Pile Poil j'écoute ça

James Brown
Newport Jazz Festival, Newport, RI
July 6th, 1969
Concert Vault MP3

59’04”
01 “Soul Pride” 2’42”
02 “Popcorn” 5’47”
03 Instrumental 4’08”
04 “Say It Loud – I’m Black And I’m Proud” 4’54”
05 “If I Ruled The World” 3’53”
06 “Kansas City” 4’42”
07 “Licking Stick” 1’27”
08 “Try Me” 2’41”
09 “There Was A Time” 5’03”
10 “Give It Up Or Turn It Loose” 3’03”
11 “It’s A Man’s Man’s Man’s World” 3’11”
12 “Please, Please, Please” 2’18”
13 “I Can’t Stand Myself (When You Touch Me)” 1’40”
14 “Mother Popcorn” 8’06”
15 “Mother Popcorn” – Encore 5’21”

James Brown – Vocals
Maceo Parker – Tenor Sax, Alto Sax
Alfred "Pee Wee" Ellis – Tenor Sax, Alto Sax
Fred Wesley – Trombone
St. Clair Pinckney – Baritone Sax
Richard "Kush" Griffith – Trumpet
Joe Davis – Trumpet
Jimmy Nolen – Guitar
Alphonso "Country" Kellum – Guitar
Bobby Byrd – Organ, Stage Announcer
Charles Sherrell – Bass
Clyde Stubblefield – Drums

The jazz police had a field day with the 1969 Newport Jazz Festival, which marked George Wein's blatant capitulation to the burgeoning rock market. While the usual names like Dave Brubeck, Art Blakey, Lee Morgan, Phil Woods, Charles Mingus and Anita O'Day were on hand to represent the jazz contingent, a whole host of arena rock bands were booked for the annual summer bash in Rhode Island. In its coverage that year, Down Beat ran the cover line: "Big Crowds, Bad Vibes." And in his report on the festival, respected jazz writer Ira Gitler referred to the whole affair as "the Newport Jive Festival." As he wrote: "George Wein started out as a jazz person but now seems to have become a festival producer rather than a jazz producer." Gitler dismissed headliners like Frank Zappa's Mothers of Invention ("a contemporary vaudeville show") and Led Zeppelin ("a lead balloon") as well as John Mayall, Ten Years After, Jethro Tull, Jeff Beck and Sly Stone. Gitler's colleague Dan Morgenstern also had little use for the rock acts, though he was considerably kinder to James Brown. As he wrote: "This was the most professional presentation of the festival, running smoothly from start to finish."

Indeed, it was the James Brown Show, a classy production replete with opening act (the Dee Felice piano trio), polished choreography, comedic relief (in the form of Nipsey Russell) and a dynamic, tightly-executed set in which the Hardest Working Man in Show Business trotted out hit after hit.

The James Brown Band warms up the stage with three instrumentals that highlight the tight two-guitar interplay of Jimmy Nolen's agile, syncopated single-note lines and Alphonso "Country" Kellum's steady rhythm playing along with the urgent, soulful blowing of tenor saxophonist Maceo Parker, Brown's right-hand man since 1964. On the third piece, the group reveals a decided jazz influence by covering Duke Ellington's "Things Ain't What They Used To Be," which gives baritone saxophonist St. Clair Pinckney a chance to stretch out. Following a resplendent introduction ("Now…here's the star of the show!!"), Brown enters and immediately launches into a rousing rendition of "Say It Loud (I'm Black and I'm Proud)," his hit single from 1968. In such a politically-charged climate - Martin Luther King, Jr. had been assassinated the previous year and Black Power was on the rise - this anthemic tune infused an entire race with a sense of pride that had been lacking.

Shifting gears from churning funk to sublime ballad, Brown and company settle into a heartfelt rendition of "If I Ruled the World," another hit single from 1968 that showcases the expressive power of the Godfather's impassioned vocals. Without missing a beat, they segue neatly into a rousing, hard-driving shuffle version of "Kansas City," which Brown had released as a single in 1967. As he leaves the stage, announcer Bobby Byrd informs the Newport audience, "Keep in mind that the star of the show will be back." During the break, comedian Nipsey Russell entertained the crowd with his trademark observations and hip rhyming couplets.

Soul Brother Number One returns to the stage to the strains of an ultra-funky "Licking Stick," another of his hit singles from 1968. With uncanny precision, the band pivots on a downbeat to the plaintive, organ-fueled ballad "Try Me," which Brown had introduced ten years earlier in 1959. Promptly shifting gears once again, they head into another percolating bit of funk in "There Was a Time," another hit single from Brown's incredibly prolific year of 1968.

"Give It Up Or Turn It Loose," a recent single release by Brown, is underscored by a staccato guitar motif by Nolen and a bubbling bass line by Sherrell. The horns float in and out of the mix before the whole band comes together with a crisp punch on the funky bridge. One can easily hear the influence that this infectious groove had on Nigerian Afro-beat pioneer Fela Kuti, whose Africa '70s band resonates with these same kinds of urgently funky grooves.

Turning back to balladeer, Brown delivers a profound reading of his 1966 hit, "This is A Man's Man's Man's World," before delving into his cathartic, show-stopping number "Please, Please, Please (Don't Go)," which culminates in his signature "cape routine" where he falls to his knees in mock exhaustion before being covered with a cape and slowly led off stage by Bobby Byrd, only to throw off the cape and dash back to the microphone to deliver another round of bone-chilling screams. This bit is repeated a few times before Brown finally relents and shuffles into the wings like a championship boxer after a particularly trying fight.

Byrd shouts out an ecstatic farewell to the crowd ("The star of the show ladies and gentlemen, James Brown!") before Mr. Dynamite returns to the stage once again for an energized take on another 1968 hit, "I Can't Stand Myself (When You Touch Me)," which segues smoothly into his current hit single of the day, "Mother Popcorn." Essentially a variation on his 1967 hit "Cold Sweat," this new number not only introduced a new dance craze but also kept the 36-year-old legend relevant with the young people, particularly black audiences of the day. It is underscored by Nolen's slinky, syncopated guitar lines and punctuated by exceptionally tight horn pads. Midway through this funk throwdown, Brown calls out, "Maceo, come blow your horn," and the saxophonist obliges with another of his signature punchy alto solos. After a lengthy and ecstatic ovation from the Newport crowd, Brown and company return for a rousing encore of "Mother Popcorn." And once again, Maceo does indeed blow his horn.

Though both Down Beat and Rolling Stone proclaimed Wein's rock experiment at the 1969 Newport Jazz Festival a "disaster," James Brown's appearance there was an unequivocal triumph. This document of that memorable Sunday afternoon set on July 6th stands as a welcome addition to the legendary Godfather of Soul's remarkable recorded legacy.

J'aurai bien apprécié un "Time Has Come Today", mais bon... ça groove quand même !

The Chambers Brothers
Fillmore East, New York City, NY
February 12th, 1971
Concert Vault MP3

52’36”
01 “New Generation” 13’35”
02 “Funky” 5’24”
03 “Let’s Do It” 2’49”
04 “Pollution” 3’43”
05 “When The Evening Comes” 8’00”
06 “I Can’t Turn You Loose” 6’26”
07 “Love, Peace And Happiness” 12’33”

Lester Chambers – Lead Vocals, Harmonica, Percussion
Willie Chambers – Guitar, Vocals
Joe Chambers – Guitar, Vocals
George Chambers – Bass, Vocals
Brian Keenan – Drums, Vocals

Long before the Chambers Brothers forged a fusion of funk, R&B, gospel, blues, soul, and psychedelic music into their 1968 hit, "Time Has Come Today," breaking through racial and musical divides in the process, the brothers were one of the most promising young gospel groups in the country. The four brothers who formed the group (they had four other brothers as well as five sisters) grew up in poverty, children of a Mississippi sharecropper during the 1940s. While earning a meager living picking cotton in Lee County, the most musically inclined brothers—guitarists Willie and Joe, mouth harpist Lester, and bassist George, began developing their vocal harmonies while picking cotton in the fields. They got their first taste of talent recognition while singing a cappella in the choir of the local Mount Calvary Baptist church, where they soon became known as the Little Chambers Brothers. The initial collaboration ended when George was drafted into the army in 1952, followed by the entire family relocating to Los Angeles the following year. Upon George's discharge from the army, he too relocated to Los Angeles, where the foursome began collaborating again, performing gospel and folk music in church and performing around town. Los Angeles had a profound effect on the brothers, who had never attended interracial schools, never held jobs other than picking cotton, and now had far more freedom and cultural stimulation. They were now exposed to an abundance of new music and became enamored by the likes of Sam Cooke and Ray Charles. The predominantly white folk clubs in Los Angeles accepted the brothers form of a cappella gospel music and they performed around Southern California for the next decade in relative obscurity, while learning to play instruments in the process. All four brothers were unable to read music, but they each became self-taught musicians while studying the other great blues and folk musicians who frequented clubs like the Ash Grove on the folk and blues revival circuit.

During the 1960s, the Chambers Brothers continued diversifying their music, incorporating R&B, soul, and pop music elements into the mix, while maintaining the spiritual and gospel origins of their style. The Brothers biggest chart success came in 1967, when their 11-minute opus titled "Time Has Come Today" was edited into a single and became a smash hit. The longer album version, which featured a raga-like psychedelic jam sequence, which became weirder with each progressing minute, included screams, primitive delay effects and fuzz tone guitars all blurring together. Incorporating rock and psychedelic elements, "Time Has Come Today" would become a staple of the emerging underground FM radio stations, eventually becoming one of the defining songs of the era. Including the exclamation, "My soul has been psychedelicized!" this song was an encapsulation of the diverse elements that the Chambers Brothers would continue to explore. Their last album of the 1960s, "Love, Peace And Happiness," and their first of the 1970s, "New Generation," would introduce the funk elements of James Brown into their socially uplifting message songs. This era was arguably the most exciting time to experience the group live and they were popular fixtures on the rock club circuit, which included many performances at Bill Graham's Fillmores.

Recorded in February of 1971, while on the road promoting the just released New Generation album, this recording captures the Chambers Brothers live on stage at Fillmore East, headlining a remarkable triple bill that also presented the duo of Spencer Davis & Peter Jameson, followed by Taj Mahal as openers. Epitomizing the optimism of the 1960s, this set begins like a psychedelic revival meeting, as the brothers launch into the title track off their new album. Clocking in at a solid 13 minutes and containing an impressive extended jam right off the bat, "New Generation" is a song of inclusion that draws the New York City audience in. This segues directly into "Funky," another hot track from the new album that clearly displays the James Brown influence. This nearly 20 minute opening three-song sequence culminates in "Let's Do It," one of the most engaging tracks from the Love, Peace And Happiness album.

By this point, the Chambers Brothers have the Fillmore East audience fully engaged. Mixing things up, they next perform "Pollution," a sort of ecologically conscious public service announcement that is more performance art than song. With its theatrical approach, punctuated with non-musical elements like coughing and wheezing, this piece is interesting not so much for its ecological message, but as a precursor to band's like George Clinton's Funkadelics, which would take a similar approach and develop it into the next decade.

This is followed by the ballad, "When The Evening Comes," one of the loveliest moments on the new album and of this set. Here the brothers' gospel roots shine brightly and the instrumental break features some beautiful guitar work from Willie and Joe. Opening the end of the set up to requests, the brothers next tackle "Can't Turn You Loose" by popular demand, one of their signature cover songs from the early 1960s. More wild and free than the tight three-minute R&B hit it once was, here the song becomes a vehicle for audience interaction, as Lester ecstatically engages them to dance and shout along to end the set.

However, the performance isn't over yet and the brothers pull out all the stops during the encore, concluding with a highly improvised take on "Love, Peace And Happiness." One of their most infectious songs, this features the most outstanding musicianship of the set. Plenty of wah-wah guitar and smoldering rhythms permeate this extended jam. This is space music Chambers Brothers-style, and as someone in the audience exclaims loudly, it is indeed "Far Out!" Eventually, this impressive jam dissolves and Brian Keenan takes a drum solo. Unlike most drummers of the era, Keenan doesn't try to pummel the audience with his technical virtuosity (although he has plenty of it), but instead toys around, detuning the heads while tapping on the tom-toms, to create otherworldly effects of his own. The tape stock runs out just as the group are venturing back into the jam to conclude the set, but the 13 recorded minutes of this piece captures the heart and soul of the group's message and allows listeners to experience the Chambers Brothers at their most adventurous on stage.

Ce bootleg de Pearl Jam avec une reprise du Velvet en hommage à Lou Reed.
Concert excellent avec Vedder en bonne forme vocale.   

Du coup, j'ai réécouté Lightning Bolt et j'ai trouvé qu'il passe très bien, 6 mois après sa sortie, ce qui me permet de revoir à la hausse mon jugement sur cet album plutôt varié.

L'album n'en est pas un, probablement juste un prétexte à proposer des concerts MAIS en live qu'est ce que ça groove & grind.

Mon conseil: ne les manquez pas s'ils passent à moins de 500 kilomètres de chez vous !

Apr 22 Skaletta La Spezia Sp, Italy
Apr 23 Circolo Mame Padova, Italy
Apr 24 Tab Tab Schofhausen, Switzerland
Apr 25 La Cigalle Nyons, France
Apr 26 La Sirene La Rochelle, France
Apr 27 Le Vauban Brest, France
Apr 29 La Maroquinerie Paris, France
Apr 30 Le Batolune Honfleur, France
May 01 Blues Kitchen London, United Kingdom
May 02 Paard van Troje, Kleine Zaal Den Haag, Netherlands

Chanteuse à la "carrière" on ne peut plus singulière, reconnue hélas après sa mort il y a presque 20 ans déjà, reste les enregistrements, quelques albums donc, avec des musiques ajoutées à ses parties vocales sublimes, ce qui n'est pas le cas de ce live sublime, sorti lui, pour le coup, avant son départ... comme cette reprise de Sting:

CAIN’S BALLROOM, Tulsa, OK
2011 may, 10

Setlist:
01 intro
02 Can't Let Go
03 Pineola
04 People Talkin'
05 Ventura
06 I Don't Know How Your Livin'
07 Well Well Well
08 I Lost It
09 Drunken Angel
10 Born To Be Loved
11 Lake Charles (Lu solo)
12 Ugly Truth (Lu and Blake)
13 Buttercup
14 Out Of Touch
15 Atonement
16 Real Live Bleeding Fingers and Broken Guitar Strings
17 Essence
18 Changed The Locks
19 Honeybee
20 ~ encore break ~
21 Blessed
22 Joy ->
23 Get Right With God


Band:
Lucinda Williams - guitar, vocals
Blake Mills - guitar
David Sutton - bass guitar / stand-up bass
Butch Norton - drums

devil59620 a écrit:

Album sous-estimé, dans mon top 5 de la discographie studio de "God"

disc 1
Rumble / Trenton, 22/11
Adam Raised A Cain / Philadelphia, 9/11
Atlantic City / Philadelphia, 8/11
All That Heaven Will Allow / Madison, 15/10
Zero & Blind Terry / Trenton, 22/11
Backstreets / Trenton, 22/11
It’s Hard To Be A Saint In The City / Trenton, 22/11
Fire / Trenton, 22/11
Blinded By The Light / Madison, 15/10
Cynthia / Philadelphia, 9/11
Fade Away / Philadelphia, 8/11
Stolen Car / Cleveland, 15/5
The Wish / East Rutherford, 19/5
The Ties that Bind / Philadelphia, 8/11
Something In The Night / Hartford, 7/10
Paradise / East Rutherford, 19/5
Across The Border / Madison 15/10

darlington a écrit:

devil59620 a écrit:

Album sous-estimé, dans mon top 5 de la discographie studio de "God"

Avec les participations de Ry Cooder et Albert Lee, excusez du peu, bref un excellent album de guitaristes qu'on trouve d'ailleurs pas cher en plus pour ceux qui hésiteraient.

Quand je vois ce qu'il a fait depuis, en studio, à part FROM THE CRADLE et les deux albums de reprises de Robert Johnson, j'ai du mal.

JC a écrit:

darlington a écrit:

devil59620 a écrit:

Album sous-estimé, dans mon top 5 de la discographie studio de "God"

Avec les participations de Ry Cooder et Albert Lee, excusez du peu, bref un excellent album de guitaristes qu'on trouve d'ailleurs pas cher en plus pour ceux qui hésiteraient.

Quand je vois ce qu'il a fait depuis, en studio, à part FROM THE CRADLE et les deux albums de reprises de Robert Johnson, j'ai du mal.

Cet album à l'époque de sa sortie avait été une vraie bonne surprise.
1er album de Clapton chez Warner après une fin de contrat chez Polydor (Stigwood) un peu couçi couça.
Cela confortait le sentiment et la réalité qu'un nouveau contrat dans une nouvelle maison de disque, avec un nouveau regard de la part des nouveaux interlocuteurs, peut être très très productif et positif.

CC Rider a écrit:

JC a écrit:

darlington a écrit:

devil59620 a écrit:

Album sous-estimé, dans mon top 5 de la discographie studio de "God"

Avec les participations de Ry Cooder et Albert Lee, excusez du peu, bref un excellent album de guitaristes qu'on trouve d'ailleurs pas cher en plus pour ceux qui hésiteraient.

Quand je vois ce qu'il a fait depuis, en studio, à part FROM THE CRADLE et les deux albums de reprises de Robert Johnson, j'ai du mal.

Cet album à l'époque de sa sortie avait été une vraie bonne surprise.
1er album de Clapton chez Warner après une fin de contrat chez Polydor (Stigwood) un peu couçi couça.
Cela confortait le sentiment et la réalité qu'un nouveau contrat dans une nouvelle maison de disque, avec un nouveau regard de la part des nouveaux interlocuteurs, peut être très très productif et positif.

J'ai une tendresse particulière pour Journeyman (malgré la prod 80's), avec Slow hand ça complète le top 5 (from the cradle, money and cigarettes, M. and Mr Johnson) !!

sergers2000 a écrit:

C'est bon ça !!
Merci pour la découverte.

Le 1er album est apparemment pour l'automne 2014.
Va falloir être patient. Très patient.

Triste nouvelle que celle du départ de Bix, le trompettiste de Kat Onoma.
A 66 ans.
C'était un sacré personnage.

Une "ballade Mexicaine" ce matin pour une pensée.

bruce à charlotte le 19/04/14
quelle énergie, quel putain de show les amis ! !!!!!!!
A ECOUTER DE TOUTE URGENCE
rarement entendu une telle version de cadillac ranch  

Du très très bon indus français.

quelques années déjà à fréquenter les frontières du bon goût.
Normal qu'après tant d'années d'aventures musicales diverses, à creuser le sillon d'un univers très personnel voire même aventureux, Damon Albarn sorte un premier album revendiqué comme "solo" aussi riche et intéressant que celui ci.

Personnel, classe et brillant.