♫ JIMI HENDRIX & B B KING Jam Live @ Generation Club NYC 1968 ♫


♫ JIMI HENDRIX & B B KING Jam Live @ Generation Club NYC 1968 ♫

JOAN BAEZ: “Arguably the world’s most famous female folk singer, known for her distinctive, sweeping soprano and her accomplished interpretive skills.”


J1
Joan sings The Beatles, “Let It Be”:

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Martin

1966: Martin Luther King and singer Joan Baez marching to the Grenada, Mississippi school that was being integrated. Baez supported the effort financially. ©1976 Bob Fitch/Take Stock / The Image Works.

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jOAN bAEZ

From Chris Strodder’s “The Encyclopedia of Sixties Cool”

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Joan and Bob, together,
(listen to her album of Dylan songs):
Dylan
Dylan2 Dylan3Dylan5

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OTHER FULL ALBUMS:


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FULL CONCERTS


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c2c48a3c8e26b46edd5d642e65d08e54 Joan sings some classic Marley ragga…

And why not trip on with caliente Cuban
“Guantanamera!”

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Poster
Artist Biography by William Ruhlmann

tumblr_nhk9fy01Yo1rzligdo1_500Joan Baez – The most accomplished interpretive folksinger of the 1960s, Joan Baez has influenced nearly every aspect of popular music in a career still going strong. Baez is possessed of a once-in-a-lifetime soprano, which, since the late ’50s, she has put in the service of folk and pop music as well as a variety of political causes. Starting out in Boston, Baez first gained recognition at the 1959 Newport Folk Festival, then cut her debut album, Joan Baez (October 1960), for Vanguard Records. It was made up of 13 traditional songs, some of them children’s ballads, given near-definitive treatment. A moderate success on release, the album took off after the breakthrough of Joan Baez, Vol. 2 (September 1961), and both albums became huge hits, as did Baez’s third album, Joan Baez in Concert, Pt. 1 (September 1962). Each album went gold and stayed in the bestseller charts more than two years.

Joan Baez in Concert, Pt. 2 From 1962 to 1964, Baez was the popular face of folk music, headlining festivals and concert tours and singing at political events, including the August 1963 March on Washington. During this period, she began to champion the work of folk songwriter Bob Dylan, and gradually her repertoire moved from traditional material toward the socially conscious work of the emerging generation of ’60s artists like him. Her albums of this period were Joan Baez in Concert, Pt. 2 (November 1963) and Joan Baez 5 (October 1964), which contained her cover of Phil Ochs’ “There But for Fortune,” a Top Ten hit in the U.K.

Farewell, Angelina Like other popular folk performers, Baez was affected by the changes in popular music wrought by the appearance of the Beatles in the U.S. in 1964 and Dylan’s introduction of folk-rock in 1965, and she began to augment her simple acoustic guitar backing with other instruments, initially on Farewell, Angelina (October 1965). It was followed by a Christmas album, Noël (October 1966), and Joan (August 1967), albums on which she was accompanied by an orchestra conducted by Peter Schickele. Baez continued to experiment in the late ’60s, releasing Baptism (June 1968), in which she recited poetry, and Any Day Now (December 1968), a double album of Dylan songs done with country backing, which went gold… READ ON AT AMG ALL MUSIC GUIDE

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RECOMMENDED FURTHER READING:

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“In his study, Markus Jaeger explores the coalescence of Joan Baez’s work as a singer and songwriter with her endeavors as a political activist throughout the last fifty years. He illustrates an American popular singer’s significance as a political activist–for her audiences and for her opponents as well as for those victims of politically organized violence who have profited from her work. Mingling popular culture with political activism can be a helpful means to achieve non-violent societal progress. Joan Baez’s work offers an excellent example for this hypothesis.” DOWNLOAD EBOOK IN PDF FROM LIBGEN.ORG (230 pgs, 2010)

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Gran Finale:
BBC’s Imagine // Joan Baez

Pete Seeger’s Rainbow Quest (1965–66) – TV series devoted to folk music [Watch Full Episodes]

Pete_Seeger_1986

Pete Seeger, 1986

 

Rainbow Quest, perhaps not surprisingly, comes across as something like anti-TV TV, more about sitting back and letting Seeger and the visiting musicians take their own time to sing what they’ve got to sing and say what they’ve got to say than working too hard to maintain viewer interest, its awkwardly unplanned atmosphere both clunky and charming. Seeger seems to trust the viewers, in the same way he recognises that TV’s priorities don’t represent the priorities of the people he meets in his travels.

He speaks to the camera in that same natural, some might say dull, conversational tone that he uses in his concerts, simultaneously mundane and insightful. There’s something of ‘Mr Rogers’ in the experience: an attempt at a personal warmth through the cold screen; Rainbow Quest can seem like watching a children’s show that somehow bypasses all the boundaries between child and adult. Seeger is still one of the few great artists who seems more concerned about involving the audience in a sing-along than giving a distanced untouchable performance: a sharing of the music, in the best folk tradition.”

Kit McFarlane @ Pop Matters

Watch some full episodes of Seeger’s Rainbow Quest:







R.I.P. JOE COCKER (1944-2014)

Cocker

Hey Joe… rest in peace, Dude!

Read The Guardian’s obituary

Listen/Watch some classic performances:
Cocker2

Download some essential Cocker:

“The revolution will put you in the driver’s seat.”

Gil

“The Revolution Will Not Be Televised”
by Gil-Scott Heron


You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and
skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions.
The revolution will not show you pictures of Nixon
blowing a bugle and leading a charge by John
Mitchell, General Abrams and Mendel Rivers to eat
hog maws confiscated from a Harlem sanctuary.

The revolution will not be televised.
The revolution will not be brought to you by the
Schaefer Award Theatre and will not star Natalie
Woods and Steve McQueen or Bullwinkle and Julia.
The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds
thinner, the revolution will not be televised, Brother.

There will be no pictures of you and Willie Mays
pushing that shopping cart down the block on the dead run,
or trying to slide that color television into a stolen ambulance.
NBC will not be able predict the winner at 8:32
on reports from 29 districts.
The revolution will not be televised.

There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of Whitney Young being
run out of Harlem on a rail with a brand new process.
There will be no slow motion or still life of Roy
Wilkens strolling through Watts in a Red, Black and
Green liberation jumpsuit that he had been saving
For just the right occasion.

Green Acres, The Beverly Hillbillies, and Hooterville
Junction will no longer be so god damned relevant, and
women will not care if Dick finally screwed
Jane on Search for Tomorrow because Black people
will be in the street looking for a brighter day.
The revolution will not be televised.

There will be no highlights on the eleven o’clock
news and no pictures of hairy armed women
liberationists and Jackie Onassis blowing her nose.
The theme song will not be written by Jim Webb or
Francis Scott Key, nor sung by Glen Campbell, Tom
Jones, Johnny Cash or Englebert Humperdink.
The revolution will not be televised.

The revolution will not be right back
after a message about a white tornado, white lightning, or white people.
You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.
The revolution will put you in the driver’s seat.

The revolution will not be televised, will not be televised,
will not be televised, will not be televised.
The revolution will be no re-run brothers;
The revolution will be live.

A Skin Too Few – The Days of Nick Drake [2000] [Full Documentary]

nickdrake_skinDrake

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Listen:

Five Leaves Left (1969)

Bryter Layter (1970)

Pink Moon (1972)

 

Rest in Peace, Mr. Jack Bruce (1943-2014): Your Music Lives On!

Cream

CREAM

JACK BRUCE (1943-2014)

Artist Biography by Richard Skelly

Songs for a TailorAlthough some may be tempted to call multi-instrumentalist, songwriter, and composer Jack Bruce a rock & roll musician, blues and jazz were what this innovative musician really loved. As a result, those two genres were at the base of most of the recorded output from a career that went back to the beginning of London’s blues scene in 1962. In that year, he joined Alexis Korner’s Blues Incorporated. Throughout the following decades and into the 21st century, Bruce remained a supreme innovator, pushing himself into uncharted waters with his jazz and folk-rock compositions.

Bruce‘s most famous songs were, in essence, blues tunes — “Sunshine of Your Love,” “Strange Brew,” “Politician,” “White Room” — and they were ones he penned for Cream, the legendary blues-rock trio he formed with drummer Ginger Baker and guitarist Eric Clapton in July 1966. Baker and Bruceplayed together for five years before Clapton came along, and although their trio only lasted until November 1968, the group is credited with changing the face of rock & roll and bringing blues to a worldwide audience. Through their creative arrangements of classic blues tunes like Robert Johnson‘s “Crossroads,” Skip James‘ “I’m So Glad,” Willie Dixon‘s “Spoonful,” and Albert King‘s “Born Under a Bad Sign,” the group helped popularize blues-rock and led the way for similar groups that came about later on, like Led Zeppelin.

Bruce was born May 14, 1943, in Lanarkshire, near Glasgow, Scotland. His father was a big jazz fan, and so he included people like Louis Armstrong and Fats Waller among his earliest influences. He grew up listening to jazz and took up bass and cello as a teen. After three months at the Royal Scottish Academy of Music, he left, disgusted with the politics of music school. After traveling around Europe for a while, he settled into the early blues scene in 1962 in London, where he eventually met drummerGinger Baker. He played with British blues pioneers Alexis Korner and Graham Bond before leaving in 1965 to join John Mayall’s Bluesbreakers, whose guitarist was Eric Clapton. This gave him time to get his chops together without having to practice. With Manfred Mann, who he also played with before forming Cream, Bruce learned about the business of making hit songs.

Shadows in the AirCream‘s reputation for long, extended blues jams began at the Fillmore in San Francisco at a concert organized by impresario Bill Graham. Bruce later realized that Creamgave him a chance to succeed as a musician, and admitted that if it weren’t for that group, he might never have escaped London. After Cream split up in November 1968, Bruceformed Jack Bruce & Friends with drummer Mitch Mitchell and guitarist Larry Coryell. Recording-wise, Bruce took a different tack away from blues and blues-rock, leaning more in a folk-rock direction with his solo albums Songs for a Tailor (1969), Harmony Row (1971), and Out of the Storm(1974).

Live at the MilkywayIn 2010, Bruce joined the Tony Williams Lifetime Tribute Band with Reid, organist John Medeski, and drummer Cindy Blackman, and toured in the late part of that year and in early 2011 to sold-out performances and rave reviews. Also in 2011, Pledge Music, a company that pairs fans and artists to fund projects, released Jack Bruce and the Cuicoland Express Live at the Milky Way, from a 2001 concert in Amsterdam. The high-quality recording was provided by Bruce‘s daughters, who designed the cover as well. The Lifetime Tribute Band’s tour had been so successful that the group renamed itself Spectrum Road and entered the studio. They emerged with a self-titled album that featured covers of Lifetime material and originals. In 2013, Bruce reconvened the rhythm section under his name for the album Silver Rails (with Robin Trower, Phil Manzanera, Uli Jon Roth, and Bernie Marsdenalternating in the guitar chair). It was released in March of 2014. Just seven months later, however, he died at his Suffolk home from liver disease.”






 

The Flaming Lips’ “The Soft Bulletin” #PetSounds

Capa

So where does a band go after releasing the most defiantly experimental record of its career? If you’re the Flaming Lips, you keep rushing headlong into the unknown — The Soft Bulletin, their follow-up to the four-disc gambit Zaireeka, is in many ways their most daring work yet, a plaintively emotional, lushly symphonic pop masterpiece eons removed from the mind-warping noise of their past efforts. Though more conventional in concept and scope than Zaireeka, The Soft Bulletin clearly reflects its predecessor’s expansive sonic palette. Its multidimensional sound is positively celestial, a shape-shifting pastiche of blissful melodies, heavenly harmonies, and orchestral flourishes; but for all its headphone-friendly innovations, the music is still amazingly accessible, never sacrificing popcraft in the name of radical experimentation. (Its aims are so perversely commercial, in fact, that hit R&B remixer Peter Mokran tinkered with the cuts “Race for the Prize” and “Waitin’ for a Superman” in the hopes of earning mainstream radio attention.) But what’s most remarkable about The Soft Bulletin is its humanity — these are Wayne Coyne’s most personal and deeply felt songs, as well as the warmest and most giving. No longer hiding behind surreal vignettes about Jesus, zoo animals, and outer space, Coyne pours his heart and soul into each one of these tracks, poignantly exploring love, loss, and the fate of all mankind; highlights like “The Spiderbite Song” and “Feeling Yourself Disintegrate” are so nakedly emotional and transcendentally spiritual that it’s impossible not to be moved by their beauty. There’s no telling where the Lips will go from here, but it’s almost beside the point — not just the best album of 1999, The Soft Bulletin might be the best record of the entire decade. – Review by Jason Ankeny

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An excellent documentary by Pitchfork TV reveals the genesis of the Lips’ masterpiece:


Directed By RJ Bentler. 45 minutes.
Download The Soft Bulletin (320 kps). Read reviews at Metacritic.

Franz Liszt (1811-1886), “Faust Symphony”

Fantasy Based on Goethe’s ‘Faust’ (1834), by Theodore Von Holst (1810-1844)

Fantasy Based on Goethe’s ‘Faust’ (1834), by Theodore Von Holst (1810-1844). Via Tate.

A Faust Symphony in three character pictures (German: Eine Faust-Symphonie in drei Charakterbildern), S.108, or simply the “Faust Symphony”, was written by Hungarian composer Franz Liszt and was inspired by Johann Wolfgang von Goethe’s drama, Faust. The symphony was premiered in Weimar on September 5, 1857, for the inauguration of the Goethe–Schiller Monument there.

The first clue as to the work’s structure is in Liszt’s title: “A Faust Symphony in Three Character Sketches after Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles.” Liszt does not attempt to tell the story of Goethe’s drama. Rather, he creates musical portraits of the three main protagonists. By doing so, though this symphony is a multi-movement work and employs a chorus in its final moments, Liszt adopts the same aesthetic position as in his symphonic poems. The work is approximately seventy-five minutes in duration… – Wikipedia

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You might also enjoy…  Composers & Musicians previously published on Awestruck Wanderer: Fela Kuti || Dvořák || Jeff Buckley || George Harrison || Love’s Forever Changes || Jimi Hendrix

Antonin Dvořák (1841-1904) – Slavonic Dances [Op. 46 & Op. 72] #PetSounds #MarvelousMusic

Dvorak

Dvořák, comrades! Such an awe-inspiring musical genius!


Antonin Dvořák
 – Slavonic Dances

The Slavonic Dances are a series of 16 orchestral pieces composed by Antonín Dvořák in 1878 and 1886 and published in two sets as Opus 46 and Opus 72 respectively; they were inspired by Johannes Brahms’s own Hungarian Dances.

The types of dances upon which Dvořák based his music include the furiant, the dumka, the polka, the sousedská, the skočná, the mazurka, the odzemek, the špacírka, the kolo and the polonaise.

Opus 46
0:00 No. 1 in C major: Presto (Furiant)
3:38 No. 2 in E minor: Allegretto scherzando (Dumka)
8:21 No. 3 in A-flat major: Poco allegro (Polka)
12:31 No. 4 in F major: Tempo di Minuetto (Sousedská)
20:19 No. 5 in A major: Allegro vivace (Skočná)
23:31 No. 6 in D major: Allegretto scherzando (Sousedská)
28:05 No. 7 in C minor: Allegro assai (Skočná)
31:19 No. 8 in G minor: Presto (Furiant)

Opus 72
34:58 No. 1 (9) in B major: Molto vivace (Odzemek)
38:33 No. 2 (10) in E minor: Allegretto grazioso (Starodávný)
43:42 No. 3 (11) in F major: Allegro (Skočná)
46:51 No. 4 (12) in D-flat major: Allegretto grazioso (Dumka)
51:48 No. 5 (13) in B-flat minor: Poco adagio (Špacírka)
54:08 No. 6 (14) in B-flat major: Moderato, quasi Minuetto (Starodávný -“Ancient”-)
57:43 No. 7 (15) in C major: Allegro vivace (Kolo)
1:00:51 No. 8 (16) in A-flat major: Grazioso e lento, ma non troppo, quasi tempo di Valse (Sousedská)