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(Portugese folk, Guitar, Experimental
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|Размер: 241 MB | Зарегистрирован: 9 месяцев 17 дней | Скачан: 1 раз|
Полного источника не было: 3 месяца 9 дней
Стаж: 4 года 2 месяца
Steve Gunn & Mike Cooper / Cantos de Lisboa (FRKWYS, Vol. 11) Жанр: Portugese folk, Guitar, Experimental, Structured Improvisation
Страна-производитель диска (релиза): USA
Год издания: 2014
Издатель (лейбл): RVNG Intl.
Номер по каталогу: FRKWYS 11
Страна исполнителя (группы): USA & EU
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист01. Saudade do Santos-o-Velho 07:38
02. Pena Panorama 07:04
03. Song for Charlie 05:35
04. Pony Blues 06:53
05. The Enchanted Moura 02:45
06. Lampedusa 2013 04:52
07. Saramago 03:24
All songs written by Steve Gunn and Mike Cooper
Лог создания рипа
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Содержание индексной карты (.CUE)
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Об исполнителяхSteve Gunn is a guitarist, songwriter, and producer living and working in Brooklyn, New York. While he is best known as a go-to musician and for his membership in GHQ, Gunn has a varied recording and collaboration history that includes work with British legend Michael Cooper (with whom he recorded the duo album Cantos de Lisboa in 2014) and the late Jack Rose. The diversity of his approach embraces everything from American Primitive guitar to raucous, Neil Young & Crazy Horse-inspired psychedelic roots rock & roll. He has collaborated with Meg Baird, the Magik Markers, and Kurt Vile, and issued a handful of well-received solo albums including Time Off (2013) and Way Out Weather (2014) for Paradise of Bachelors.Gunn began playing guitar before high school, and credits his older sister with giving him tapes to listen to. His first loves were punk rock and rap. His first real band was a hardcore covers unit that actually toured between his freshman and sophomore years of high school.But Gunn kept expanding his musical horizons, taking in everything from psych to folk to country to funk. He eventually developed a deep interest in Indian classical music, La Monte Young, and Gnawa music as well—all of which would feature in his own work. While in college, Gunn became aware of other Philly-based musicians including Bardo Pond and Rose. He also joined GHQ, whose other members were Pete Nolan (Magik Markers, Vanishing Voice) and Marcia Bassett (Un, Double Leopards, Zaimph, Hototogisu), and the trio moved to Brooklyn, which became his home base. Gunn played with GHQ between 2005 and 2007, during which time the band issued nine full-length recordings. While still with GHQ, Gunn issued three extremely limited-edition recordings as Moongang. These releases were created using tape manipulation, field recordings, and, to a lesser extent, guitars.In 2007 he released his first self-titled solo album on Onomato, followed almost immediately by a self-titled, self-issued CD-R. Sundowner followed in 2008 on Tulsa, Oklahoma’s Digitalis label. In 2009, Three-Lobed (also GHQ’s label) released Gunn’s Boerum Palace and the Too Early for the Hammer EP. The former—a limited-edition LP—quickly sold out. Later that year, End of the City, a split album with Shawn McMillen, appeared from Abandon Ship Records. Gunn’s next solo guitar offering was Camel Throat, released as a cassette-only album on Germany’s Meudiademorte. In 2010, Gunn and drummer John Truscinski began playing live together as the Gunn-Truscinski duo. Their debut, Sand City, was issued by Three-Lobed that year, followed by a live CD-R in 2011 and Ocean Parkway in 2012.Gunn also kept busy as a solo artist, releasing a split album with Sun City Girls entitled Not the Spaces You Know, But Between Them in 2011. In 2012, the guitarist joined Kurt Vile & the Violators for a global tour, eventually returning to issue his next album Time Off, a trio album featuring Truscinski and bassist Justin Tripp, for Paradise of Bachelors in the late spring of 2013. In 2014, Gunn was prolific. Melodies for a Savage Fix, his collaborative date with Pelt guitarist Mike Gangloff, was issued in March, followed in June by Cantos de Lisboa, a duet session with Mike Cooper in RVNG Intl.’s Frkwys series. In early October, Way Out Weather, his second singer/songwriter offering for Paradise of Bachelors, appeared.Gunn teamed with the Black Twig Pickers during a short break in his touring schedule to record a live-in-studio date. Seasonal Hire included four original tunes and one traditional piece, with Gunn and the Black Twig Pickers’ Mike Gangloff and Sally Anne Morgan all taking turns on lead vocals and songwriting. It was released by Thrill Jockey in early 2015. By the end of that year, he’d also taken part in a unique vinyl box set of split LPs from Three Lobed Records titled Parallelogram, with Gunn and Kurt Vile each taking a side of one of the LPs. The following summer he made his Matador Records debut with a collection of road meditations called Eyes on the Lines and a live set with Angel Olsen titled Live at Pickathon. The following year his seemingly never-ending tour produced the self-released Dusted, whose six tracks were captured from gigs in Chicago, New York and Toronto. Gunn’s singer-songwriter ambitions were predominant on 2018’s The Unseen In Between, a set of nine intimate, often autobiographical songs that flowed stylistically from Anglo-Celtic folk, Indian raga, guitar pop and Americana. Meg Baird duetted with the guitarist on the track “Vagabond.” The album also contained the song “Stonehurst Cowboy,” a tribute to his recently deceased father and the Philadelphia neighborhood Gunn grew up in. (Thom Jurek, AllMusic)Influential British guitarist Mike Cooper is primarily regarded as a folk-blues guitarist and singer/songwriter, though his wide range of work cannot be so easily defined. He is also a celebrated improviser and electronic musician. In addition, he creates sound installations and radio art; he’s a videographer, journalist, and music historian; and he performs scores for silent films.
Cooper was born in Reading, England in 1942. He began playing guitar at the age of 16. Initially inspired by New Orleans and Dixieland jazz, he played in skiffle groups during the late ’50s. His life changed drastically in 1961 when he saw Sonny Terry & Brownie McGhee at Reading’s town hall and later witnessed James Cotton playing with Chris Barber at a local music festival. Naturally, he began to play harmonica as well as guitar.
Cooper co-founded the band the [bBlues Committee, an R&B group based on the heady example set by Alexis Korner. Simultaneously, he was playing folk-blues as a solo artist in folk clubs. His first formal recording date was an independently released four-track EP with guitarist Derek Hall, Out of the Shades, titled for an important Reading folk club. Other peers who played the venue included John Renbourn, Bert Jansch, Al Stewart, and Davy Graham. Cooper began opening for a host of traveling American bluesmen as well as British stars of the era. He met fellow folk-blues musician Ian A. Anderson in 1967. Between them, the pair recorded three four-track EPs for the SayDisc label. They released a full album of these tracks as well as new pieces entitled [iThe Inverted World. Though assembled in early 1968, it wasn’t released until 1970. His playing had developed exponentially, incorporating a wide variety of Delta and country styles in his technique. He also employed bottleneck slide and lap steel. Cooper traveled England and met many other British musicians, including Michael Chapman, John Martyn, Ralph McTell, and Roy Harper, and wandering American players such as Stefan Grossman, Dave Van Ronk, and “Spider” John Koerner.
With a burgeoning national reputation, he was signed to Pye Records in 1969, and that year recorded Oh Really!?, the first of five influential recordings for the label and its imprints Dawn and Fresh Air. It was released in November. Interestingly, while there were still solid audiences for folk-blues, Cooper and many of his peers had moved on and broadened their own horizons without forsaking the roots music that had nourished them. His 1970 offering, Do I Know You?, appeared on Dawn in 1970, and remains unique for its use of field recordings and the jazz bass playing of South African ex-pat Harry Miller. That experience opened Cooper up to an entire range of ideas about improvisation, which were put to use first on Trout Steel, one of his most enduring and influential recordings. Recorded and released in 1970, the other personnel included Miller, Grossman, and a host of players from Mike Westbrook’s band. Pianist John Taylor also contributed to a track. Cooper’s jazz explorations didn’t mean he gave up blues entirely; he simply moved mercurially between the lines of genres and often combined them.
His third effort for Pye/Dawn was to have been a double album entitled Places I Know. The idea was that one recording would feature his folk side and the other his improv jazz-rock side. Dawn issued it as a single album in 1971 credited to Mike Cooper & the Machine Gun Co. (so-called after Peter Brötzmann’s group) plus Michael Gibbs. The second album, released as The Machine Gun Company with Mike Cooper, didn’t appear until a year and a half later. His final recording for the label group, this time under the Fresh Air imprint, was Life & Death in Paradise, issued in 1974. This date featured another South African expatriate, Louis Moholo, on drums. Other than the live Country Blues Guitar Festival as part of an offering that featured Cooper, Grossman, Son House, and Sam Mitchell, it was his final recording of that decade. Cooper was busy, though, playing live, improvising in bands, collaborating with other artists, and touring Europe. His ’Ave They Started Yet is a live album compiled from a continuous four-and-a-half-hour performance with dancer Joanna Pyne; it was released by Matchless in 1981, and was indicative of the entire period, which found him alternating between country blues records and more vanguard jazz recordings, including the sets Johnny Rondo Duo Plus Mike Cooper, which placed him in the free jazz company of Lol Coxhill and Dave Holland, and The Continuous Preaching Blues with Anderson. The most important recording from the era was the 1987 10" LP Aveklei Uptowns Hawaiians, with French slide guitarist Cyrille Lefebvre. Their sidemen for the session included Coxhill, Steve Beresford, and Max Eastley. It showcased Cooper’s growing obsession with Polynesian music, which would inform his playing for decades to come and be chronicled in his writing, particularly about the many slack key guitar styles.
In the ’90s, Cooper delved deeply into Hawaiian music. Avant Roots, a duo album with Viv Dogan Corringham, was issued in 1993, followed by the large-group effort Island Songs in 1996. The integration of Polynesian sounds, blues, and avant music put Cooper in a league of his own. It culminated in a genre he called ambient electronic exotica—displayed by the acclaimed Rayon Hula released in 2004—which musically translated the patterned flora of aloha shirts (his signature garment) into looped samples of famed Hawaiian vibraphone player Arthur Lyman for a lively avant form of exotica—and on subsequent recordings, like the large-band Beach Crossings / Pacific Footprints in 2006 and Oceanic Feeling-Like in 2008 with Chris Abrahams.
Improvisations and songs (some blues-related) were showcased on 2011’s limited-edition Radio Paradise: Mike Cooper in Beirut and 2013’s CD-R release Right (H)ear Side by Side, which put his electronics and slide guitar work in juxtaposition to Yan-Chiu Leung’s traditional sheng playing. The same year, White Shadows in the South Seas (on Lawrence English’s Room40 label) brought a completely solo take on his ambient electronic exotica, followed by the global and electronic experimentalism of New Globe Notes in 2014 (with liner notes by David Toop). In June, Paradise of Bachelors issued deluxe, remastered—and the only artist-sanctioned—versions of Trout Steel and the recombined Places I Know / The Machine Gun Co. as originally intended. They were followed a week later by Cantos de Lisboa, a duet recording between Cooper and guitarist Steve Gunn cut in Lisbon at Rafael Toral’s studio. It appeared on RVNG Intl. as part of its Frkwys series. In 2015, Italian label Backwards issued Light on a Wall, a limited-LP release of a live session Cooper recorded for Radio Beirut in Lebanon. He returned to Room40 that year with Fratello Mare, another album of experimental exotica, and the following year saw the Discrepant label issue a vinyl LP edition of Kiribati, originally released by Hipshot on CD-R in 1999. Cooper issued a vinyl version of 2010’s limited-edition CD-R release Blue Guitar in 2017, the same year that Discrepant reissued the Hipshot CD-R Reluctant Swimmer / Virtual Surfer on vinyl LP as well. (Thom Jurek, AllMusic)
Об альбомеRVNG Intl’s Frkwys is defined by the label as an “unrestricted series pairing contemporary artists with their influential predecessors. . .” This 11th volume places New York guitarist and songwriter Steve Gunn and veteran guitarist, electronicist, and experimentalist Mike Cooper in Lisbon. They spent ten days drinking wine in fado bars, and playing long informal sessions informed by fado—the Portuguese music whose roots can be traced to the early 19th century but are reported to date back much earlier, and was originally regarded as “the music of the poor.” There are six improvisations here and one free-flowing cover: an expansive reading of the Mississippi Delta standard “Pony Blues” associated with Charley Patton. The word canto has three meanings: “corner,” “chant,” and “song” (it is derived from the Latin word for stanzas in a poem). Fado’s inpsiration is felt throughout the album; Cooper feels it equates with the spirit of the blues. Cantos de Lisboa feels right at home in a sonic terrain somewhere between Gunn’s take on American Primitive fingerpicking, his drone folk work with GHQ as well as his psych and free jazz-infused solo material, and Cooper’s early folk and bottleneck blues playing and more electronic improvisation/exploration as displayed on Trout Steel and Rayon Hula, and the elusive feel of fado itself. These are all open-ended pieces, mercurial, slowly evolving without an end in view. Opener “Saudade do Santos-o-Velho” is a silvery, mercurial, and melancholy piece. The word saudade is not literally translatable into English, but its meaning encompasses loss and longing. The quiet fingerpicking, slide resonances, and natural-sounding reverb make it sound as if it were recorded late at night in an open courtyard, the notes gently bouncing off buildings. “Pena Panorama,” with its elusive, brooding drones, raga overtones, hallucinatory chords, and bottleneck slide, comes close to wedding blues to fado—particularly as Gunn’s near-moaned vocals become another instrument. The relaxed vibe here even applies to its most abstract pieces. “Song for Charlie” uses electronic effects, disembodied spoken voices, feedback, and drones on top of guitars; it threatens to become menacing, but never loses its relative tranquility. The repetitive, hand-strummed drone chord at “Lampedusa 2013”’s core is very close to the evocation of fado, with noisy electronic fragments; Gunn offers his own ragged, raw vocal “cantos” atop the mix, informed by the tradition’s great singers Amalia Rodrigues, Ana Moura, and others. Though Cantos de Lisboa was an experimental undertaking with no real goal in mind, it is fully realized. These master musicians allowed the spirit and culture of an historic city to guide their explorations. What they created reflects not only their considerable abilities, but the magical prescence of Lisbon itself. (Thom Jurek, AllMusic)
СоставSteve Gunn: vocals, guitar
Mike Cooper: vocals, National Tri Cone guitar, electronics
Helena Espvall: cello (“Pena Panorama”)
|Главная » Music / Музыка » Folklore, folk and Ethnic music / Фольклор, Народная и Этническая музыка » West European Folk (lossless) / Западноевропейский фолк (lossless)|
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