quarta-feira, 28 de abril de 2021
The Planet Earth Rock and Roll Orchestra is a nickname given to artists who recorded together in the early 1970s. They were predominantly members of Jefferson Airplane, the Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills and Nash. Their first album together was Blows Against the Empire, when they were known as Jefferson Starship.
Starship founder Paul Kantner then came up with the term "Planet Earth Rock and Roll Orchestra", a label of reference to the San Francisco musicians that played on David Crosby's If I Could Only Remember My Name. During the sessions for Crosby's album at Wally Heider Studios, the musicians of each band (who were working in other rooms) dropped into the sessions and improvised hours of music, and everything was recorded. Some of the basic tracks played during these recorded sessions in 1971 were used for Crosby's album. Engineer Stephen Barncard and David Crosby made rough mixes of some of the session tapes, and in 1991 Graham Nash sent a DAT tape to Paul Kantner which later showed up in the tape trading markets as a 'pristine' digital copy. Barncard came up with the PERRO abbreviation when he needed to identify the 2 inch wide tapes on sides, standing vertically.
The "PERRO Chorus" is credited on Crosby's song, "What Are Their Names") and several other solo albums after Crosby's (see discography). The name Jefferson Starship was later used for Paul Kantner and Grace Slick's new band formed in 1974. Paul Kantner recorded a solo album in 1983 as a tribute to this time, Planet Earth Rock and Roll Orchestra.listen here
Paul Butterfield and Elvin Bishop were not the only white dudes who formed a blues band in Chicago in the early '60s. Corky Siegel and Jim Schwall formed the Siegel-Schwall Band in the mid-'60s in Chicago and worked as a duo playing blues clubs like Pepper's Lounge, where they were the house band. All of the great blues players would sit in, all the time. Siegel played harp and electric Wurlitzer piano, with an abbreviated drum set stashed under the piano; Jim Schwall played guitar and mandolin. Both sang. Siegel was born in Chicago on October 24, 1943; Schwall was born on November 11, 1942, also in Chicago. Siegel met Schwall in 1964 when they were both music students at Roosevelt University; Schwall studying guitar, Siegel studying classical saxophone and playing in the University Jazz Big Band. Siegel first became interested in the blues that same year. Schwall's background ran more to country and bluegrass. The Siegel-Schwall Band approach to music (and blues) was lighter than groups like Butterfield or Musselwhite, representing somewhat more of a fusion of blues and more country-oriented material. They seldom played at high volume, stressing group cooperation and sharing the solo spotlight. When the Butterfield band left their in gig at Big Johns on Chicago's North Side, it was the Siegel-Schwall Band that took their place. Signed by Vanguard scout Sam Charters in 1965, they released their first album in 1966, the first of five they would do with that label. Bass player Jack Dawson, formerly of the Prime Movers Blues Band joined the band in 1967.
In 1969 the band toured playing the Fillmore West, blues/folk festivals, and many club dates, as one of several white blues bands that introduced the blues genre to millions of Americans during that era. They were, however, the first blues band to play with a full orchestra, performing "Three Pieces for Blues Band and Symphony Orchestra" in 1968 with the San Francisco Orchestra. The band later signed with RCA (Wooden Nickel) and produced five albums in the next several years. They broke up in 1974. In 1987, the band re-formed and produced a live album on Alligator, The Siegel-Schwall Reunion Concert. Jim Schwall is a university professor of music and lives in Madison, Wisconsin. Corky Siegel has been involved in many projects over the years that fuse classical music with blues, including his current group, Chamber Blues, a string quartet with a percussionist (tabla), and Siegel on piano and harmonica. And on rare occasions, the old band still gets together and performs. AMG.listen here
A solid debut from this Brooklyn prog-psyche group who relocated to Germany and recorded three albums in Germany in the '70s. Features the amazing 16-minute long jam Silly Sally where a psyched-out blues-rock jam takes off into an epic phased drums odyssey.
terça-feira, 20 de abril de 2021
The astonishingly daring debut album, not as focused or overpowering as King Crimson's first but still crashing down barriers and steamrolling expectations. The mix of medieval harmonies and electric rock got stronger on subsequent albums, but the music here is still pretty jarring. Kerry Minnear was probably the only prog-rock keyboard player of the era who allowed his synthesizers to sound like themselves and not mimic orchestras; Gary Green's guitars are alternately loud and brittle or soft and lyrical, and always surprising; and the presence of saxes and trumpets (courtesy of Phil Shulman) was unusual in any rock band of the era -- all of which explains how Gentle Giant managed to attract a cult following but hadn't a prayer of moving up from that level of recognition. "Funny Ways" was the softest prog-rock song this side of Crimson's "I Talk to the Wind," but a lot of the rest is pretty intense in volume and tempo changes. "Nothing at All" by itself is worth the price of purchase. AMG. listen here
quarta-feira, 14 de abril de 2021
The second album of the unique psychedelic jazz-rock band Sweet Smoke that celebrates its 40th anniversary surely is one of those albums which left deep and influence to rock music, but like many somehow was left behind. Although the band`s origins are from Brooklyn in New York where they have been formed in 1967, their true inspiring and creating territory was Germany. To be precise – the social community to where they moved from the USA at the end of the sixties. Like many hippy free-living communities that functioned in America and Europe, it gave many vibrations for creating a lot of good free-spirit music. After their masterpiece debut album “Just a Poke” from 1970 (that ingeniously consisted of only two twenty-minute songs with long and technically sophisticated instrumental parts, that individually were placed on each side of the vinyl LP), they went further in
experimenting with the second. This six-song story is practically the aftermath of their first album. Five-piece band enlarged to seven members. The debut formation, that consisted of Marvin Kaminovitz (lead guitar and vocals), Andy Dershin (bass guitar), Michael Paris (tenor saxophone, alto recorder, vocals, percussion), Jay Dorfman (percussion and drums) and Steve Rosenstein (guitar and vocals) added Rochus Kuhn (violin, cello) and Jeffrey Dershin (piano, percussion, vocals) in order spread the musical possibilities. “From Darkness to Light” is more acoustic and diversified than the first one. Each of the six songs has its own stories, that create an, practically, tangible atmosphere.listen here