Saturday, and I have had a bit of controversy with myself about what to post today, looking into everything from pop over punk and ska to canterbury scene and jazz , but nothing was suitable for my moods today.

The Heavier Jurojin

So finally I came across Jurojin, an experimental rock group from London, England. Playing a nice mix of world music, folk and heavy metal. Uniquely spiced by Simran Ghalley a classically trained Tabla player. Only one album have been released so far, The Living Measure Of Time (2010).

The Folk side of Jurojin

Jurojin have sometimes perform acoustic shows, focused on Eastern influences and the Tabla. Violinist Anna Phoebe (Jethro Tull, Roxy Music) have been performing with the band.

The more eastern influenced world music, side of Jurojin


David Sylvian and Robert Fripp

Friday is Fripp day
What a Fripp
So lets Fripp out.

Fripp and Sylvian had been working together on some of Sylvians solo albums and in 1993 they did an album together as “David Sylvian and Robert Fripp”, The First Day. With former Peter Gabriel drummer Jerry Marotta, and Fripp’s “guitar craft” student Trey Gunn, who had also participated on Fripp’s “Sunday All Over the World” project, with Fripp’s wife Toyah Willcox as vocalist.
The First Day, was followed by touring and a life album, “Damage”.

The band had changed a bit, on “Damage” Jerry Marotta was replaced by former Mr. Mister drummer Pat Mastelotto. He would, like Trey Gunn, soon become members of Fripp’s flagship, King Crimson, and they had expanded with Infinite Guitarist Michael Brook (*).

“Damage” works better for me than “The First Day”, it becomes much more interesting live. Sylvians soft voice, the music stretching from sometimes ambient, sometimes very catchy and accessible, to long heavy almost Industrial sections, pointing towards the music King Crimson would later be making in the 90’s and 00’s. Everything Spiced up by Fripp’s unique soloing.

(*) Michael Brook created The Infinite Guitar, allowing an electric guitar note to be held with infinite sustain. In addition to his own instrument, Brook produced two Infinite Guitars, one of which belongs to Daniel Lanois, the other to The Edge of U2.

1 Giant Leap – What About Me

1 Giant Leap is a project by Jamie Catto and Duncan Bridgeman. Traveling all over the world recording with artists, and from those many recordings, making film and albums, of world music, in the most true sense of the word. The projects completed so far have been the 2002 “1 Giant Leap”, and the 2009 “What About Me?”

“What about Me” took them to over 50 locations, around the world, Mali, Brazil, India, Japan, Egypt, China, New York, Oman and many other. Recording well known names like Alanis Morrisette, Carlos Santana, Stewart Copeland and less well known artists like, Rebirth Brass Band (New Orleans) , Samburu Tribe (Kenya) , Dibouka Dancers & The Mask (Gabon), Mirim Imperio do Futuro (Brazil), Kamal Sabri (India), Yoshida Brothers (Japan), and many many more.

From “1 Giant Leap” official homepage :“Next day we had our first music session arranged. A traditional Japanese folk singer, a Miss Honda. We drove up into the hills to a little studio and we met with the singer and her producer. John had given me a CD of her singing and to be honest I wasn’t sure where the hell it would fit, it was very obscure to my ears. I thought folk music meant ordinary people could sing along! I guess it’s all about reference points. They played me something they had worked on over the rocking part of the Love track and it sounded incredible, from another planet all together but perfect!”
(Slightly edited to keep it a bit shorter)

“What about Me” was four years in the making, including 7 months of traveling.
“Our mission was not only to gather insight on the huge universal themes of life…..but also to seek out the cream of the world’s musicians, and compose immence multilayered music with them.”

Morrissey – Vangelis – Nina Simone

After Aphrodite’s Child
Vangelis started his solo career and have since released a number of highly acclaimed electronic albums ,a series of collaboration with Jon Anderson from Yes, as “Jon & Vangelis” , and music for films and television, earning him an Academy Award for Best Original Score, for the 1981 British drama Chariots of Fire. Vangelis have become one of the early masters of electronic music.
Vangelis also made Music for the futuristic Ridley Scott film Blade Runner (1982). But for various reasons the original soundtrack release was delayed until 1994, despite the music being well-received by fans and critics. Today some think of this soundtrack as being Vangelis finest moment of electronic music.

The saxophone on the track was played by Dick Morrissey.
Richard Edwin “Dick” Morrissey (1940 – 2000) was a British jazz musician and composer. He played the tenor sax, soprano sax and flute. Playing in various Jazz bands and constellations, but mostly known for his British Jazz/rock, as a member of “If” (1969-1975), and later Morrissey- Mullen.
Here we have got his wonderful saxophone, in a more traditional Jazz setting.

Dick Morrissey was also part of – The Animals‘ Big Band, but they made only one public appearance at British Jazz & Blues Festival in Richmond 1965.
The Animals was an English music group , featuring the charismatic front man Eric Burdon. Best known for their version of American traditional “House of the Rising Sun”, the Animals had another major hit in early 60’s with “Don’t Let Me Be Misunderstood”. Originally written for Nina Simone, who first recorded it in 1964.

Nina Simone (1933 –2003) was an American singer, songwriter, pianist, arranger, and civil rights activist mostly associated with jazz music. She began recording in the late 1950s releasing her first full album in 1958, Simone’s music defied standard genre definitions. Her classical training showed through, no matter what genre of song she played, and she drew from many sources including gospel, pop and folk. She was called the “High Priestess of Soul,” or “jazz singer”. But she did not like any of those labels : “If I had to be called something, it should have been a folk singer because there was more folk and blues than jazz in my playing,” she wrote.


Aphrodite’s Child – Ciccada

Random Patchwork
The idea is, picking a random track, and use that track as a starting point. Then let the post flow from there.

The random track: Ena Pedi Ston Kathrefti – A Child. (no video sorry)
The track is from an album by Ciccada, A Child In The Mirror (2010)

Ciccada is a Progressive Folk Rock band, formed in 2005 in Athens Greece, their signature sound is high pitch female vocal, flute, and a complex combination of folk and rock elements. Stylistically borrowing from folk, classic, and from 70’s progressive bands, Jethro Tull, Gentle Giant, Camel, ect.

This Track is from the same album.:

Greece music makes me think of “Nana Mouskouri” and pop singer “Demis Roussos”, and come to think of it Demis Roussos, also came to fame in progressive/psychedelic rock, with “Aphrodite’s Child” formed in 1967, and debuting as early as 1968, with the strange but wonderful 60’s pop album “End of the World”. Enjoy this live take, Its Kitsch, Its cult, Its just adorable. Got a big smile on my face posting this one. Just looking at the guests dancing it is a blast.

Aphrodite’s Child is best known for their last album, the epic and ambitious doublet album 666, from 1972, released after the band had already split.
The album was much more psychedelic and experimental than the previous pop oriented albums, essentially a project created mainly by the keyboard player Vangelis

Vangelis and Roussos started successful solo careers after Aphrodite’s Child.

To be continued

Ulver : “Providence”

“Masters of Darkness” – Part 2

Norwegian band Ulver have allways been very unpredictable. From black metal to soundscapes, from symphonic to noise, a musical evolution and experimentation you find in very few bands. with a heavy reliance on electronic recording techniques.
The only clear line, is that they are almost always dark and melancholic.

From 1995-1997 they made 3, folk-themed black metal albums, Bergtatt 1995, Kveldssanger 1996, Nattens madrigal 1997, Kveldssanger with classical guitars, cello and chamber chants, less heavy , while still having a folk theme. With Themes from William Blake’s The Marriage of Heaven and Hell (1998), came a sudden shift in style moving into a mix of electronics, industrial, avant-garde, ambient and metal, a double album of epic proportions. Since then Ulver have been all over the place, with different experiments.

“Providence” from their eighth studio album “Wars of the Roses” features Kristoffer Rygg’s deep vocals contrasted by female vocals from guest singer, Siri Stranger. A beautiful piece mixed from several styles.

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Clémence de Grandval – Classical female composers – part two

Clemence de Grandval, born in 1828 was a well known composer in 19th century Paris. Her family was wealthy, and the composer Friedrich Flotow, a family friend, gave her composition lessons. She had piano lessons from Chopin. Later she studies with Camille Saint-Saëns. She had a wide range of friends, from the music establishment, throughout her life.

She wrote five operas and a number of other major works. In 1878 she wrote an oboe concerto. The concerto became a familiar examination piece at the Paris Conservatoire, in its oboe and piano form. Despite this popularity the orchestral score seems to have disappeared.

The oboe was not a characteristic instrument for the Romantic period, but she was a close friend the brilliant oboist Georges Gillet. That may explain why she wrote a lot for the oboe.

She died in Paris in 1907.

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Fripp & Travis meets Eno & Fripp

Friday is Fripp day
What a Fripp
So lets Fripp out !!

While deeply involved with King Crimson, in 1972, Fripp was invited by Brian Eno to his home studio, with Eno’s new system , using two tape recorders, when a single sound was played, it was heard several seconds later at a lower volume level, then again several seconds later at a still lower level, and so on.
Fripp and Eno, got started, and created “The Heavenly Music Corporation,” Side One of “No Pussyfooting” released the following year, a proto-ambient masterpiece. The birth of Fripp’s journey, into ambient music.

The latest work have been his collaboration “Travis & Fripp”, with Theo Travis, British saxophonist and flautist. Where they use similar systems as Fripp & Eno did back in 1972, besides the fact that today everything is off course electronic.
The style is Ambient as many other of Fripp’s solo works have been, but with the more acoustic sound from flutes and other wind instruments played by Travis, this collaboration come out more soft.
Fripp have always been working a lot with improvising, and that is also the core of this project, but they have also reworked existing materials (“Moonchild” from the King Crimson debut ).

Travis and Fripp : When The Rains Fall – 2012
(there is a silent intro of about 40 sec., nothing wrong with your system)

There is no Youtube from No Pussyfooting atm. But this gives a good idear of the kind of music on the album.  (a live version of ‘The Heavenly Music Corporation’)


Green Carnation

“Masters of Darkness” – Part 1
Scandinavia is cold in winter times, and not only that, there is very little light, very short days. No wonder the Rock Music coming from these parts of the world, is often very dark, in a seemingly honest deep felt way.
Lets listen to some of these masters of darkness.

From The Acoustic Verses 2006

“Green Carnation” was originally a Norwegian Doom Metal band, but they changes styles over every album, covering a wide spectrum of styles within the range of Progressive Rock and Heavy Metal. The final release (so far?) The Acoustic Verses, being a dark, but soft, acoustic rock album, with folk elements.
Green Carnation was formed from members of the experimental/progressive metal band “In The Woods…..”
Green Carnation split up in 2007, but the front man Tchort, has announced an album “The Rise and Fall of Mankind “ to be released at some point.

From “The Quiet Offspring 2005”

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Anna Bon – Classical female composers – part one.

In the process of creating my post about Don Juans Reckless Daughter.

I came to think about the fact, that from all the great classic composers, I could not think of a single female. So I thought I would dig a bit into the subject, and look for interesting classical music, composed by women.

“Anna Bon di Venezia” (aprox. 1739-??) is the name often used for a female Italian composer known in the eighteenth century just as Anna Bon. She Studied music, at “The Ospedale della Pietà”, a convent, orphanage, and music school in Venice (known for one of its teachers Antonio Vivaldi, but he left about the time Anna was born). She was studying at “The Ospedale” from about 1743, four years old !!, to the end of 1754, fourteen years old.

In 1756, Anna joined her parents at the court of Frederick, Margrave of Brandenburg-Bayreuth and Princess Wilhelmine of Prussia; She held the post of ‘chamber music virtuosa’ at the court, and dedicated her six flute sonatas (op. 1), to Friedrich. The sonatas were composed at the age of sixteen.

Anna composed Six Sonatas for harpsichord, Op. 2 (1757) and Six Divertimenti (Trio Sonatas) for two flutes and continuo, Op. 3 (1759), before she had reached the age of 20. A few other works are known, and there may well have been more.

By 1767, Bon had married to an Italian singer and settled, nothing is known of her whereabouts afterward.

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Digging Deeper into Music

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