segunda-feira, 30 de outubro de 2006

Mais Ormá no Vitrola

GUSTAVO ANDRADE: guitarra, voz
OSMAR DE MELO: gaita

01/11 - quarta-feira (véspera de feriado)

Vitrola Café & Arte [21:00hs]
Rua Tomé de Souza, 1.081 - Savassi
BELO HORIZONTE, MG
Reservas: (31) 3227 2138


Contato Hot Spot
e-mail: hotspotmg@hotmail.com
tel.: (31) 9239-2460

sábado, 28 de outubro de 2006

Notícia Triste

Faleceu hoje de madrugada um dos grandes nomes da Harmônica brasileira, Ulysses Cazallas.

Ulysses era carinhosamente chamado de avô por vários gaitistas do gaita-l, e muito respeitado não só por seu talento em todos os aspectos da gaita, mas também pela pessoa generosa, simpática, carinhosa e sábia que era. Vários gaitistas iam visitá-lo em sua casa, fosse para aprender sobre gaita, fosse para simplesmente compartilhar a ótima companhia.

Ulysses era nosso avô postiço.

Mais que a tristeza da perda de uma pessoa querida, vale lembrar que Ulysses estava num bom momento, em que havia sido recentemente contratado pela Bends como consultor. Ulysses também foi o primeiro homenageado pelo CD do gaita-l, participando da grande festa de lançamento no Sírio-Libanês de Santos-SP, evento que só pôde acontecer graças ao pessoal formidável do Gaita-BS (Baixada Santista). Fico realmente feliz de pensar que conseguimos homenageá-lo em vida.

O portal gaita-bh entrevistou Ulysses em Fevereiro de 2002.

Este blog lamenta profundamente esta perda de um dos harmonicistas mais importantes do Brasil e de um grande amigo. E a gente segue fazendo a nossa parte.

O falecimento ocorreu hoje as 3h, provável infarto.


Velório será na Sta Casa de Santos - SP
Enterro no cemitério municipal de São Vicente 16:00

sexta-feira, 27 de outubro de 2006

Tiradentes, começando 2007 com pé no blues

Não bastasse Tiradentes ser um charme de cidade, ainda começa com o pé direito no blues, notícia dada pela grande Ted, guitarrista do Yellow Cab Blues Band e batalhador do blues...

2ª Temporada de Blues Conto de Réis Tiradentes MG


Uma iniciativa voluntária de Blue Drop Produções em colaboração total com Conto de Réis – Biritaria e Pousada São José del Rei, visando apresentar a 2ª Temporada de Blues Conto de Réis em Tiradentes - MG, no mês de Janeiro e Fevereiro de 2007.

Se trata, na verdade, de uma segunda edição do mesmo projeto, realizado em Janeiro de 2006, que teve grande receptividade de público e mídia, como também na comunidade de Tiradentes, pela excelente qualidade musical alcançada.

Esse evento será realizado no Bar Conto de Réis – Biritaria, Largo das Forras, centro de Tiradentes, onde se poderá frequentar a casa a noite toda, tomando o que tem de melhor em pinga e quitudes de Minas e curtindo Blues.

Se constitui de 12 shows de Blues, onde a banda Yellow Cab Blues Band, irá recepcionar seis artistas de renome nacional nesse gênero, um em cada fim de semana, convidados para tocar em “jam session” por seis fins de semana seguidos, começando no mês de Janeiro, quando também acontece a Mostra de Cinema de Tiradentes e entrando em Fevereiro.

OS CONVIDADOS DA YCBB SERÃO :

05 e 06 de Janeiro --– ..Paulo Meyer – Gaitista e Cantor de Blues - São Paulo
12 e 13 de Janeiro --– ..Marcos Pinheiro – Guitarrista de Blues – Rio de Janeiro
19 e 20 de Janeiro --– ..Maurício Sahady – Guitarrista de Blues – Rio de Janeiro
26 e 27 de Janeiro --– ..Jefferson Gonçalves – Gaitista de Blues – Rio de Janeiro
02 e 03 de Fevereiro – ..Bruna Pavanelli – Cantora de Blues – Rio de Janeiro
09 e 10 de Fevereiro – ..Rodrigo Nézio – Guitarrista e Cantor de Blues – Barbacena


Os shows serão as sextas e sábados, conforme acima, iniciando às 22h.

quarta-feira, 25 de outubro de 2006

MisterJack no Nordeste

O projeto Oi Blues By Night faz sua terceira edição em Fortaleza em alto estilo. Mister Jack, a banda de Benê Chiréia se apresentará no Anfiteatro do Centro Dragão do Mar de Arte e Cultura, a partir das 21h. E quem produz são Roberto Maciel e Luiz Carlos de Carvalho, os caras que, junto com Diogo Farias, fazem o Fórum Harmônicas do Ceará.

O Oi Blues By Night surgiu em Recife, há quatro anos. Expandiu-se para João Pessoa e Natal e, este ano, chegou a Fortaleza. Trata-se de uma ação de marketing cultural da operadora de celulares Oi. Um dado importante: os shows em Fortaleza estão reunindo públicos até 30% maiores do que nas outras cidades.

Dia 25/10 - Mister Jack - Projeto Oi blues by Nigth - Manhatan - Rua Francisco da Cunha, 881, Boa Viagem - Recife - PE
Dia 26/10 - Mister Jack - Projeto Oi blues by Nigth - João Pessoa - PB (onde?)
Dia 27/10 - Mister Jack - Projeto Oi blues by Nigth - Natal - RN (onde?)
Dia 28/10 - Mister Jack - Projeto Oi blues by Nigth - Anfiteatro do Centro Dragão do Mar de Arte e Cultura - Rua Dragão do Mar, 81 - Praia de Iracema - Fortaleza - CE

e não percam tb

Fórum Harmônicas do Ceará 2006 - 24, 25 e 26 de novembro, no Centro Dragão do Mar, Fortaleza CE

site oficial em breve

Recado dado!

terça-feira, 24 de outubro de 2006

NY

Esse show eu gostaria de ver:
---------- Forwarded message ----------
From: dennis moriarty
Date: 24-Oct-2006 19:25
Subject: [Harp-L] Huge harp show in NYC this Saturday
To: harp-l@harp-l.org

At Joe's Pub on Saturday 10/28 at 7 p.m. with Wade Shuman's Hazmat Modine (with two lead harp players). The huge part is "The Four Harmonica Ensemble" featuring: Wade (diatonic), Randy Weinstein (mostly chromatic), Trip Henderson (diatonic), and Dennis Greunling ( diatonic, especially low tuned) interspersed with the rest of the show. This much harp doesn't happen in NYC too frequently (I was in Spain for Mark Hummel's Blow off at B.B. Kings which had to be the first time Lee Oscar played here in 25 years). Catch it while you can! dennis (nyc) p.s. I have no affiliation with any of these guys beyond respect and an occasional hand shake.


P.S.: Achei a mensagem abaixo no meu perfil no Myspace. A banda Hazmat Modine logicamente também pode ser achada .
HAZMAT MODINE - DELUXE
@
JOE'S PUB
425 LAFAYETTE STREET, NEW YORK, NY 10003
Tickets thru telecharge 212.239.6200 or visit www.telecharge.com
Table reservations and General information 212.539.8770 www.Joespub.org


HAZMAT modine is very pleased to present a special event with unusual guests and small acoustic ensembles from the band, as well as the full 8 piece extended version of the group known as HAZMAT MODINE-DELUXE at this wonderful New York City club. Joe's Pub has some of the best acoustics in NYC...This performance will be designed to take advantage of the clear and transparent sound of the venue...

This epic hour and a half show will debut some new material and particularly unusual manifestations of the band, including the astounding unprecedented dueling Tubas of Joe Daly and Dave Grego, two of New York’s great Tuba specialists. The band will perform both in small groups, one to three members...up to ten members…

The event also includes the unique appearance of an acoustic four Harmonica Hazmat Modine quartet. The group uses the harmonica much in the way a gospel quartet uses voices to create chordal blends, harmony, and rhythm, and references some of the work of the harmonica band movement of the 1920’s & 30’s. This unusual ensemble of harmonica virtuosos will perform both a cappella and with the full band…

domingo, 22 de outubro de 2006

Vitrola Acoustic Blues Festival

- Gustavo Andrade & Samir Chammas (Hot Spot)

- Leandro Ferrari & Rafael Resende (Batrak/Nasty)

- Hilmara Fernandes & Marcelo Silveira e Pedro kokaev (Loretta)


28/10 - Sábado [19:00hs]
Entrada: R$10,00

Vitrola Café & Arte
Rua Tomé de Souza, 1.081 - Savassi
Reservas: (31) 3227 2138


Bons ventos sopram para a gaita em Belo Horizonte. Não percam.

sábado, 21 de outubro de 2006

sexta-feira, 20 de outubro de 2006

Shtreiml

Bem, depois de Hazmat Modine, Shtreiml é uma das minhas bandas prediletas. O Jason Rosenblatt é talvez o segundo aluno do Howard Levy mais conhecido, depois do del Junco, claro. E toca horrores. E toca música judaica. E no último CD eles misturaram isso com música turca. Eu prefiro a parte judaica, mas tenho esse último CD, comprado no CDbaby.com. Bem, mas chega de delongas, aqui o vídeo.

Pedro no Vitrola Amanhã

Prá quem não sabe, amanhã no Vitrola tem Loretta (Hilmara na Voz, Shellão no violão) e Pedro Kokaev na gaita, mandando brasa no blues.

A gaita está passando por um bom momento no recém-aberto Vitrola. Como eu já disse, é uma boa estratégia. Você traz público e se diverte. Nada mais saudável.

20/10 - Vitrola Music Café [21:00hs]
Rua Tomé de Souza, 1.081 - Savassi
BELO HORIZONTE, MG
Reservas: (31) 3227 2138


Quem não conhece o som do Pedro, devia conhecer. O Pedro é um dos melhores gaitistas da cidade e certamente um dos caras que mais pirados que eu conheço. Mas um videozinho do Youtube fala mais que mil palavras. Abaixo, um trecho dele tocando no Utópica, também gravado este ano.



Repararam o cut-and-paste? ;-)

quinta-feira, 19 de outubro de 2006

Os Melhores Shows Segundo o Kenji

Com gaita

1. Blues Etílicos lançando o CD Salamandra no SESC Pompéia, com duas bateras ao mesmo tempo, SP SP
2. Blues Etílicos na antiga Fábrica, em Santa Tereza, BH. Show de quase 4 horas pq cancelaram os shows dos dias seguintes, BH MG
3. Encontro de 10 Gaitistas (tributo à gaita blues, cada gaitista tocava 3 músicas de outro gaitista), filmado pelo Chico Blues. Fui de bluesmobile, conheci pessoalmente a galera da gaita. Destaque pro Benê e pro Eberienos, Campinas SP
4. Lançamento do CD do Gaita-L 2, no antigo Bar da Estação, a maior romaria de gaitistas para Belo Horizonte BH MG
5. Fórum Harmônicas do Ceará I, Fortaleza CE
6. Mister Jack, no John Bull de Floripa, SC
7. Leandro Ferrari + Rodrigo Eberienos no antigo Palco Paladar, BH MG
8. Mark Hummel, no Chicago B.L.U.E.S. de NY, USA
9. Mark Ford, no SESC Pompéia, SP SP
10. Carlini, Eisinger, Xavier, Fred, Osmar, Pedro, Mari, Édson, Homer com Hot Spot no tributo à gaita blues no Freud's Bar, uma aventura insana em BH MG
11. Madcat, Privilege, Juiz de Fora, MG
12. Charlie Musselwhite, noite chuvosa, casa vazia, no Mineiríssimo BH MG
13. Marcelo Batista, Minas Shopping, BH MG
14. Harmonicas Rio, SESC Pompéia, SP SP
15. Deja Blue, todos ;-)
16. Loretta Funkenstein, Garage d'caza, BH MG
17. Flor de Cal, campus da UFMG, BH MG

sem gaita

1. Ray Charles no parque das Mangabeiras, BH MG
2. Milton Nascimento, na praça do Papa, BH MG
3. Compay Segundo, no City Hall, NY, USA
4. Rodica, café do Usina, BH MG
5. Olivia Trio, Café com Letras, BH MG
6. Alda Resende, Tiradentes MG
7. Cássia Eller, lançamento do disco "Marginal, voz e violão, na antiga Fábrica, BH MG

decepção

1. Rod Piazza, Chevrolet Hall, BH MG

escaparam de mim

1. James Cotton, D.C., USA
2. Barbecue Bob, D.C., USA
3. Howard Levy, SESC Pompéia SP SP

não vão escapar de mim

1. Carlos Del Junco, Buenos Aires, Argentina
2. Toots
3. Jason Ricci
4. Tom Waits

;-)

Os melhores shows de acordo com Ben Felten

Aí o Ben Felten respondeu ao Jason. Saca o show 2, Kenji!

---------- Forwarded message ----------
From: Planet Harmonica
Date: 18-Oct-2006 15:00
Subject: Re: [Harp-L] The Best shows I Ever Saw (Long little harp content)
To: harp-l

Oooooh ! Nice topic ! May I ?

I'll do it chronologically !

1. JJ Milteau - Paris 1992 : A good friend of mine invited me for my birthday to a Michel Jonasz concert at the Paris, Zenith, a huge 5000 seater. Milteau was the opening act, just him and a jazzy guitar player (JM Kajdan). That night changed a good chunk of my life, in retrospect. Imagine these two guys, with just one spotlight on each of them, playing blues tunes to a 5000 people audience who came to see someone else... Well, after three minutes JJ had everyone laughing, and after ten all the feet around me were stomping, the hands clapping. JJ did the gig very cleverly, halfway between a history of the diatonic harmonica and a show. He managed to draw people into his musical world in a way that I've seen very few artists do. He was encored, which totally amazed me for a first part. That night I bought his Blues Harp album, the next morning I had a method and a diatonic, and the rest is (my personal) history !

2. Morphine - Lyon, 1994 : After a week's holiday in the Alps, we met with a few friends to end our holiday with a prolonged week-end in Lyon. On the thursday night, Morphine was playing and we had our seats. My friend Olivier had made us discover that great rock band, so we weren't gonna miss it. We had the first two albums, knew them by heart already. Looking back, this is probably the first rock concert I went to, and the energy was just stunning. I could feel my innards vibrating to the sound of Dana Colley's baritone sax. The minimalism of the line up allowed for awesome contrasts between quiet moments and wild, furious bouts of energy. I remember Mark Sandman explaining that playing a four string instrument was too complicated which was why his bass only had two (a wonderful understatement of his ability as a musician, when you know the character a bit). I remember being the first to yell Thursday when Sandman asked in broken French which day of the week it was, I remember seeing the fleeting smile on his face. I always wanted to go and see Morphine again, even though their later albums had lost in punch what they had gained in sophistication. I nearly drove down to Paris once to catch a gig and ended up feeling too tired. A few weeks later, I read that Sandman had died on stage in Italy.

3. Buddy Guy - Birmingham (UK) 1996 : This was my first genuine blues gig, just before the release of Buddy's "Real Deal", when he was on the ascent again. I like to think that he was still in a giving mood when on stage, something I have felt less and less over the years, and I've seen Buddy many times. Or maybe it was just all new to me and his gigs are repetitive. Anyway, that night just blew me away. The thing that struck me the most was how, on the slow blues, he would draw the volume down to a whisper ("Make it so funky they can smell it !) and have you straining on the edge of your seat just to hear him, and then suddenly crank the volume to 10 and literally slam you backwards under the sheer power of it all. The band had the full horn section back then, which was a treat. I remember him playing Five Long Years, Feels Like Rain, Love her with a Feeling but there was many more. I became a Buddy Guy addict that day, and even though his latest output hasn't really moved me, I still am in many ways...

4. Ray Brown Trio - Cheltenham (UK) 1996 : I was living and working in Coventry (UK) at the time and most of my friends were students. As a consequence, during school holidays I was really lonely since all of my pals would go back home for a week or two. I'd been introduced to Ray Brown a couple of years earlier when a friend of mine bought me Live at the Concord Jazz Festival for my birthday. Loved that record. Anyway, on a saturday monring, bored as usual, I took the train to Birmingham and hung out for ages in a second hand record shop, I think I got some Count Basie. And then I saw a jazz magazine and as I flipped through the pages, I saw an advert for the Cheltenham Jazz Fest. That same afternoon, Ray Brown was playing there. I jumped on the train and went down there straight away. I remember as the gig was set to begin, this really young guy comes on stage, looking maybe 19, and takes the mic. Introduces Ray Brown. I though he was an usher for the festival. Turned out he was Benny Green, Ray's pianist at the time. Looked young, made your jaw drop when he played. I think it was still Jeff Hamilton on drums although it may have been Greg Hutchinson. The high point of that gig was Manha de Carnaval (Black Orpheus) played solo on the double-bass. Superb and magical. There was no one like Ray Brown.

5. Oscar Peterson - Marciac 1997 : On the summer I went back to live in France, we were vacationing for a week in the South-West and I convinced my future wife to attend the Marciac Jazz Festival for an evening. Oscar Peterson was playing and I really didn't want to miss that. He was already severely diminished, his left hand playing virtually non-existent, but his right was still there, although he tended to play more sentimental than in the hold no barrles 80s records I had discovered him with. NHOP was on bass, with that mellow, supple sound, and Ulf Wakenius on guitar. It was, all in all, a good evening of music even though it wasn't stunning. I guess the sheer presence of this guy who, by all medical accounts should have been lounging on his terrace rather than playing concerts to thousands of people was something. The most intense moment came at the end of the concert. The whole audience stood to their feet and clapped for maybe fifteen minutes non-stop, the implied meaning being that they wanted an encore. Oscar came out again after fifteen minutes in his wheelchair, and you could see that he was pale and drawn-out, but he was wheeled back to the piano, and played a last piece. I still feel a little collective guilt about that. But it was an intense moment...

6. Erik Truffaz Quartet & Nya - Paris (2000) : I'd gotten into Erik Truffaz when Bending New Corners was released, and that combination of jazz, hip-hop groove and slam delivery by Nya really grabbed me. I had seen the band at the New Morning for the CD release party and then acquired The Dawn, but when I saw that they were playing at La Cigale, just next to where I lived, I convinced my wofe to come with me even though it was jazz and she feared it would be too intellectual for her. The sheer musicianship of the band was astounding that night, and the venue magnified it : down below on the floor was the groove crew, dancing to the funky beat of Marcello Giuliani's double bass. In the upper boxes, were the jazz fans, seated and enjoying the music. We even saw French celebrity Henri Salvador a few seats away from us. Striking moments ? I seem to remember a great Friendly Fire and a superb Bending New Corners. Another moment stuck in my mind was long drum solo by Marc Erbetta. I'm not a big fan of drum solos in general, but that one was stunning. Actually, I was stunned even more when, at the end of the solo, my wife stood up and clapped and cheered !!!

7. Bob Brozman, Djeli Moussa Diawara & Takashi Hirayasu - Paris (2000) : Bob Brozman had just released two collaborative records, Ocean Blues with Guinean kora player Djeli Moussa Diawara and Jin Jin with Okinawan shamisen player Takashi Hirayasu. When I saw the triple bill in Paris I got some tickets for me and my then pregnant wife. It was magical evening. A small venue, more string instruments than I'd ever seen on one stage, and a relaxed, humorous atmosphere as only Bob knows how to set. Three sets, first one with Bob and Djeli Moussa. The only common language these two had was Bob's broken French, but they played a light-hearted rather upbeat set with Djeli Moussa singing most of the tunes. The second set was slightly more melancholy affair, most of the tunes being on the quiet side. Takashi was as dicreet as Bob was exhuberant, but they hit a sweet communion spot at one point where you could feel that they had never yet connected on that level. Turned out it was their first time live together. The third set, the three musicians were on the stage. They'd never even played together. I remember a blues-ish tune that went deep deep deep in emotion, and when they finally finished, their was a silent hush in the audience for about twenty seconds... Then the applause thundered ! And to think that my unborn Corentin listened through all this !!!

8. Les Chats Variés - Condat sur Vienne (2001) : When I got down to Condat in October 2001, I'd been doing Planet Harmonica for a couple of years and considered myself knowledgeable on the French harmonica scene. I had vaguely heard of Eric Chafer, knew he was using some sort of altered tuning but that was it. When he and his guitarist pal Francis came on stage to open the 2001 Harmonicales festival, I honestly wasn't expecting much. After a minute of Eric's playing, I was floored. The sound, the fluidity, the melodic lines, the sheer musicality of it all was astounding. After a couple of songs on harmonica, he apologised that their repertoire didn't feature harmonica on every song and switched to acoustic bass. My jaw then dropped to the floor alongside the rest of me. The rest of the music, the lyrics, the world of Francis' songs was superb as well. I remember half an hour into the gig, Brendan Power (who was supposed to be preparing since he was playing next) coming to me in the dark and asking "who IS this guy ?" I couldn't tell him. I met Eric later, and we became good friends (although he's impossible to get hold of) but that first moment of finding such a luminous talent living, as it were, in your backyard, was something I'd never experienced before...

9. The Rhymth Junks - St Aignan sur Cher (2005) : I've been a steady fan of Steven de Bruyn's playing ever since seeing El Fish in Tamines in 1998 or 1999, so I already knew of the Rhythm Junks' and their first album before the gig. Still, the sheer energy and inventiveness of this band amazed me more than ever live. Linking this back to my enjoyment of the relative sparseness of Morphine mentioned above, the absence of any chordal instruments in the Rhythm Junks makes it a unique musical experience. It's driven mostly by bass and drums, expcept when the horn section kicks in, either to create the harmony or support the rhythm. I was shaking my ass the whole gig, it was just awesome. Steven's stage presence is astounding as well, he was jumping up and down, switching harps, using toys and gadgets musically, all the way through. I wanna see them again. And again. And again...

10. The Dirty Dozen Brass Band - Paris (2006) : I was feeling shitty that day when I got to the New Morning just in time to hear the Dirty Dozen Brass Band begin their gig. After a drum+sousaphone+guitar intro, the whole band moved in and jumped into Charlie Dozen. I can remember feeling the grin creep on my face then ! The whole gig was a blast, with a lot of people dancing (in fact, the only time I'd seen that before at the New Morning was Erik Truffaz...) I remember hearing all the songs I wanted to hear, Remember When, Time (I think) and also some other stuff I hadn't heard. I chatted with Jamie McLean, the guitarist, at the intermission. Once they'd finished, the crowd encore for five minutes and then again, same as earlier in the evening, a drums + sousaphone + guitar groove was laid down for Roger Lewis to come and rap as the dirty old man. It was hilarious (and funky). Then they finished the with Ain't Nothing but a Party. What else can you ask for ?

Ben FELTEN
http://harmonica.typepad.com

Bresslau

Osmar no Vitrola Hoje

Prá quem não sabe, hoje no Vitrola tem Gustavo (Hot Spot) na guitarra e Osmar de Melo na gaita, mandando brasa no blues.

Eu tb acabei de descobrir que eu e a Mari estamos convidados ;-)

Vai ser aquele esquema de sempre. O Gustavo é um cara muito bacana e está sempre abrindo espaço pros gaitistas aparecerem e darem uma canja. É uma boa estratégia. Você traz público e se diverte. Nada mais saudável.

19/10 - Vitrola Music Café [21:00hs]
Rua Tomé de Souza, 1.081 - Savassi
BELO HORIZONTE, MG
Reservas: (31) 3227 2138


Quem não conhece o som do Osmar, devia conhecer. O Osmar é um dos melhores gaitistas da cidade e certamente um dos caras que mais ama blues, de paixão, que eu conheço. Mas um videozinho do Youtube fala mais que mil palavras. Abaixo, um trecho da canja que ele deu com o pessoal do Supersom C&A, uma banda de baile, na festa de formatura dele deste ano. O terno parece fazer os gaitistas tocarem melhor ;-) Acho que vou de terno e sugerir que a Mari vá tb. E quem sabe um chapéu tb ;-)

Rápidas Reformas

como vcs podem ver, cara nova ;-)

explico

as imagens anteriores ficavam num servidor dedicado. eu tinha o domínio gaitabh.org num servidor e o servidor propriamente dito em outro.

como eu muito diligentemente esqueci de renovar ambas as anuidades, pegaram o meu domínio antigo e eu acabei zerando o servidor antigo num acesso de loucura ;-)

com isso, foi-se num suspiro o site do gaita-bh, que continha os cds do gaita-l, o site da barbearia, o portal propriamente dito e etc

portanto, vida nova. pretendo repensar muitas coisas da minha relação pessoal com a gaita. não abandonar, mas lidar de forma diferente. para melhor imagino.

o cd do gaita-l 2006 e o gaitista homenageado 2006 continuam, promessa é dívida, mas muito provavelmente vai ser o último ano que me envolvo com cd do gaita-l, homenagens, bh harmonica combo, barbearia e etc... e dessa vez é para valer.

inevitável. mas vai ser bom, vcs vão ver.

Kenji

quarta-feira, 18 de outubro de 2006

Os melhores shows de acordo com Jason Ricci

O Jason é um cara um tanto peculiar, mas, vira e mexe manda umas boas na Harp-L.
---------- Forwarded message ----------
From: Jason Ricci
Date: 18-Oct-2006 11:58
Subject: [Harp-L] The Best shows I Ever Saw (Long little harp content)
To: "harp-l@harp-l.org"

Some of the Greatest Shows I¹ve Ever Seen and Why (In No Order)
By Jason Ricci
For: www.jasonricci.com

1.) James Cotton (circa 1989/90) Roaul¹s, Portland Maine. Cotton was on and had the perfect amount of rasp in his voice those years like an early 80¹s Bobby Bland. I¹m pretty sure he played harp the whole night through the Pa, I was only fourteen or fifteen my Mom brought me. It was cool with the club for me to be there cause they had food so kids could come in as long as they had their parents or someone. Cotton came out blowing some high end Jimmy Reed type stuff over a funk groove... Oh yeah!: Johnny B. Gaden was the bass player I don¹t remember the rest of the band... I realized only much later who I saw was Johnny B. Gaden. Any way after Cotton played a few bars up high he hit the low end of the harp and I just lost it.... I had never really heard anything like that in person...no amp just through the PA...It was bigger than me. It was nuts. I had seen Musslewhite and some good local guys and a couple of other nationals, but Cotton was for real from then on to me. After the show was Over he came out and silenced a roomful of drunken, fisherman, logger, redneck chowder head Mainers to a serious nirvana level of silence and or nothingness...he played the song Black Night and sang completely of the mic and blew harp the same way...everyone shut up for the entire tune and transcended all worry, regret, joy and pain. That¹s when I first thought that music, might, be a good way to make a living.

2.) Ronnie Earl and the Broadcasters. I saw and opened for this band all over Maine and New Hampshire a bunch of times throughout 96-97 The line up was Per Hanson a Mainer on Drums, Bruce Katz on Hammond and Piano, Rockin¹ Rod Carey on Bass and then Ronnie. This is really the only line up for me when it comes to Ronnie...I love all his music but the songs and albums and creativity of this band has not really been matched by anyone since like...maybe... War in the 70¹s or something.... maybe Derek Trucks...these guys had a sound mixing all this Santana, Magic Sam, Pharaoh Sanders, Kenny Burrell, with all the other great Blues guitarists thrown in seamlessly, influenced, but never derivative. Ronnie¹s the best Not enough people realize how ridiculous Ronnie is! SRV was great, Jimmy Vaughn, BB, all the Alberts etc...But Ronnie is so sensitive and multifaceted. Per is my favorite drummer too and with Bruce Katz and solid Rod Carey, this band was unbeatable for me. Sadly, since no one sang in this band ever, I got to watch a lot of this music fly over the heads of New England audiences everywhere...The band never cared either, just went from song to song, never saying shit on the mic and playing some of the most unique, dynamic, sentimental, rocking. Latin flavored, jazzy, bluesy, pure, soulful music I have ever heard. I miss this band!

3.) Satan and Adam I also saw this band a bunch of times around the same time I was seeing Ronnie in New England. I had never heard and still haven¹t lyrics that poignant, topical, spiritual and moving. Satan is a monster singer and his charisma is other worldly he had/has all these crazy ideas about things that are all rooted in love and respect, but he¹s got this like messed up wild way of communicating them through language, with all these attached and detached meanings, metaphors and symbols... Try reading ³Space Is the Place ³ about Sun Ra to get an idea of what it was like to speak with him.... Nuts! Like an episode of the x-Files where no one believes the Crazy black man on the street, who in the end is actually God or really knew the secret of life or something humbling like that. Some of his songs are prayers to me, when I told him that he said ³I suspect that was what they were to me when I wrote them.² Adam Gussow Swings harder and differently than any other Harmonica player I have ever heard...The way he backed Satan was as innovative as the way Little Walter backed Muddy or Maceo to James Brown. I also heard notes I had never heard obtained before on the diatonic harmonica for the first time from Adam¹s playing. I later found out from him, as he taught me the technique, that it was called ³Over-Blowing². These Satan and Adam shows Changed my life and getting to know these guys is still whacky to me...like a kid who Idolizes Babe Ruth and then later ends up playing on the team or something. I wish I could always remember how good this feels every time I get all bummed out and entitled/self obsessed, like tattoo this feeling on my brain, because relationships and experiences like this are all I ever REALLY wanted out of music and life and I have more than most.
.
4.) Derek Trucks Band at Rays Downtown Blues in West Palm Beach Florida (circa 1999). My Buddy and later future band mate in my band: New Blood:
Jason ³King Fish² Madaris practically had to drag me out to this one. At the time I wasn¹t a big Almond Brothers Fan and all anyone ever said about this kid was he was like four years old and sounded like Duane Almond. So I wasn¹t really into hearing some teenage ³Prodigy² recycle Statesboro blues for a bunch of drunken baby boomers who failed the bar room extras audition for a scene in the movie ³Rush² yelling BROTHERS!!!!, WHIPPING POST, ONE WAY OUT! . I got to the club got a good seat with my then Girl friend, yes GIRL, Sunshine Hahn (I was different then). The band came onstage and opened with an instrumental version of Rasta Man Chant my favorite Marley tune. I never heard anyone touch/quote/cover this tune in any way, it got my attention then that guitar slide hit me. It was eastern sounding, controlled, focused, bluesy, jazzy, terrific. Derek stood motionless almost the whole night. He was a Buddha to me. The whole band though! Man... Yonrico on the drums was the history of Drum music in eight bars, Koffee Burbridge, was playing flute so pretty, Todd Smalley modern, funky, attentive on Bass, there was a B-3 player I don¹t remember...sorry. From Rasta Man they went into Amazing Grace then into Afro Blue right from that... I could hear the hints in the music and was able to predict what song would bubble up into existence next; it was very personal to me too. It was the first time I ever saw jazz really played that well and they mixed it with sounds, textures and influences from all around the world simalar but more eclectic than Ronnie Earl. I cried a lot that night out of happiness and it was great to be alive and decided my next band would be called New Blood and we would play anything we wanted and wouldn¹t care what it was called.
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5.) Curtis Salgado Bourbon Street Blues and Boogie Bar Nashville TN circa
2001. Curtis first, is an amazing singer, technically above almost all blues and otherwise singers alive today, but more importantly too me the sincerity and honesty of every word and note he utters is never missing or ever contrived. His harp playing is fat, rhythmic, unique to him and always tells a story not to mention he is the only guy I ever heard pull off a decent Paul Delay imitation. Curtis did this thing that night where he played a lot of pop, R&B, blues and rock and between every song or so kept weaving it in with this theme about how it¹s all blues.... It sounds cheesy or preachy the way I¹m putting it here and I can¹t recollect any exact phrases or even Para phrase for anyone, but Salgado¹s sophistication and knowledge made it into this life lesson somehow. I can¹t tell you how blown away I was that night by him...I cried at this show a lot as well. Later that evening he signed a CD for Sunshine and me and wrote ³Stay in love² inside it.... We did not...
but now I like to write that same thing in my CD¹s to couples who ask me to sign theirs, hope that doesn¹t jinx them, at least I have stayed in love with Curtis.

6.) Walter ³Wolfman² Washington The Maple Leaf New Orleans, (circa 2001) I had a big gig there at the House of Blues the day of this show because of this harmonica contest I won and they flew me to New Orleans to play with the Fabulous Thunder Birds. Kim Wilson and the band where way cool to me and all but as soon as I was done sitting in with them, I split, never saying goodbye, or even thank you. I left to go see Walter Wolfman Washington. The locals call this every other Saturday show ³Going To Church² cause Walter comes on at 12:00am so it¹s technically Sunday and he¹s God.
You have not heard a vocalist this stunning. The Maple Leaf is a little famous local dive near the original Tipatina¹s outside the Quarter I think.
It¹s been in some movies namely ³Angel Heart² with Mickey Rourke. It¹s small and gets crammed quickly. Any one can show up to jam at any time, but they don¹t let just anyone get up. You wouldn¹t want to sit in anyway you¹d be too high. With Walter... just sit back and let his Guitar strings bend out at you till they prick one of your veins and all those four octaves of New Orleans, dope drenched, vocals start plunging through your blood and rushing to your heart where soon and instantly after they arrive your stomach will be warm and everything will be alright at Church... Tis morning at the Maple Leaf -Thanks Be to Walter ­Amen.

7.) Pat Ramsey 1995 Beal Street Memphis. This wasn¹t even Pat¹s show it was an open jam. First I heard Billy Gibson for the first time and was blown away. Then Billy said to me: ³Wait till you hear this next guy². I was 20 years old, had snuck in the Bar. Pat started playing I listened to his three songs, drove home to Maine, quit school in Idaho, moved to Memphis, waited tables and went to everyone of Pat¹s gigs almost (unless I was playing) for an entire year, revamped my entire sound around his, enough said. Love you Dad!


8.) Pharaoh Sanders some theatre Raleigh North Carolina. Some of you will inevitably doubt this shows description and will try like men do, to find a logical reason for the events I am about to tell you. Even worse, many will now begin to doubt my sincerity and accuracy in all my past show reporting, like a reputable and decorated airline pilot or scientist is discredited and fired from work for reporting a bright saucer shaped disc in the sky moving at speeds unknown to man, just remember this: you weren¹t there. Pharaoh played mostly blues that night...My favorite record of his is ³Thembi² so it wasn¹t the ³Mystical² sound I was hoping for... at first...then...he stepped away from the microphone blew into his horn took his mouth completely off the horn and fingered the keys of the horn music came out everywhere...Alright you don¹t believe me fine go read the ³Power of Myth² by Joseph Campbell...Its not a myth though... not a trick, it wasn¹t the mic, he was four feet to the side of it, standing on the edge of the stage, there was no horn mic clipped on either generating feed back, no sample box it¹s not his style any way. It was real to me then and now. That was some mystical, levitating, mind expanding, space/time transcending, water into wine, Timothy Leary, walk on water, Red Sea parting, faith healing, shiny saucer shaped, discs moving at warp speeds style blues that night.

9.) R.L. Burnside/ Junior Kimbrough numerous jooks around Holly Springs MS.
I was living and playing a lot with Junior¹s son David ³Malone² Kimbrough at this time in 1995. The reason these two are grouped together is because I always saw them together, never at the same time, but always in the same night. Junior¹s kids backed R.L. and R.L¹s kids backed Junior all at different times and I was on stage for most of them that year. Because I was often playing, I hesitated to include this show/shows, but Man!!!.... I WASN¹T one of them, I wanted to be but I couldn¹t. I tried. I was a kid, just there with my harmonica trying to ³get it² and not get in the way.
Trying to be black, trying to be real...I was confused. You know I don¹t know if that¹s true...the trying not to get in the way part... I don¹t know how much respect I really had at that time for these cats...I understood this music was transcendental because I felt it. That happened to me, because the music along with corn liquor, reefer, the atmosphere, the state the people and other intoxicants sent me further and deeper into a silent mind and egoless state where I didn¹t care or know who I was, if I really got it, or was black enough or real enough. I knew these guys were all of that though. They were real. Life had happened to them, and it was happening to me with them from these shows and from the parties, the stealing, playing, hustling, running, the fucking, sleeping, the eating, joking, lying, sharing, the loving, the fighting and the being I did with them that year in 1995. It was too much too put here about a show. The whole year The whole life was part of the show.Dig? What can I tell you about these two...You just had to sit in that shack out in the middle of the woods surrounded by booze, and reefer and droning guitars, tribal drums, and groovy repetitive bass lines.... being a white kid from Maine.... Lost!....
Too Sane!.... Too Smart....Too Stupid....Desperate!... High!... All that at once. Out in the kudzu buried Mississippi moonlight swamp hills sitting in this shack this Juke Joint...Lonely...Alone...Loneliness...different...disconnected and THEN! and THEN!.... you lookup to the stage where your not playing for good reason and see a big, dark, black, very serious man wearing a blue plaid hunter¹s flannel shirt, old trucker cap, dirty jeans and work boots, sitting in a folding chair with a guitar and a band made up of his offspring and he stares right at you, never breaking eye contact with that bloodshot, dark ringed gaze, and with a bright white, evil, knowing and content grin on his face He sings to you: ³I
¹D RATHER BE DEAD,
I¹D RATHER BE DEAD,
SIX FEET IN THE GROUND².


segunda-feira, 16 de outubro de 2006

BOB DYLAN Signed & Concert Played Harmonica w/ proof

Alguém aí quer uma Marine Band vintage em Lá? Tão vendendo no ebay por 6 barão.
Tem louco para tudo, nesse mundo. Eu sou um deles.
Abraços,
B.

domingo, 15 de outubro de 2006

Vcs sabe do que eu gosto desse blog?

Que ninguém nunca comenta porra nenhuma. Pô, dá um feedback aê, galera!

Ska

Tá rolando uma discussão sobre gaita na música caribenha na Harp-L. A conclusão é que não tem muita. Uma pena, como vcs podem ouvir na música abaixo

http://www.easternstandardtime.com/music/housewives.ram

da página abaixo:

http://www.easternstandardtime.com/

Abraços,
Bresslau

sábado, 14 de outubro de 2006

Mais dois links

Como é característico da internet, caí nesses dois links e resolvi compartilhar.

Stacie Collins - é gata e toca gaita.

http://www.myspace.com/staciecollins

Um outro cara que eu não sei o nome mas que toca harp guitar e gaita:

http://www.youtube.com/watch?v=LRn-fRWjNac

Bom fim-de-semana a todos,
Bresslau

sexta-feira, 13 de outubro de 2006

Soldando palhetas

A Suzuki foi muito corajosa ao decidir soldar as palhetas nas chapas de vozes ao invés de usar os tradicionais rebites. Para a produção é muito bom, porém, para consertar as gaitas, complica tudo um bocado. É possível trocar palhetas, mas dá trabalho.
De qualquer forma, me parece que a Suzuki não está tendo muitos problemas com isso. Bem, até hoje. Pois o relato abaixo é assustador.

---------- Forwarded message ----------
From: Gary Lehmann
Date: 13-Oct-2006 18:15
Subject: [Harp-L] Reattaching Suzuki Reed?
To: harp-l


Hi all-

I tried retuning a Pure Harp and one of the reeds came off! Any advice on reattaching these? They are spot welded-but this one couldn't stand the strain.

Gary

quinta-feira, 12 de outubro de 2006

Vídeo de duas horas do Paul Butterfield

Quem não assistir é bobo. Eu só vi os primeiros minutos, mas o Paul é um dos meus prediletos, o vídeo deve ser bom nos outros minutos também.

http://video.google.com/videoplay?
docid=-1915840136948209601&q=Rick+Danko


Bresslau

segunda-feira, 2 de outubro de 2006

em direção a uma instituição formal de gaita


A euforia com a entrada da Bends no mercado requentou uma velha discussão sobre criar uma associação de gaitistas formal.

Leia os dois emails seguintes para saber o que está acontecendo e o que está sendo proposto.

Um pessoal de Santos-SP e Juiz de Fora-MG já se manifestou...

>>>>>>>

E aí, gente?

Sempre houve, circulando no ar, uma idéia de fazermos uma caixinha para patrocinarmos, promovermos ou incentivarmos os eventos de interesse comum da turma.

Este é exatamente o conceito legal de associação. Pessoas se unindo para atingir um fim comum ou para defender interesses comuns.

Esta idéia nunca foi concretizada, acredito que por falta de foco e por que algumas pessoas não teriam tempo para assumir algumas responsabilidades. Ainda tem que ter um sujeito responsável pela grana da caixinha.

Há uns dias, surgiu no gaita-L uma discussão sobre criarmos um SBRAH, ou seja, um SPAH curumim.

Acho que todos chegamos a um consenso de que ainda falta muita organização e estrutura pra isso.

Porém, nós aqui de BH e por que não, de MG, temos um relacionamento mais próximo, que pode viabilizar a coisa.

Eu queria fazer uma associação. Direitinho. Formal. Não é complicado e é seguro pra todo mundo que quiser contribuir.

Eu estava pensando em cada um dar tipo $10,00 por mês. Ou até mais, R$15,00 ou R$20,00.

Este dinheiro iria para a “caixinha” e depois nós iríamos deliberar o que fazer com ele, em reunião.

Os custos pra legalizar a coisa: em torno de R$200,00 pro cartório e mais uns R$100,00 pra registro do CNPJ na receita. Também vai ter outras despesinhas como o registro de atas no cartório e etc.

Mas o legal é que, uma vez constituída e com personalidade ela pode representar a turma, ou o grupo.

Eu acho assim melhor, mas tem que ver se vai dar quorum.

Quem aí topa, eu preciso de pelo menos uns 10 pra ver se o negócio é viável. Menos que isso já não dá.

Se não tiver gente interessada, eu nem vejo o estatuto e tal...

Quem animar, manda um email pra osmar.bhz@terra.com.br

valeu!

To lá no samir sexta!

Osmar

>>>>>>>>>>>

continuando a discussão sobre criar uma associação lavrada em
cartório, com estatuto e todo o suporte jurídico necessário

ontem conversamos, osmar, samir, édson, mariana e eu

pelo que eu conversei e pelo que o osmar explicou, eu entendi a coisa assim

segundo o osmar, para abrir uma associação custa em torno de R$ 450

o estatuto e as atas da reunião precisam ser registrados em cartório.
a cada ata, vai uns R$ 20~R$ 30

o estatuto especifica uma diretriz muito geral sobre a função da
associação: algo como "fomentar eventos e iniciativas relacionados à
gaita"

a associação poderia funcionar com um sistema de quotas, onde cada
contribuição mensal seria definida conforme o número de quotas que o
associado gostaria de ter, refletindo no poder de voto do associado.
por exemplo, 1 quota = R$ 10 / mês

uma vez criada a associação, a primeira coisa a ser votada seria o que
fazer com o dinheiro, que evidentemente precisa condizer com o
estatuto. uma idéia inicial seria patrocinar um evento anual

uma questão levantada foi "se a idéia é fazer uma caixinha, pq não
fazer informalmente?", é uma dúvida condizente

eu acredito que criando uma associação e atrelar uma conta bancária à
esta associação traz mais confiança à pessoa que quiser se associar
(ela sabe prá onde vai o dinheiro e que o destino dele depende pelo
menos de uma assembléia da qual ele faz parte)

também promove a participação de pessoas de fora, pq não há panelinha.
Uma associação tem formalidades e regras claras.

mesmo na discussão a nível de BH, teve gente de outros estados se
manifestando. Segundo o Osmar, seria economicamente viável caso umas
dez pessoas começassem a associação. Eu acho difícil que se consiga
juntar 10 pessoas em BH, mas talvez possa-se alcançar este número
incluindo gente de outras cidade/estados. Depende do interesse de cada
um. tem gente que não patrocinaria algo fora de sua cidade, tem gente
que paga prá participar do SPAH daqui do Brasil

pode-se especificar por exemplo que assuntos das assembléias possam
ser votadas pela internet

além do mais, o evento anual não precisa ser o único objetivo da
associação, mas pode ser um pontapé inicial

eu sei que precisa começar de algum lugar

é isto, por enquanto

[]

Kenji

entrevista com o Jefferson


o sérgio está fazendo um bom trabalho no blog dele.

confira a interessante entrevista que ele fez com o Jefferson Gonçalves.