τετάρτη 15 Μαρτίου 2023
Τρίτη 14 Μαρτίου 2023
L’illusione ottica del toro e dell’elefante, una delle più antiche del mondo, si trova nel tempio indù di Airavatesvara, costruito nel Comune di Darasuram, in India, su volere del re Rajaraja Chola II nel XII secolo. Il bassorilievo in pietra raffigura due corpi di animali con le teste sovrapposte e fuse. Si tratta di un trucco visivo che permette di vedere un toro se ci si concentra sull’animale a sinistra, e un elefante se ci si concentra sull’animale di destra. L’animale nel suo complesso probabilmente rappresenta il dio Shiva o l’unità tra le divinità induiste.
Δευτέρα 13 Μαρτίου 2023
12 mars 1967, sortie de The Velvet Underground & Nico le premier disque du Velvet Underground produit par Andy Warhol ... Sunday Morning, Femme fatale, Heroïn ou encore I'm waiting for the man... Cette dernière est devenue aujourd'hui incontournable, issu du premier album du Velvet Underground en 1967, l'album à la banane, couverture signée de Warhol et production également assuré par le maître dandy. L'album démarre sous de mauvais auspice, enregistré à la fin de l'année 1966, il sortira le 12 mars 1967 avec des ventes plutôt satisfaisantes. Un différent au niveau des droits de production le fera retirer puis remis en vente quelques mois plus tard, mais visiblement trop tard, l'engouement n'est plus là, le disque est un échec commercial. Lou Reed a certainement dû sourire du retournement de situations, puisque The Velvet Underground and Nico est aujourd'hui unanimement considéré comme un album culte. I'm waiting for the man, chanson qui raconte un deal d’héroïne à 26 dollars au coin d' harlem est l'un des joyaux de cet album. On a réuni ici un florilège d'interprétations, un choix partial évidement tant ce titre a été repris à toutes les sauces... c'est la rançon de la gloire, lorsque un chef d’œuvre éclos https://culturesco.com/.../velvet-underground-nico-le.../
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