POPULARITY
Dans cet épisode de "La Note Secrète", Fabrice Lafitte nous emmène à la découverte de la chanson "Déjeuner en paix" du chanteur suisse Stéphane Eicher. Bien que ce titre soit devenu un énorme succès en 1991, son origine est plutôt surprenante. Nous apprenons comment Echer, avec l'aide du batteur Manu Katché, a enregistré cette mélodie apaisante, à contre-courant des tendances musicales de l'époque. Nous découvrons également les anecdotes amusantes liées à la création de ce tube, ainsi que le parcours de cette chanson qui a marqué la francophonie. Cet épisode offre un éclairage fascinant sur les coulisses d'un succès inattendu.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.
Songs und Musik, die wir mit Verliebtsein, Zusammenhalt und Vertrauen verbinden. Feiere mit uns das Fest der Liebe. Diese Musikstücke hörst Du in dieser Folge: Nino Rota – "Romeo und Julia" // Manu Katché – "She is" // Sergej Prokofjew – "Romeo und Julia" // Wayne Gratz – "Have I told you lately" // Nino Rota – "A Time for Love" // Den Podcast "Philosophoisches Radio" von WDR 5 findest Du hier: https://www.ardaudiothek.de/sendung/wdr-5-das-philosophische-radio/55475354/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de
Rejoignez-nous pour découvrir l'histoire fascinante de l'album « Caché Derrière » de Laurent Voulzy, sorti en 1992. Cet opus aux inspirations maritimes et métaphysiques est le reflet de l'artiste, passionné par l'invisible et la quête de sens.Avec son complice Alain Souchon, Laurent Voulzy a façonné un album profond et introspectif, fruit de trois années de travail acharné. Écoutez comment ces deux amis se sont battus pour trouver le mot juste, comme ce fameux « géranium » qui a donné lieu à de vives discussions ! Plongez dans l'univers singulier de Laurent Voulzy, artiste exigeant et perfectionniste, qui considère ses chansons comme de véritables enfants à élever avec soin. Découvrez les coulisses de la création de cet album, notamment grâce à la collaboration avec le musicien Michel Curieux et la présence du batteur Manu Katché.Laissez-vous emporter par les mélodies envoûtantes et les textes poétiques de « Caché Derrière », qui nous invitent à réfléchir sur notre raison d'être et à nous interroger sur ce qui se cache derrière le voile du visible. Un épisode riche en anecdotes et en révélations sur l'un des artistes les plus singuliers de la chanson française.
JazzOmania #109 avec Stéphane Kochoyan avec Canal 30, Stellar Média & Jazz70 La playlist du jazz d'aujourd'hui et de demain, les nouveautés discographiques mélangées avec de grands classiques de Tous les Jazz ! L'acteur Michel Blanc disparu en Octobre 2024, joue les crooners avec humour bien sûr et un orchestre de très grand luxe : Batterie, arrangements : Manu Katché , Guitare : Kamil Rustam, Clavier : Jean-Yves D'Angelo, Saxophone & Arrangements des cuivres : Michel Gaucher Trompette : Kako Bessot Pierre Dutour, Choeurs : Bernard Ilous Eléonore Lyton 01 - Lady Gaga - That's Life 02 - Dany Doriz & Michel Pastre - Isn't She Lovely 03 - Stevie Wonder - Easy Goin' Evening (My Mama's Call) 04 - Faby Medina - Wild Is the Flower 05 - Léon Phal - Life in a Wind 06 - Ezra Collective - No One's Watching Me (feat. Olivia Dean) 07 - Celia Kameni - The Lights 08 - Lars Danielsson, John Parricelli et Verneri Pohjola - Le Calme au Chateau 09 - Seu Jorge - Tive Razao (2024 Remaster) 10 - Antonio Carlos e Jocafi by Adrian Younge and Ali Shaheed Muhammad,- Menina Do Tororo 11 - Al Jarreau & NDR Big Band - Take the A Train 12 - Jon Batiste - Saturday Night Live 13 - Ghost-Note - Mustard n'Onions 14 - Keziah Jones - Melissa 15 - Kokoroko - Three Piece Suit (feat. Azekel) 16 - Michel Blanc - Le mec plus ultra #Jazz #TousLesJazz #podcast #Jazz70 #Radio #JazzOmania #MichelBlanc
Grande intérprete de música francesa das décadas de 70 e 80, Michel Jonasz fez parte da efervescência da disco-funk na França. Aos nostálgicos dessa época dourada, o artista acaba de lançar um novo álbum, com seus maiores sucessos. Michel Jonasz dispensa apresentações na França: sua carreira solo deslanchou com o hit “Dites-moi”, em 1974, o que abriu as portas para trabalhar junto a outros grandes nomes da música francesa, como Françoise Hardy.Cinquenta anos depois, o incansável artista teve a ideia de lançar uma compilação de seus maiores sucessos, “Soul”. Para fugir do formato “best of”, Michel Jonasz reuniu amigos, como o baterista Manu Katché e o pianista Jean Yves D'Angelo, e regravou os grandes hits de sua carreira, entre eles, “Joeur de Blues”, em destaque na playlist da Programação Musical da RFI. Aumente o som!Aumente o som! Ouça o Balada Musical todos os sábados nos programas da RFI e também no Spotify e no Deezer. E não deixe de conferir as playlists mensais da Programação Musical da RFI no YouTube, Deezer e Spotify!
Un invité discret dans ces Petits Papiers pourtant si vous dites son nom dans le milieu de la musique, tout le monde sait de qui on parle et connait ses talents de bassiste et de guitariste. Il faut dire que ça fait environ 45 ans qu'il officie en studio pour des enregistrements et sur scène… à sa manière, toujours un peu en retrait mais essentiel et attentif aux projets qu'il accompagne. Nicolas à travaillé en studio et ou en concert avec des artistes tels que : Didier Lockwood, Philip Catherine, Alphonse Mouzon, Jacques Higelin, Alain Bashung, Dissidenten, Raoul Petite, Hubert-Félix Thiéfaine, Luca Carboni, Zazie, Trilok Gurtu, Rupert Hine, James Ingram, Johnny Hallyday, Patricia Kaas, Manu Katché, Joe Zawinul, Benjamin Biolay, Keren Ann, Metro (Chuck Loeb, Mitch Forman, Wolfgang Haffner), Charles Aznavour, Isabelle Boulay, Zachary Richard, Julio Iglesias, Vanessa Paradis, Francis Cabrel, Dominic Miller et Sting (pour ne citer qu'eux) En 2023, il sort un premier album instrumental sous son nom chez Cristal Records. Merci pour votre écoute Les petits Papiers c'est également en direct tous les dimanches de 17h à 18h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes des petits Papiers sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/2332 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Manu Katché, batteur à la renommée internationale, publie sous la forme d'un abécédaire, une biographie qui revient sur les grands moments de sa vie et de sa carrière. Intitulée « #Beat », elle est publiée aux éditions Grasset. En voilà un qui mène sa carrière à la baguette, ou plutôt aux baguettes, car il est l'un des plus célèbres batteurs français. Fils d'un père ivoirien et d'une mère française, Manu Katché a commencé par le classique avant de s'épanouir en accompagnant une multitude de chanteurs et de musiciens français, mais aussi de grandes stars internationales du jazz, du rock ou de la pop.Auteur-compositeur –y compris de musiques de films-, mais aussi arrangeur, parolier et interprète, auréolé de trois Victoires de la Musique, il a partagé sa passion dans ses albums solos et sur ceux des artistes qu'il a accompagnés ; sur les scènes de concert, de jams ou en festival, mais aussi dans des livres.Il y a 10 ans, il publiait « Road Book », un livre dans lequel il racontait son parcours à l'étranger et ses collaborations avec des artistes internationaux. Aujourd'hui, c'est le versant français de sa carrière qu'il nous raconte.Quelque 130 pages nourries par les rencontres et sa passion de musicien et de compositeur. « #Beat », de Manu Katché est paru aux éditions Grasset.Rediffusion de l'émission du mardi 28 mai 2024.
Manu Katché, batteur à la renommée internationale, publie sous la forme d'un abécédaire, une biographie qui revient sur les grands moments de sa vie et de sa carrière. Intitulée « #Beat », elle est publiée aux éditions Grasset. En voilà un qui mène sa carrière à la baguette, ou plutôt aux baguettes, car il est l'un des plus célèbres batteurs français. Fils d'un père ivoirien et d'une mère française, Manu Katché a commencé par le classique avant de s'épanouir en accompagnant une multitude de chanteurs et de musiciens français, mais aussi de grandes stars internationales du jazz, du rock ou de la pop.Auteur-compositeur –y compris de musiques de films-, mais aussi arrangeur, parolier et interprète, auréolé de trois Victoires de la Musique, il a partagé sa passion dans ses albums solos et sur ceux des artistes qu'il a accompagnés ; sur les scènes de concert, de jams ou en festival, mais aussi dans des livres.Il y a 10 ans, il publiait « Road Book », un livre dans lequel il racontait son parcours à l'étranger et ses collaborations avec des artistes internationaux. Aujourd'hui, c'est le versant français de sa carrière qu'il nous raconte.Quelque 130 pages nourries par les rencontres et sa passion de musicien et de compositeur. « #Beat », de Manu Katché est paru aux éditions Grasset.Rediffusion de l'émission du mardi 28 mai 2024.
Face à Manu Katché, Marc-Antoine Le Bret a notamment imité Gérald Darmanin, Emmanuel Macron et André Manoukian. Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.
Du lundi au vendredi, dans un podcast inédit, l'invité du jour se confie au micro de Julien Bonneau avant même son passage dans l'émission ! L'occasion d'en apprendre un peu plus sur elle, sur ses projets et sur ses souvenirs de l'émission "Les Grosses Têtes". Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL.
This celebrated British jazz pianist, songwriter and record producer was labelled a veteran by critics at age 19 and over the following decade won most of the major jazz music awards. Born in Surrey and raised in Wandsworth London, he was classically trained and attended the Guildhall School of Music . Emerging in the late 80s as a jazz pianist and influenced by Herbie Hancock and McCoy Tyner, he recorded three solo albums in his early 20s and his debut album A Clearer View in 1990 was produced by his dream choice of Wayne Shorter. This led to him appearing on the cover of The Wire magazine. He additionally worked with Jean Toussaint, Tommy Smith, and Branford Marsalis In the late 90's Sting invited him to join his band following the death of Kenny Kirkland which saw him tour with Sting for the next six years and recording three albums. He then became a member of Jeff Beck's band, touring for six years and recording a further three albums. During these years he also worked with Chaka Khan, Des'ree, Mica Paris, Carleen Anderson, Manu Katché, Phil Collins, and Peter Gabriel In 2013 after twelve years of touring as a session musician he reestablished himself as a solo artist and soon after, released the album Anything But Look on Lyte Records featuring Will Downing, Omar, Joy Rose, Jacob Collier, Tim Garland and Pino Palladino. He teaches music at Guildhall School of Music and Bath Spa University and additionally composes music for the London-based production music library, Audio Network.
Face à Manu Katché, Marc-Antoine Le Bret a notamment imité Gérald Darmanin, Emmanuel Macron et André Manoukian. En plus de sa chronique dans "RTL Bonsoir", retrouvez Marc-Antoine Le Bret dans "Les Grosses Têtes" ! Chaque jour, il accompagne l'invité d'honneur de Laurent Ruquier, dans une séquence mêlant anecdotes et nombreuses imitations.
Zeit und Ruhe für dich, um aus der Mitte heraus neue Kraft zu schöpfen. Diese Musikstücke hast Du in der Folge gehört: Katie Melua – "Dreams On Fire" // Justin Hurwitz – "Docking Waltz" // Manu Katché – "She Is" // Joseph Joachim Raff – "Cellokonzert, Larghetto" // Sufjan Stevens – "Casimir Pulaski Day" // Den Podcast "SCHOENHOLTZ - Der Orchester-Podcast" von BR-Klassik findest du hier: https://www.ardaudiothek.de/sendung/schoenholtz-der-orchester-podcast/10630943/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de
Manu Katché, batteur à la renommée internationale, publie sous la forme d'un abécédaire, une biographie qui revient sur les grands moments de sa vie et de sa carrière. Intitulée « #Beat », elle est publiée aux éditions Grasset. En voilà un qui mène sa carrière à la baguette, ou plutôt aux baguettes, car il est l'un des plus célèbres batteurs français. Fils d'un père ivoirien et d'une mère française, Manu Katché a commencé par le classique avant de s'épanouir en accompagnant une multitude de chanteurs et de musiciens français, mais aussi de grandes stars internationales du jazz, du rock ou de la pop.Auteur-compositeur –y compris de musiques de films-, mais aussi arrangeur, parolier et interprète, auréolé de trois Victoires de la Musique, il a partagé sa passion dans ses albums solos et sur ceux des artistes qu'il a accompagnés ; sur les scènes de concert, de jams ou en festival, mais aussi dans des livres.Il y a 10 ans, il publiait « Road Book », un livre dans lequel il racontait son parcours à l'étranger et ses collaborations avec des artistes internationaux. Aujourd'hui, c'est le versant français de sa carrière qu'il nous raconte.Quelque 130 pages nourries par les rencontres et sa passion de musicien et de compositeur. « #Beat », de Manu Katché est paru aux éditions Grasset.En fin d'émission, Laura Dulieu nous fait découvrir l'album AKA Free Voices of Forest (label Believe), une rencontre musicale et culturelle entre les chants « pygmées » Aka incarnés par l'ensemble congolais Ndima et les inspirations artistiques de Leïla Martial.
Manu Katché, batteur à la renommée internationale, publie sous la forme d'un abécédaire, une biographie qui revient sur les grands moments de sa vie et de sa carrière. Intitulée « #Beat », elle est publiée aux éditions Grasset. En voilà un qui mène sa carrière à la baguette, ou plutôt aux baguettes, car il est l'un des plus célèbres batteurs français. Fils d'un père ivoirien et d'une mère française, Manu Katché a commencé par le classique avant de s'épanouir en accompagnant une multitude de chanteurs et de musiciens français, mais aussi de grandes stars internationales du jazz, du rock ou de la pop.Auteur-compositeur –y compris de musiques de films-, mais aussi arrangeur, parolier et interprète, auréolé de trois Victoires de la Musique, il a partagé sa passion dans ses albums solos et sur ceux des artistes qu'il a accompagnés ; sur les scènes de concert, de jams ou en festival, mais aussi dans des livres.Il y a 10 ans, il publiait « Road Book », un livre dans lequel il racontait son parcours à l'étranger et ses collaborations avec des artistes internationaux. Aujourd'hui, c'est le versant français de sa carrière qu'il nous raconte.Quelque 130 pages nourries par les rencontres et sa passion de musicien et de compositeur. « #Beat », de Manu Katché est paru aux éditions Grasset.En fin d'émission, Laura Dulieu nous fait découvrir l'album AKA Free Voices of Forest (label Believe), une rencontre musicale et culturelle entre les chants « pygmées » Aka incarnés par l'ensemble congolais Ndima et les inspirations artistiques de Leïla Martial.
Deux duos se succèdent dans la #SessionLive avec l'harmoniciste breton de La Réunion Olivier Ker Ourio et le guitariste belge Quentin Dujardin. Puis, le Dj producteur français Praktika avec la griotte burkinabé Dafra Keïta. Nos 1ers invités Quentin Dujardin & Olivier Ker Ourio pour la sortie de l'album Serendipity.Le mot « Sérendipité » est entré dans la langue française très récemment. Sa définition au sens large est le don de faire par hasard des découvertes fructueuses. Une forme de compréhension des choses obtenue par ce hasard lui-même.Olivier Ker Ourio et Quentin Dujardin se rencontrent ainsi en 2016 lors d'un studio en compagnie de Richard Bona, Manu Katché et Ivan Paduart. Depuis cet heureux croisement, le temps a fait son œuvre autour de leurs approches musicales respectives : jazz pour l'harmoniciste, crossover pour le guitariste. C'est avec la reprise étonnante du fameux standard de jazz de Charles Mingus, Goodbye Pork Pie Hat qu'ils ouvrent ce disque en grande pompe. Olivier Ker Ourio n'est jamais loin de son pays natal, La Réunion et de ses réminiscences rocailleuses dans le blues qu'elle porte ; Quentin Dujardin quant à lui, nous transporte avec fraîcheur sur ce groove quasi malien survolé de guitares slides. À leur grand étonnement, une seule journée de studio s'avèrera nécessaire pour graver l'intensité de ce moment posé entre douceur (Eva) et tempo lent (Serendipity). Le travail d'orfèvre de Rémi Bourcereau, ingénieur du son révèle à merveille cette diversité du dialogue qui oscille entre flamenco (Song for Paco), classique (Ave Maria) ou encore blues (Blues for M&N). Par ailleurs, leur imaginaire commun autour des îles n'est jamais loin, il suffit pour s'en convaincre d'écouter Madagascar. Notons aussi ce clin d'œil à Toots Thielemans dans cette nouvelle version du titre En t'attendant que le guitariste avait enregistré à ses côtés en 2010 pour son album intitulé Impressionniste. Olivier Ker Ourio nous en livre une version très personnelle et magnifiquement inspirée. Pour conclure cette envolée, David Linx est l'invité de choix pour un moment suspendu autour de la chanson Shy Away.À propos de Olivier Ker Ourio Salué par les critiques comme un des dignes successeurs de Toots Thielemans, Olivier Ker Ourio est non seulement un soliste très demandé (Alexandre Desplat, Sylvain Luc, Marcel Azzola, Michel Legrand, Didier Lockwood, Danyel Waro...), mais également un brillant compositeur et leader inspiré. Dans ses 11 albums enregistrés à ce jour, ses compositions dévoilent un monde poétique habité de mélodies lyriques, d'harmonies inventives et de rythmes inhabituels. Le monde d' OKO a le souffle de l'âme.À propos de Quentin DujardinCompositeur, guitariste & producteur, Quentin Dujardin crée un univers unique autour de ses guitares nylons. Sa ligne de conduite reste attachée de façon immuable au son et à l'émotion. Le guitariste a notamment collaboré internationalement live ou studio avec Toots Thielemans, Lee Townsend, Manu Katché, Bijan Chemirani, Nicolas Fiszman, Mahsa Vahdat, Richard Bona, Bert Joris, Doron David Sherwin, Didier Laloy et beaucoup d'autres. Il est également ambassadeur pour la Fondation Yehudi Menuhin.Titres interprétés au grand studio : Madagascar Live RFI voirShy Away (Feat. David Linx), extrait de l'albumBlues for M&N, Live RFILine Up : Olivier Ker Ourio, harmonica, Quentin Dujardin, guitareSon : Benoît Letirant & Mathias Taylor (+mixage)► Album Serendipity (Agua Music/ Dist. Inouïe 2024)Voir le clip Song For PacoVoir le clip En T'attendantPuis nous recevons la griotte Dafra Keita et le man machine Praktika pour la sortie de l'album Balani Factory. Le backpacker DJ et producteur français Jérôme Fouqueray aka Praktika a repris la route de l'Afrique de l'Ouest pour son 2e album « Balani Factory », disponible aujourd'hui sur le label Blanc Manioc. Comme fil rouge de ce nouvel album, l'artiste a choisi un instrument qui a traversé les siècles : le balafon. Après des recherches autour de cet instrument ancestral, Praktika a entrepris l'écriture de ce 2e album en s'entourant d'icône de la scène afro électronique comme le grand balafoniste malien Lansiné Kouyaté, et Sly A 10, ancien batteur de Tiken Jah Fakoly et grand percussionniste de Côte d'Ivoire.Au cours de ses recherches, Praktika découvre l'existence de Zélé de Papara, chanteuse ivoirienne des années 90 méconnue du grand public, dont la voix et l'histoire singulière éveillent sa curiosité. Il propose alors à la chanteuse Jahelle ainsi qu'à la rare griotte burkinabé Dafra Keita de poser chacune leur voix sur le morceau en hommage à la chanteuse Zélé de Papara, la cantatrice sénoufo.Titres interprétés au grand studio : Dafra (Feat. Dafra Keita) Live RFIBalany Factory, extrait de l'albumZélé (Feat. Jahelle) Live RFILine Up : Dafra Keita, chanteuse, balafon et chant, Praktika, machinesSon : Jérémie Besset, Mathias Taylor (+mixage)► Album Balani Factory (Blanc Manioc 2024) - Voir le clip Dr BalafonConcerts 27 avril au 4 mai 2024 – Djéguélé Festival (festival du balafon), Bondoukou le 27 avril et Boundiali le 3 mai (Côte d'Ivoire).
Deux duos se succèdent dans la #SessionLive avec l'harmoniciste breton de La Réunion Olivier Ker Ourio et le guitariste belge Quentin Dujardin. Puis, le Dj producteur français Praktika avec la griotte burkinabé Dafra Keïta. Nos 1ers invités Quentin Dujardin & Olivier Ker Ourio pour la sortie de l'album Serendipity.Le mot « Sérendipité » est entré dans la langue française très récemment. Sa définition au sens large est le don de faire par hasard des découvertes fructueuses. Une forme de compréhension des choses obtenue par ce hasard lui-même.Olivier Ker Ourio et Quentin Dujardin se rencontrent ainsi en 2016 lors d'un studio en compagnie de Richard Bona, Manu Katché et Ivan Paduart. Depuis cet heureux croisement, le temps a fait son œuvre autour de leurs approches musicales respectives : jazz pour l'harmoniciste, crossover pour le guitariste. C'est avec la reprise étonnante du fameux standard de jazz de Charles Mingus, Goodbye Pork Pie Hat qu'ils ouvrent ce disque en grande pompe. Olivier Ker Ourio n'est jamais loin de son pays natal, La Réunion et de ses réminiscences rocailleuses dans le blues qu'elle porte ; Quentin Dujardin quant à lui, nous transporte avec fraîcheur sur ce groove quasi malien survolé de guitares slides. À leur grand étonnement, une seule journée de studio s'avèrera nécessaire pour graver l'intensité de ce moment posé entre douceur (Eva) et tempo lent (Serendipity). Le travail d'orfèvre de Rémi Bourcereau, ingénieur du son révèle à merveille cette diversité du dialogue qui oscille entre flamenco (Song for Paco), classique (Ave Maria) ou encore blues (Blues for M&N). Par ailleurs, leur imaginaire commun autour des îles n'est jamais loin, il suffit pour s'en convaincre d'écouter Madagascar. Notons aussi ce clin d'œil à Toots Thielemans dans cette nouvelle version du titre En t'attendant que le guitariste avait enregistré à ses côtés en 2010 pour son album intitulé Impressionniste. Olivier Ker Ourio nous en livre une version très personnelle et magnifiquement inspirée. Pour conclure cette envolée, David Linx est l'invité de choix pour un moment suspendu autour de la chanson Shy Away.À propos de Olivier Ker Ourio Salué par les critiques comme un des dignes successeurs de Toots Thielemans, Olivier Ker Ourio est non seulement un soliste très demandé (Alexandre Desplat, Sylvain Luc, Marcel Azzola, Michel Legrand, Didier Lockwood, Danyel Waro...), mais également un brillant compositeur et leader inspiré. Dans ses 11 albums enregistrés à ce jour, ses compositions dévoilent un monde poétique habité de mélodies lyriques, d'harmonies inventives et de rythmes inhabituels. Le monde d' OKO a le souffle de l'âme.À propos de Quentin DujardinCompositeur, guitariste & producteur, Quentin Dujardin crée un univers unique autour de ses guitares nylons. Sa ligne de conduite reste attachée de façon immuable au son et à l'émotion. Le guitariste a notamment collaboré internationalement live ou studio avec Toots Thielemans, Lee Townsend, Manu Katché, Bijan Chemirani, Nicolas Fiszman, Mahsa Vahdat, Richard Bona, Bert Joris, Doron David Sherwin, Didier Laloy et beaucoup d'autres. Il est également ambassadeur pour la Fondation Yehudi Menuhin.Titres interprétés au grand studio : Madagascar Live RFI voirShy Away (Feat. David Linx), extrait de l'albumBlues for M&N, Live RFILine Up : Olivier Ker Ourio, harmonica, Quentin Dujardin, guitareSon : Benoît Letirant & Mathias Taylor (+mixage)► Album Serendipity (Agua Music/ Dist. Inouïe 2024)Voir le clip Song For PacoVoir le clip En T'attendantPuis nous recevons la griotte Dafra Keita et le man machine Praktika pour la sortie de l'album Balani Factory. Le backpacker DJ et producteur français Jérôme Fouqueray aka Praktika a repris la route de l'Afrique de l'Ouest pour son 2e album « Balani Factory », disponible aujourd'hui sur le label Blanc Manioc. Comme fil rouge de ce nouvel album, l'artiste a choisi un instrument qui a traversé les siècles : le balafon. Après des recherches autour de cet instrument ancestral, Praktika a entrepris l'écriture de ce 2e album en s'entourant d'icône de la scène afro électronique comme le grand balafoniste malien Lansiné Kouyaté, et Sly A 10, ancien batteur de Tiken Jah Fakoly et grand percussionniste de Côte d'Ivoire.Au cours de ses recherches, Praktika découvre l'existence de Zélé de Papara, chanteuse ivoirienne des années 90 méconnue du grand public, dont la voix et l'histoire singulière éveillent sa curiosité. Il propose alors à la chanteuse Jahelle ainsi qu'à la rare griotte burkinabé Dafra Keita de poser chacune leur voix sur le morceau en hommage à la chanteuse Zélé de Papara, la cantatrice sénoufo.Titres interprétés au grand studio : Dafra (Feat. Dafra Keita) Live RFIBalany Factory, extrait de l'albumZélé (Feat. Jahelle) Live RFILine Up : Dafra Keita, chanteuse, balafon et chant, Praktika, machinesSon : Jérémie Besset, Mathias Taylor (+mixage)► Album Balani Factory (Blanc Manioc 2024) - Voir le clip Dr BalafonConcerts 27 avril au 4 mai 2024 – Djéguélé Festival (festival du balafon), Bondoukou le 27 avril et Boundiali le 3 mai (Côte d'Ivoire).
Phil Morrison – Summer Rain – Instrumental – 6:31 Cynthia Thijs Coenraad – I Go From Here – 3:29 Albare – One Note Samba – 3:46 Manu Katché – Number One – 6:10 Incognito; Maysa; Funkatomic; Francis Hylton – All For You – Funkatomic & Francis Hylton mix – 7:29 George Duke – Reach Out […]
Sting setzte in den 90er Jahren fort, was er als Solo-Künstler begonnen hatte: er schuf melodische, seelenvolle Lieder. Stilistisch einengen ließ er sich aber nicht. Nur konsequent erscheint da sein Ausflug in die Barockmusik, gemeinsam mit einem Lautisten nahm er Lieder von John Dowland auf und performte auch eigene Songs in diesem Stil. Für viele Fans kam das unerwartet, genau wie das folgende Album mit historischen Winter- und Weihnachtsliedern. Stets suchte er nach neuen künstlerischen Mitteln und liebte den Austausch mit ausgewählten Mitmusikern wie Dominic Miller oder Manu Katché. Sting probierte auf „Symphonicities“ aus, wie alte Police- und neuere eigene Lieder mit einem Orchester klingen. Das Musical „The Last Ship“ erzählte von seiner Kindheit und seinen Erinnerungen an das Leben in einer Hafen- und Werftstadt. Auch wenn es nicht dauerhaft am Broadway lief, zeigte es, welche auch literarischen Ideen Sting mit Musik zu verbinden in der Lage war. Ein Reggae-Album mit dem jamaikanischen Superstar Shaggy zeigte erneut seine Spielfreude und den Spaß am musikalischen Austausch. Aber auch weitere Alben mit Rockmusik veröffentlichte Sting, das jüngste 2021, gefolgt von zahlreichen umjubelten Konzerten rund um die Welt. Der Applaus, aber auch viele Ehrungen wie der Polar Music Prize künden von Weltruf und der überaus großen Wertschätzung für den Musiker Sting. Die Folgen "The Police" und "Sting (I)" findet Ihr u. a. in der ARD Audiothek. Peter Playlist für Sting (II): Ten Summoner‘s Tales (1993): If I ever lose my faith in you, Love is stronger than justice (The Magnificant Seven), Fields of gold, Seven days, It's probalbly me, Shape of my heart Mercury Falling (1996): The hounds of winter, I hung my heart, Let your soul be your pilot, I was brought to my senses, I'm so happy I can't stop crying Brand New Day (1999): A thousand years, Desert rose, Brand new day All This Time (2001): Live-Album Sacred Love (2003): Whenever I say your name (feat. Mary J. Blige) Songs From The Labrinth (2006): Can she excuse my wrongs If On A Winter's Night… (2009): Soul cake, The snow melts the soonest, Lo, how a rose e'er blooming The Last Ship (2013): The last ship 57th & 9th (2016): 50.000, Pretty young soldier. The empty chair 44/876 (mit Shaggy, 2018): Morning is coming Duets (2021): Little something (mit Melody Gardot), It's probably me (mit Eric Clapton), My funny valentine (mit Herbie Hancock) The Bridge (2021): Rushing water, The Book of Numbers
Il parcourt le monde depuis le début des années 2000 en accompagnant de nombreux artistes. On a vu Kevin Reveyrand aux côtés de jazzmen comme Manu Katché, Michel Portal ou Larry Carlton, mais aussi de chanteurs comme Patricia Kaas ou Bernard Lavilliers. En parallèle à ce travail d'accompagnateur, il s'est lancé dans une carrière solo, il y a une douzaine d'années et vient de sortir un quatrième album de compositions personnelles intitulé Yolo. Kevin Reveyrand sera en concert à Paris au Studio de l'Ermitage le 6 mars prochain.
Il parcourt le monde depuis le début des années 2000 en accompagnant de nombreux artistes. On a vu Kevin Reveyrand aux côtés de jazzmen comme Manu Katché, Michel Portal ou Larry Carlton, mais aussi de chanteurs comme Patricia Kaas ou Bernard Lavilliers. En parallèle à ce travail d'accompagnateur, il s'est lancé dans une carrière solo, il y a une douzaine d'années et vient de sortir un quatrième album de compositions personnelles intitulé Yolo. Kevin Reveyrand sera en concert à Paris au Studio de l'Ermitage le 6 mars prochain.
Esta semana, Rebelión Sónica se hace cargo del que es, sin duda, uno de los discos más importantes de la temporada: “I/O” del fundamental cantante y compositor británico, Peter Gabriel. Editado el 01 de diciembre por el sello Real World, se trata el décimo y álbum de estudio de Gabriel y es el primero de canciones originales que lanza en más de dos décadas, pues es el sucesor de “Up” de 2002. El trabajo, de doce pistas que en su proceso total se demoró casi 28 años desde que surgieron sus primeras ideas, se grabó principalmente en Real World Studios y en el estudio casero del cantante. El guitarrista David Rhodes, el bajista Tony Levin y el baterista Manu Katché, están presentes como banda de base en todo momento y varias canciones llevan las huellas de Brian Eno, su socio creativo desde hace mucho tiempo. También hay contribuciones notables del productor Richard Russell, el pianista Tom Cawley, los trompetistas Josh Shpak y Paolo Fresu, la violonchelista Linnea Olsson y el teclista Don E, entre otros. Los temas de “I/O” se fueron dando a conocer durante el año en cada luna llena y cuentan con dos diferentes mezclas: Bright-Side Mix, a cargo de Mark 'Spike' Stent, y Dark-Side Mix, modelada por Tchad Blake.
EPISODIO 186.Temporada 5-15.EPISODIO PATROCINADO POR:CBM Clases de batería Madrid. https://clasesdebateriamadrid.com/ .Superdrummer Academy.www.simonefolcarelli.com .COMUNIDAD DEL CBM de Iñigo Iribarne:http://Clasesbateriaonline.com .Email diario de Iñigo Iribarne.https://inigobatera.activehosted.com/f/17 .EL MÉSTODO. https://t.me/unmetodoalmes/ .Disco recomendado por Simone.Arctic Monkeys - Whatever people say I am, That's what I'm not: https://www.youtube.com/watch?v=Zw4WjFKZfI0&list=PLyWB0TxTMmTlY5w2W-SZ7UHnS3ksTZlkn .LIBRO RECOMENDADO por Iñigo.Synco de Zach Miller: https://syncobook.com/ .TOP TRI.Simone:Josivaldo Santos: https://www.tiktok.com/@josivaldosantosjs .Zach Jones: https://www.youtube.com/watch?v=4OhvzVEgLB0&t=45s .Mike Malone: https://www.youtube.com/watch?v=DHwxVISqPH8&t=588s .Iñigo:Sergio González: https://www.instagram.com/sergiogonzalezbateria/ .Dylan Dekker: https://www.instagram.com/dylanldekker/ .Manu Katché: https://www.instagram.com/manukatche/ .Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .ABEL:https://www.instagram.com/kustomdk/ .SIMONE:https://www.simonefolcarelli.com .http://clasesdebateriaonline.com .IÑIGO:http://inigoiribarne.com .https://Clasesdebateriamadrid.com .https://www.twitch.tv/inigobatera .https://www.ellibrodelascorcheas.com .http://Clasesbateriaonline.com .http://insidethegrooveof.com/ .BUY US A COFFEEPaypal: https://www.paypal.me/inigoiribarne .Bizum: 606424669 .
jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.And make sure to listen to the VERY END!Transcript:[0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.[0:12] Power 25th Anniversary box set, a song called Bumblebee.I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.The first thing we did inside the car was fire up Bumblebee.It was so odd to hear something so familiar but so new to my ears.I hadn't heard this melody or these bending guitar licks before and I wanted more.[0:53] Lucky for us there are several other tracks included on this box set.Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.In essence, this is an exciting time to be a hip fan.Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.And I'm sure you have too.[1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.So sit back, relax, and let's start getting hip to the hip.Track 4:[2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.This is an out-of-sequence bonus, episode for everyone.We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?Well, Dan got his ears lowered, looks like Dan got his ears lowered.Yeah, I lost some hair over the course of the last thing, yeah.He was shorn. Maybe it was his younger brother stepping in. Yeah.[3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.You guys both really loved that song.Something On was a little underwhelming for you.You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.So we thought it would be cool to get the band back together and talk about that for a little bit.And we'll be joined by a very special guest who we won't reveal quite yet.Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?[4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.And like and now I look at, like, some of the songs that I was.[4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.So many, so many days. She also listens to it as well, right?Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.[5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?They came out with Poets when they played the live event.That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.Verse phrasing is key to the song. Lines go to the next measure.Layers and guitars. Nice. Now I'm just like, I hear that song.And I just fucking stop what I'm doing. And I just like, I fucking love that song.It's crazy how this album grew on me like a fucking virus. It's amazing.Timmy? Great. Yeah. Great, great question, JD, for sure.I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.There's still some really good ones in there.[6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?Oof. So yeah, that got me thinking a little bit.Tim, why do you always have to embroil things in controversy?I mean, that just is a controversial question.I mean, probably because of aliens, I guess. Oh, stop it.[7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.Something about the bass drum and the bass just driving it and the timing is just fantastic.Obviously, yeah, Bob Cajun.That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.[8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.You know, again, it's a whole other different story and different sentiment that it carries.And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.And I can't say much more than that.Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.But I tend to live with you, Dan.I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.[8:58] Maybe not sociopaths. I don't know. Maybe not.I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.So there's a time in all the albums where some of this stuff happens.[9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?And if you haven't, that's cool.All of it. All of it? Yeah. Yeah.I'm just happy to have more live music from these guys.For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.So as far as the new songs go? Yeah, back to your question.Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.[10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.It's my least favorite, but I still really like it.Yeah, like Songwriters Cabal isn't my favorite, but I love that song.Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.It's just this somber kind of tearjerker.Yeah, that was that was a happy listen. Joy meant either you fellas dabble.[11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.It's just cool to hear this band live, but I loved it. Um, of the new tunes.I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.So we got to it on the way to Kingston. That was fun. That's right.But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.Early feels to it. Yeah, you know, has the road apples feel to it or something.Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.[12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.I mean, I still love Bumblebee.[13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.Something very similar happens towards the end of that, doesn't it?But in terms of the live stuff, there's a few little things going on in there.I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.So there's these kind of little parallels between some of the stuff that's been chosen, I think.Yeah, so maybe that's the reasons for some of those selections.Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.Yeah. Yeah, there's definitely some some thread woven throughout.Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.We'll go to a song and then we'll come in with our special guest Johnny fucking thing.Track 6:[17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.[18:18] How you doing technically there, Danny? Good. Can you hear me?I can hear you. I can see you.Perfect. So then are you done? Are you done taking the McDonald's in London?London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?And my dad would just shoot back, he'd go, there's only one, London.Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.[18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.Yeah. What's the deal with that? What's the deal?I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.All right. Well, let's get things on the road here.Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.And then Dan is from London.And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.[19:54] Inculcated them into the world of Tragically Hip.We ended up with a big party at the end downtown at the Rec Room.We raised like almost four grand for Donnie Wenjack.Oh that's amazing. Incredible.Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.[20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.But it's crazy how we did get it literally shoved down our throats.And now we were going back today talking about Band and Power, about what our first reactions were for it.And even compared to now, how much everything's just grown on us.It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.And youngest member of The Tragically Hap. That's right, that's right. It's a dig.[21:27] It's Gord Sinclair's birthday today, right? It is indeed.Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.And, you know, we're 40 years young next year.I was in high school when we started, and I guess here we are.Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?I've, I know Stuart Copeland came up at one point. Oh, without a doubt.Yeah. I've heard a story about an exam or something like that, that you missed.That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.[22:29] My math exam for Mrs.Griffordy and Lynn got this record and I listened to it.I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.I remember making the decision. I was like, I can listen to this record, I can study for the exam.If I don't study for the exam, I'm going to summer school, which I did.And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.Um, just the hit one snare drum, there was Stuart Copeland.So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.[23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.But he invented a way to play and invented a kit, which was a sound, you know.And he really, I can't say enough things about Stuart Copeland.Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.That's a pretty good pedigree.Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.High praise. Dan?Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?Well, it's really funny because what's on my turntable right now is Heavy Weather by.[25:12] Weather Report and I'm listening to Jaco Pastorius.I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.So I'm listening to a lot of bass players these days and loving it.So that's what's going on.[25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.And if you didn't know it, then I think we brought it up with Paul.But do you know that that record had 33 different covers?[25:53] I did, yes I did. I didn't know that I thought it had.I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.And that song Mother is just nuts. And isn't Stewart Copeland singing that song?No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.In those days there was no internet so it was cool. The engineers usually got to be able to do that.Here's a record I'm working on, just happens to be with the police.And he asked Hugh Padgham if he could leave that song off.A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.[27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.I have a 21 year old who plays drums.Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.And I lived through, you know, a drum set in the basement.Just anywhere you went in my house, you had to go outside or take a call.It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?[28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.And after a year, if you're still playing, we'll go get the rest of the drum kit.And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.And it was a really weird, weird accident.I still, when I'm explaining it to people, my dad was on the phone.He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.[29:33] I could hear my dad walk down the hall after he had his morning rounds.I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.At about seven years old into a different gear for me. I started hearing rhythm everywhere.As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.Yeah. So it's the same. Drummers are that way. You just pick those things up.And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.But I have two drummers in the house, two nine-year-old boys.[30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.You just see it like that. That's very cool.Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.Yeah. His left hand pushed his right hand, I think.Phil Collins, Ian Pace, they're not good drummers.They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?How is he doing that? He was incredible.He really was. He is incredible.[31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.I'm just, I'm so curious what a project like that.[32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.Like, when does that begin? And what does that process even look like?Like, is it just climbing Everest or what?It's really fun. It's really great therapy for us.You know, we get to talk about the past and if one guy doesn't remember it, someone else will.We have weekly calls and it's fun.We didn't do any therapy after Gord passed away and we really should have.We have just all kind of dealt with things and I think really right now that this is our therapy.I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.It was on D88, little digital tapes.[33:11] DAT machines were around and kicking at that time.We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.[34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.So yeah, it's been a lot of fun.Robbie is in charge of the box set, putting it all together.So he's doing all of that stuff.And you know, Gord and Paul are very involved in it. But they have solo careers too.So, um, you know, uh, but we are, we're all together on this.Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?[35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.So they were in pretty good shape you know the tape that we got was really forgiving.The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.And the early 60s tape actually lasted better than the stuff they made in the 80s.They had to do very little to get them back into shape, which is cool.You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.[40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.It was, you know, but, you know, talk about Bob Cajun being an example.We only really have two versions of that.[41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.And so the version you hear is the demo version, really.It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.And that's what bands try and do.And he was so smart with it. And he said, I'll let you play it again.But you're not going to beat this. It's just there's a vibe there.And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.And so I always loved that, that he did that because as a producer, I wouldn't have done that.And I would have screwed it up if I was producing that record.And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.It's our biggest song, too. Well, we were talking before, I absolutely love that song.That song is the soundtrack of this past summer for my wife and I.You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.Let me tell you. She sure did.I've tried. We're getting there.[42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.It's just that the pocket's so tight with that.But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.But we cut a record in this last March, our band, we did our second record.And the engineer was using Cubase, which is just another version of Pro Tools or whatever.You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.He's like, nope, that's it.Yeah, because you get to a point to where you could just you just go crazy.And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.And it's just it's stupid at that point.You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.And and I don't know, I guess.[44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.We felt like I felt like In Between Evolution was the Johnny Faye record.[44:17] Really? Yeah, and there's... I don't remember that record, really.Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.That was confusing record.Well, it's interesting about the tape to dress the tape thing.Yeah. And you have limitations. You got to make decisions.Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.[45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.And we seemed to move around studios a lot.For me that was a little bit confusing, so I never knew what we really had in the can.And it was in Seattle, where I love. I absolutely love Seattle.And so that was cool to be there. But yeah, I don't sort of...It's just a record that's easy to associate with you.And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.You were so in the friggin zone playing live.You broke a cymbal and somebody just came like middle of the song.You just kept going along, replace cymbal.That would be Mike Cormier. He was my drum check and he was amazing.He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.[46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.And a question was asked earlier about is there some songs that were left off?And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.Our producer and his manager and some people at the record company really thought that that was the lead track.[47:15] It ended up being Blow It High Dough, I believe.Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.So when we looked through the tapes and thought, oh, what do we need to remix?There was that one, you know, the lettering. It was like, okay, we got that one.So that'll be great to get out.You know, hear what people think about that. So one of our go ahead, Judy.So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.And now all of a sudden, they're they're shooting over my head.And it's, it's really fucking tremendous. It's a great way to experience music.But I just wonder what it's like.Do you have a mixer that just takes care of that?Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.So I'm just curious if one is just for Dolby Atmos, sir.Yeah, well, we had a guy in the first couple, I think he did Road Apples.[48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.He's like the Rush in-house guy for Atmos.Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.[49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.[49:29] On an album like Road Apples, which Rich did, and he did a great job.I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.I don't mind that either. I love it. I love that. Yeah.Dan? I'm with you, Joni.[50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?I mean, out of the three that have been, you know, re-released.[50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.We just kind of really, we really do.We did a live record called Live Between, it was way back in the day, and we argued about this.We had really sort of a good old fashioned fight about it.And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.It was a great night.And it's where REM, I think, got their start.And so we were sort of between that and another couple.[51:12] And then we ended up picking Detroit because it sounded good.Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.He knows the hip really well. And so he really kind of directs us.So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.This, this one's got something there. And so Colin Sinclair is really in charge of that.I don't think any other guy in the hip can take credit for it.[51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?[52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.Not a ton. There's not a ton. Two scoops in this session. That's great.That are coming out?[53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.[53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.He knew, he kept on coming into the studio, back in the control room.He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.[54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.[54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.Oh, yeah. That's that's, that's, that's amazing.Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.[55:26] Don Smith's mix on the box set is really interesting.Because for Phantom Power, where we mixed it three different times.Yeah, I mean, Neil, I got to meet him a couple of times.He was obviously a huge influence and I would say, yeah, yeah.I went trick or treating as him one year. I crank called him.[55:50] Oh my gosh, amazing. Love Rush, man, love Rush.J.D. be mindful of the of the clock too on the thing. You're on mute.Yeah, we can't hear you, J.D.Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.So, Tim, if you've got a quick one and then we'll bid adieu.Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?You know, this it could fit in there so well. So just a quick comment on that.And yeah, yeah, that was one that was that was on on the list.And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.And it just for us, there was just something maybe missing. It's really great.[56:46] And I love the line when the moon's a water balloon.It just is so great. That's so Gord. You know, yeah.And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.Well, it made the box set. So that's, yeah, that's important.Yeah. Well, Johnny, we really want to thank you so much for your time.It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.Keep ramming, keep ramming it.Hopefully not your family. They love it too. It happens.Track 1:[57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.Find us on Twitter and Instagram at gettinghippod.And join our Facebook group at facebook.com slash groups slash fully and completely.Questions or concerns? Email us at JD at getting hip to the hip.com.We'd love to hear from you.Track 6:[58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.Oh yes. Yeah. In violet light. The demos were just incredible.Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
EPISODIO 179.Temporada 5-8.EPISODIO PATROCINADO POR:CBM Clases de batería Madrid. https://clasesdebateriamadrid.com/ .Superdrummer Academy.www.simonefolcarelli.com .COMUNIDAD DEL CBM de Iñigo Iribarne:http://Clasesbateriaonline.com .Email diario de Iñigo Iribarne.https://inigobatera.activehosted.com/f/17 .EL MESTODO. https://t.me/unmetodoalmes/ .Disco recomendado por Iñigo.Secret World de Peter Gabriel: https://open.spotify.com/intl-es/album/1lAXAgqbliTM1Cts74kdll?si=o7RN0ty3SM2HqqKw_who-g .LIBRO RECOMENDADO por Simone .Ritratti di Jazz - Murakami Wanda Ritratti in jazz (Super ET) : https://amzn.to/3QqGUDN .TOP TRI.Simone:Ricky Lewis: https://www.instagram.com/ricky_lewis/ .Nate Mueller:https://www.instagram.com/natemuellerdrums ..Eshan Lakhani: https://www.instagram.com/lakhanieshan .Iñigo:Omar Hakim: https://www.instagram.com/ohthegroovesmith/ .Manu Katché: https://www.instagram.com/manukatche/ .Jerry Marotta: https://www.instagram.com/jerrymarottadrums/ .Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .ABEL:https://www.instagram.com/kustomdk/ .SIMONE:https://www.simonefolcarelli.com .http://clasesdebateriaonline.com .IÑIGO:http://inigoiribarne.com .https://Clasesdebateriamadrid.com .https://www.twitch.tv/inigobatera .https://www.ellibrodelascorcheas.com .http://Clasesbateriaonline.com .http://insidethegrooveof.com/ .BUY US A COFFEEPaypal: https://www.paypal.me/inigoiribarne .Bizum: 606424669 .
Michael Jackson's “Thriller” – one of the biggest hit albums of all time - also marks a quantum change in how rock music was marketed and sold. Brought up as part of The Jackson 5, Michael saw himself as an entertainer crossing musical genres and categories. He almost single-handedly made music videos into a serious art form.In those days, with typical video budgets around $50k, the video for “Thriller” had a budget of $1m and a top Hollywood director in John Landis. Total recording budget for the entire album was $750k! Our “Album you must hear Before you Die” is “So”, Peter Gabriel's 1986 blockbuster, produced by Daniel Lanois, an Eno disciple who'd just produced U2's “The Unforgettable Fire”. The hit single from this album, “Sledgehammer” also had a dynamite film clip featuring state-of-the art stop-motion photography. In Jeff's Rant, he is surprisingly gentle to Justin Bieber. Who'd have thought it possible? There's lots in this episode to enjoy. We hope you do! References: Justin Bieber, Ricky Gervais, Peter Gabriel, Daniel Lanois, So, world music, Manu Katché, Youssou N'Dour, Sledgehammer, Redeye Records, Don't Give Up, Kate Bush, Big Time, Tony Levin, In Your Eyes, Red Rain, Jerry Marotta, Number Ones, Tom Breihan, Billie Jean, I want you Back, The Wiz, Off The Wall, Quincy Jones, Beat It, biggest-selling album of all time, Singing in the Rain, John Landis, An American Werewolf in London, Moonwalk, Vincent Price, Welcome to my Nightmare, The Black Widow, Steve Lukather, Toto, Eddie Van Halen, Bad, Madonna, Bruce Springsteen, Phil Collins, George Michael, Weird Al YankovichEpisode PlaylistEat ItFatSmells Like Nirvana
With more than a decade of Level 42 success to his credit, Mike Lindup released “Changes”, his debut solo album in 1990 and it was immediately embraced by his fans. Fast forward 33 years and Mike has just released the follow-up, “Changes 2” - a 12 track collection of songs that explores a variety of musical territory, with lyrics that are provocative, insightful, and even humorous. The album also includes several guest musicians and vocalists, including his longtime friend Dominic Miller, Manu Katché, Ursula Rucker, Omar, Tony Momrelle, Alex Wilson, Jon Culshaw, and even his Level 42 bandmate, Mark King, among others. Here to discuss this wonderful new album is none other than Mike Lindup.
Yovo , 40 ans de carrière, pionnier du Reggae en France, bassiste de live et de studio, compositeur, producteur et réalisateur, il a collaboré avec la crème des artistes hexagonaux et internationaux et il a donné dans à peu près tous les styles musicaux : - Reggae, bien sûr, avec Tonton David, Princess Erika, Neg Marrons, Brahim, Alpha Blondy, Daddy Mory, Tiken Jah Fakoly, MC Janik, Natty Jean, Mad Professor, Mikaël Rose, Alborosie, Tyrone Downie, Godwin Lodgie producteur d'Aswad & Steel Pulse, et bien d'autres. - Variété Française avec Sapho, Stephan Eicher, Alain Bashung, Elli Medeiros, etc. - Sono Mondiale avec Rachid Taha, Khaled, Papa Wemba, Amadou & Mariam, Geoffrey Oryema, Tony Allen. - Le rap bien évidemment avec Secteur Ä, Passi, Stomy Bugsy, Doc Gynéco, Kerry James, La Fouine, Sniper, Akhenaton, Saän Supa Crew, Gims, Youssoupha. - Sans oublier le rock avec The Woodentops, Garland Jeffreys, Olive ex- Lili Drop. Au travers de toutes ces collaborations des tubes vont marquer le paysage musical français, comme « Osez Joséphine » d'Alain Bashung, « Sûr et Certain » de Tonton David et bien sûr « Chacun sa route » de K.O.D. (Manu Katché, Tonton David, Geoffrey Oryema) B.O. du film « Un Indien dans la ville » qui obtiendra une Victoire de la Musique en 1996.
In this episode, we talk about one of our absolute favorite bands, Tears For Fears, and more specifically, their career-changing feminist anthem, "Woman in Chains," which introduced the world (but not Todd's dad!) to the stunning Oleta Adams. It also featured the drumming talents of both Manu Katché--already famous for playing with Peter Gabriel--and the inimitable Phil Collins. Oh yeah. . .and it totally featured a Fairlight synthesizer, too, because of COURSE it would, and if you're a regular listener of this podcast, you're already well aware of it. Our movie this time is the clever, thorny, and ultimately problematic 1988 dark comedy "Heathers," starring Winona Ryder and Christian Slater, which could only have been made in the era before suicides and school shootings were all-too-common occurrences in this country. You've been warned; both subjects are prominent story arcs in the movie. Want to hear us discuss a song, band, or movie from the 80's and beyond? Have a comment or a question? Email us at tapeheads80@gmail.com Follow our small but mighty Instagram page. RELATED LINKS: Our Tears For Fears Deep Dive playlist for this episode, on Spotify Tears For Fears, "Woman in Chains" official video on YouTube Tears For Fears, "The Seeds of Love" on Spotify Tears For Fears, "Saturnine, Martial, and Lunatic" on Spotify Heathers at IMDB Boxing Helena at IMDB
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Estrenamos 'Over the Moon', el álbum del pianista y compositor Dan Alan Levine en el que han tenido un gran protagonismo la saxofonista Jeanette Harris y la flautista Kim Scott. Repasamos recientes lanzamientos de la música Smooth Jazz de Les Sabler, Michael Broening, André Ward, Italian Groove Collective y D.S. Wilson. En el bloque central realizamos un breve repaso por la discografía del baterista Manu Katché.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170
En Música de Contrabando revista diaria de música en Onda Regional de Murcia (orm.es; 23,00h a 01,00h) Siete años después del adiós de David Bowie (1947-2016),, recordamos su figura con Juan J. VicedoJ, autor de "Siluetas y Sombras, David Bowie" (Sílex ediciones) que se ha metido en el alma del personaje. El 7 de enero falleció Salvador Blesa, guitarrista del conjunto valenciano Los Milos y uno de los pioneros del rock and roll en España. Era el último integrante vivo del famoso trío, también compuesto por Vicente Castelló y Emilio Baldoví (Bruno Lomas).El de Everything But the Girl es uno de los grandes regresos que dejará 2023. El dúo formado por Tracey Thorn y Ben Watt publicará "Fuse", su primer disco en 24 años. El excantante de Genesis, Peter Gabriel, ha vuelto por la puerta grande con el lanzamiento de su primer single en siete años “Panopticom”. El single cuenta con la participación Brian Eno, el bajista Tony Levin, el baterista Manu Katché y el guitarrista David Rhodes y es el primer adelanto de su próximo álbum solista llamado “i/o”.Philip Selway anuncia en Spin que Radiohead «se reunirán de nuevo» a principios de este año. La banda de animación Gorillaz tomó Times Square en Nueva York y Piccadilly Circus en Londres para dos espectáculos de realidad aumentada (RA) en celebración de su nuevo single "Skinny Ape". Ebrovisión ha compartido esta semana las primeras confirmaciones del cartel de su edición 2023 (León Benavente). Microsonidos 2023 comezará el próximo 3 de febrero con el concierto de Wakame en la sala La Yesería, para continuar después hasta el 10 de marzo (The Speedways). Jacobo Serra se vuelve a poner su traje de crooner al más puro estilo Sinatra con unos arreglos que recordarán a los mejores álbumes orquestados por Nelson Riddle.Sara Zamora publicará el 20 de enero el single "The Farewell", última entrega del álbum "Time". En un mashup de Aguacero junto a la canción homónima de los invitados El Caribefunk podemos encontrar la plena esencia del proyecto Muerdo. Kokoshca reclutaron a Erik Urano, compañero de sello discográfico y una voz autorizada en lo que a distopías se refiere. El artista vallisoletano, autor de, entre otros, “Neovalladolor”, aporta en “Futuro” una nota de color, profundidad y discurso. Es la colisión entre dos mundos aparentemente alejados, pero unidos por ese “gasolina y a quemar”. Mare Carrier musicMare Carrier presentará en directo 'Muchachada'. Una fiesta irrepetible para conocer y celebrar la contracultura murciana con invitados de excepción . Vuelve Murcia Inspira con la actuación de Yana BondarchukYana Zafiro.Editado ya en diciembre en físico por el sello inglés Fruits de Mer, el nuevo EP de Stay contiene el tema homónimo, una cover del tema original de la banda británica The Move de 1967, además de una nueva mezcla de ‘Get Going', tema extraído de su último álbum, Old Sounds Of Modern Music. La versión digital, además de estas dos piezas, incluirá también la canción inédita ‘Waiting To Fall'. The Lemon Twigs fichan por captured tracks y lo celebran cálidamente con la tierna perfección retro pop de "corner of my eye".
Michel Jonasz vient de dévoiler "Fais du blues, fais du rock n roll", premier extrait de "Chanter le blues", prochain album à paraître le 27 janvier. Le chanteur a choisi RTL pour évoquer, en avant-première, ce nouveau projet enregistré avec des cadors comme Manu Katché à la batterie, Jean-Yves d'Angelo ou le bassiste des Rolling Stones : Darryl Jones. Avec cet album, Michel Jonasz referme sa trilogie hommage aux musiques qui l'ont inspirées. L'occasion d'évoquer son adolescence, son caractère, la liberté, son rapport à la l'amour, sa discrétion, ou encore l'environnement. Michel Jonasz démarre sa nouvelle tournée le 28 janvier à Courbevoie, il chantera le 18 février à Toulouse, les 25 et 26 mars au Palais des Sports à Paris, le 30 mars à Lyon, les 12 et 13 avril à Lille,...
Peter Gabriel est de retour avec une nouvelle chanson intitulée "Panopticom", extrait du futur album qui se prononcerait ‘'I/0'', son premier album en 21 ans, avec Brian Eno (clavier), David Rhodes (guitare), Tony Levin (basse) et Manu Katché (batterie). En Belgique le mardi 6 juin au Sportpaleis d'Anvers. Nirvana, The Supremes et Nile Rodgers récompensés pour leur carrière aux Grammy Awards et certains awards seront attribués à titre posthume, ce sera le cas pour Kurt Cobain de Nirvana ou encore Mary Wilson des Supremes, Ozzy Osbourne est nommé dans 4 catégorie, la grande favorite Beyoncé totalise 9 nominations. Eurythmics fête les 40 ans de "Sweet Dreams (Are Made Of This)" et donc de son deuxième album studio, sorti le 4 janvier 1983, Annie Lennox a célébré l'événement sur les réseaux sociaux. Robert Plant de Led Zeppelin a tenu à remercier Phil Collins de Genesis de l'avoir aidé dans sa carrière solo, après le décès de John Bonham. C' est une collaboration cinq étoiles à laquelle nous aurons droit sur la bande-son du film ‘'80 for Brady'' : Cyndi Lauper, Dolly Parton, Debbie Harry de Blondie, Gloria Estefan et Belinda Carlisle unissent leurs forces pour chanter "Gonna Be You" histoire d'un groupe d'amies en route pour assister au match du Super Bowl 2017 entre les Falcons d'Atlanta et les Patriots de la Nouvelle-Angleterre où évoluait Tom Brady à l'époque. Nickelback est partout depuis que leur album ‘'Get Rollin'' est sorti et ils se sont prêtés à un jeu pour le magazine Elle, ils ont chanté du Beatles, Pearl Jam, d'AC/DC, Red Hot Chili Peppers ou du Guns N' Roses. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.
In this 17th episode of the ECM Podcast we got together with German-American pianist Benjamin Lackner, whose ECM debut “Last Decade” features Mathias Eick on trumpet, Jérôme Regard on bass and drummer Manu Katché. Benjamin talks about the recording of the album at Studios La Buissonne, about his past ten years and why they ended up as the album's title, about studying with his teachers Charlie Haden and Brad Mehldau as well as about what it's like to work with this specific group and the groove that they bring.
Veinte años sin publicar disco alguno. Y va a llegar uno nuevo de Peter Gabriel que están terminando de rematar según ha deslizado la confidencia Manu Katché. También hay retorno, en este caso diez años después, de Deus, que están deseosos de comprobar cómo suenan en directo esas piezas nuevas de lo que será el octavo trabajo. ...Y reunión asimismo (presentados por The Edge de U2) aunque fuera para el Rock and Roll Hall of Fame de Annie Lennox y Dave Stewart para interpretar tres temas de Eurythmics. Novedad de fuera es también un tema de Gorillaz inspirado en la princesa Thai y en un un bolo inolvidable de Blur de 1997. Sabor a cine hay en la banda sonora de The Inspection a cargo de Animal Collective y en la música creada por Hidrogenesse para La alarma de Nacho Vigalondo de la serie Historias para no dormir. En el tiempo de colaboraciones Los Marcianos echan mano de Apartamentos Acapulco para cantar a Granada y Sofia Comas hace lo propio con Soleá Morente y Juanma Padilla para acordarse de García Lorca. La catarata de novedades de aquí pasa también por el frenesí de Grushenka, el toque tropical de Pécker, unas chicas de barrio que son las hermanas Iniesta (Repion), la otra latitud de Maidon, Jorge Navarro, inspirado en los versos de Costafreda, Soul& en manos de Jaime Sexy Sadie o el mambo de Liss Da Silva. No nos olvidamos de Esplendor que se van de la mano del zombie de Erikson de 1980, el experimento en castellano de Sergio Salesa para Serch y hasta dónde están llegando los mares de Parade.
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Pour la première fois depuis 2014, Peter Gabriel confirme à nouveau une tournée hors des frontières nord-américaines avec son groupe : Tony Levin, David Rhodes et Manu Katché, vingt-deux concerts au programme, dont un sur le sol belge le mardi 6 juin au Sportpaleis d'Anvers. Ozzy Osbourne participera à un festival dans le metaverse qui se tiendra du 10 au 13 novembre dans le monde virtuel Decentraland, créé pour l'occasion, dont voici l'affiche complète du célèbre Ozzfest : Ozzy Osbourne, Megadeth, Black Label Society, Skid Row, The Raven Age et Britoff. Taipei Houston vient de partager la vidéo du nouveau titre ‘'Respecter'' extrait de ‘'Once Bit Never Bored'', premier album des fils de Lars Ulrich. Metallica a joué le concert hommage à Jon et Marsha Zazula qui ont édité les deux premiers albums du groupe, les fondateurs de Megaforce Records célèbre dans le milieu du hard rock pour avoir aidé les carrières d'Anthrax, Testament, Overkill, Raven, Ace Frehley, Ministry, King's X, Stormtroopers of Death et d'autres. Alanis Morissette a expliqué pourquoi elle a renoncé à sa prestation à la cérémonie d'intronisation du Rock and Roll Hall of Fame de cette année au Microsoft Theatre de Los Angeles le 5 novembre pour un duo avec Olivia Rodrigo "You're So Vain" de Carly Simon. Dans la lignée du duo inattendu entre Dolly Parton et Judas Priest au Rock and Roll Hall of Fame, évoquons celle de Steven Tyler, chanteur d'Aerosmith, avec Eminem pour le titre de 2002 ‘'Sing For The Moment'' qui contient un sample du hit d'Aerosmith ‘'Dream On'' et ensuite Ed Sheeran pour ‘'Stan''. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.
Drummer extraordinaire Manu Katché talks (producer) Daniel Lanois, his most recent album 'the scOpe', the new Peter Gabriel album & tour! Plus, Mitch admits he likes Manu's drum solos! (Recorded June 8th 2022) Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.
Viento del Este y niebla gris anuncian que viene lo que ha de venir. No me imagino qué irá a suceder, mas lo que ahora pase ya pasó otra vez. Jan Garbarek & Kim Kashkashian & Manu Katché, Richard M. Sherman & Robert B. Sherman, Sam Vitoulis, David Helpling featuring Miriam Stockley, Michael Whalen, Raúl Gonzalo, Osamu Kitajima, Klaus Schulze, Terminus Void, industrial-1, Ben Bertrand. El playlist detallado con enlaces a las audiciones íntegras de cada album: lostfrontier.org/episodios/2022/978
INSTANT JAZZ tous les jours à 12h40, 14h40, 16h40, 18h40. Une actu culturelle présentée par Julie Gabrielle Chaizemartin. Cette semaine, Instant Jazz reçoit Jean-Gaultier, Président de l'Association Jazz au Confluent qui promeut le jazz sous toutes ses formes dans le bassin de Conflans-Sainte-Honorine depuis 20 ans. Au coeur de cette action, le festival "Jazz en Ville" qui annonce le printemps et accueille cette année deux têtes d'affiche : la chanteuse Youn Sun Nah et le batteur Manu Katché, aux côtés de plein d'autres surprises. Autre singularité, des expositions de photographies et de peintures sur le thème du jazz viennent prolonger l'écoute des concerts. . Le festival a lieu du 11 au 20 mars à Conflans-Sainte-Honorine. Plus d'informations et réservations sur https://www.jazzauconfluent.fr/
Uutisissa syntymäpäiviä, kesän festareita, keikkoja ja tulevia levyjä. Kuunneltuina albumeina Stingin viimeisin levy The Bridge ja Saxonin uunituore Carpe Diem. Studiossa Sami Ruokangas ja Juha Kakkuri. Jakson biisinäytteet: https://open.spotify.com/playlist/3G1S4bleEtKP7rMkMg6nmg?si=49f4a02ae3fb4f34 Jutuissa ovat mukana myös Metallica, Linda Ronstadt, Scorpions, W. Axl Rose, William Bruce Rose, Mick Jagger, David Bowie, Tuska, Lost Society, Samy Elbanna, Omnium Gatherum, Mokoma, Red Fang, Heilung, The Night Flight Orchestra, Insomnium, Oranssi Pazuzu, Joe Lynn Turner, Rainbow, Deep Purple, Dynazty, Jinjer, Blind Channel, Amorphis, Baroness, Mercyful Fate, Devin Townsend, High On Fire, Kreator, Symphony X, Deftones, Kirk Hammett, Record Store Day, Iron Maiden, Megadeth, Nightwish, Biffy Clyro, Bring Me The Horizon, Black Label Society, Kvelertak, Bokassa, Sarparanta, Lähiöbotox, Huora, Nyrkkitappelu, The Hives, Fever 333, Trouble, Cleopatrick, Cypher16, Stoned Statues, Rudolf Schenker, Klaus Meine, Willie Nelson, Aaron Neville, Van Halen, Rolling Stones, Uriah Heep, Accept, Peer Günt, Branford Marsalis, Manu Katché, The Police, Michael Bublé, Agatha Christie, Sherlock Holmes, Def Leppard, Andy Sneap, Judas Priest, Biff Byford, Jim Morrison, Jimi Hendrix, Paul Quinn, Nigel Glockler, Nibbs Carter, Doug Scarratt, Rock Candy Magazine, Black Sabbath, Rush, Angel Witch, Ozzy Osbourne, Michael Schenker Group, AC/DC, Motörhead, Thin Lizzy, Spinal Tap, Girlschool ja Diamond Head.
Manu Katché是一位来自科特迪瓦的法籍非裔鼓手,尽管他也是一位经验丰富、才华横溢的词、曲作家,但他独特、热情、时尚的击鼓技巧更备受瞩目。Manu Katché 在流行、摇滚和爵士乐舞台扮演着乐手和艺术家的角色。本期节目DJ老B将带来Manu Katché 于2005年9月12日在德国ECM唱片公司发行的一张由他领衔的唱片《Neighbourhood》。波兰小号大师Tomasz Stanko和挪威萨克斯大师Jan Garbarek强强联手,参与了录音并共同提携这位ECM新秀。
Manu Katché是一位来自科特迪瓦的法籍非裔鼓手,尽管他也是一位经验丰富、才华横溢的词、曲作家,但他独特、热情、时尚的击鼓技巧更备受瞩目。Manu Katché 在流行、摇滚和爵士乐舞台扮演着乐手和艺术家的角色。本期节目DJ老B将带来Manu Katché 于2005年9月12日在德国ECM唱片公司发行的一张由他领衔的唱片《Neighbourhood》。波兰小号大师Tomasz Stanko和挪威萨克斯大师Jan Garbarek强强联手,参与了录音并共同提携这位ECM新秀。
Gordon Matthew Thomas Sumner, besser bekannt als Sting, gehört zu den beliebtesten britischen Musikern. Wenn er ruft, kommen Kolleginnen und Kollegen gerne – das sieht man auch an der Besetzung seines zweiten Soloalbums „Nothing like the sun“, auf dem u.a. Manu Katché, Eric Clapton oder Annie Lennox mitwirkten. Hier findet sich auch der Titel „Fragile“, dessen melancholische Atmosphäre zu der Geschichte passt, die er erzählt. Sting ist ein vielfältiger Künstler und engagierter Singer-Songwriter. Am 2. Oktober feiert er seinen 70. Geburtstag.
Buen día amigos y radioescuchas. Hoy iniciaremos una nueva sección en nuestro programa, a la que hemos llamado "conociendo a" que en este primer episodio estará dedicada al pianista polaco Marcin Wasilewski. Con 25 años de trayectoria ha grabado 7 discos para el sello ECM, además de múltiples colaboraciones, como Tomasz Stańko, Manu Katché o Jacob Young. Los temas son : 1. Stray Cat Walk (con Joe Lovano) 2. Diamonds and Pearls (Autor: Prince) 3. The First Touch 4. The Cat No olvides visitar nuestra página viajealmundodeljazz.com Y suscribirte a nuestro PODCAST en Apple podcast, Google podcast e IVOOX. Un abrazo a la distancia !!
En compagnie d'un invité fil rouge, Thomas Isle et Anissa Haddadi proposent deux heures de bonne humeur, de découvertes culturelles et de bons plans partout en France. A leurs côtés les journalistes Louise Bernard, Margaux Baralon, Nicolas Carreau et de nouveaux venus parmi lesquels Fred Goaty et Joe Hume se relaient pour partager leurs coups de cœur, tout comme les auditeurs qui passent à l'antenne d'Europe 1. Clément Lanoue, humoriste et animateur sur Virgin Radio, donne la parole aux enfants à travers un micro-trottoir et Cécile Chlous propose une revue de presse décalée.
durée : 03:44:56 - Live à Fip - Deuxième soirée live en direct du festival Marseille Jazz des cinq continents avec le concert du batteur et de ses invités suivi de celui du trio Benjamin Faugloire Project.
durée : 01:28:27 - Club Jazzafip - Pour cette deuxième soirée en direct du festival, le Club Jazzafip invite Manu Katché et Benjamin Faugloire avant leurs concerts diffusés sur notre antenne.
Marco Monforte è uno dei più importanti sound engineer del panorama nazionale. Ha lavorato in tour per Laura Pausini, Tiziano Ferro, Cesare Cremonini, Nek, Gianna Nannini, Elisa, Litfiba e molti altri artisti. 0:00 Gli esordi2:34 dalla gavetta agli stadi6:10 lavorare con Laura Pausini7:42 aneddoto su Manu Katché8:38 la preparazione del tour12:17 le responsabilità reciproche ad alti livelli14:54 cosa deve avere un batterista oggi18:17 attitudine e atteggiamenti 20:44 lavorare in team per garantire il top22:04 le strutture meno adatte ai live23:00 incidenti di percorso (Antonacci/Pausini)24:50 incidenti di percorso (Nek)27:34 incidenti di percorso (A.Golino)28:40 il valore aggiunto dei batteristi stranieri32:23 lavorare con Gary Novak33:39 i batteristi impressionanti37:45 saper atteggiarsi 38:55 lavorare con Thomas Lang► I miei CORSI ONLINE: http://bit.ly/corsidibatteria
In this episode of La Montaña Rusa: Eberhard Weber. The Colours of Chloe, 1974. Yelena Eckemoff & Manu Katché. Colors, 2019. Daniel Carter, Matthew Shipp, William Parker & Gerald Cleaver. Welcome Adventure! Vol. 1, 2020. Sumrrá. 7 Visións, 2021. Adriano Pancaldi. Single, 2021. Antoine Fafard. Borromean Odyssey, 2019.
En este episodio de La Montaña Rusa: Eberhard Weber. The Colours of Chloe, 1974. Yelena Eckemoff & Manu Katché. Colors, 2019. Daniel Carter, Matthew Shipp, William Parker & Gerald Cleaver. Welcome Adventure! Vol. 1, 2020. Sumrrá. 7 Visións, 2021. Adriano Pancaldi. Single, 2021. Antoine Fafard. Borromean Odyssey, 2019.
Zoe Wees était de retour dans #LeDriveRTL2 ce jeudi 18 février 2021, elle a répondu aux question d'Eric Jean-Jean en duplex de son studio en Allemagne où elle réside et a interprété pour RTL2 "Girls Like Us" et "Control". La nouveauté du jour : Deap Vally "High Horse" (feat. KT Tunstall & Peaches) Le journal de la musique : - Manu Katché fait le show - Les Whites Stripes ont encore des choses à partager avec vous - Les enfants de Tonton David lancent une cagnotte pour ses funérailles et son disque posthume Les sorties albums de la semaine : - Mogwai "As the Love Continues" - Mansfield.TYA "Monument Ordinaire" - Jérémy Frérot "Meilleure vie"
Manu Katché est batteur et musicien de scène et de studio depuis 40 ans. Un des plus grands batteurs de l'histoire, cette légende vivante a accompagné de nombreux artistes comme Peter Gabriel et Sting. Il était l'invité du Grand Direct ce lundi 15 février pour présenter sa première master class diffusée via la plateforme The Artist Academy.
L'émission musicale intimiste d'Yvan Cujious. Entre confessions, performances lives et découverte de nouveaux artistes : détendez-vous avec nous dans le Loft Music Sud Radio.
Au micro d'Anne Roumanoff mardi dans "Ça fait du bien" sur Europe 1, le musicien Manu Katché, qui anime l'émission "La Face Katché" sur Yahoo France, s'est exprimé sur sa tournée avec le chanteur et musicien britannique Sting. Il raconte que "c'était assez sage". "Les mecs boivent très peu", rapporte-t-il.
Au micro d'Anne Roumanoff mardi dans "Ça fait du bien" sur Europe 1, le musicien Manu Katché, qui sera en concert à partir de février 2021, raconte comment il a refusé de travailler avec le musicien britannique Mick Jagger.
Même pendant les fêtes, rien n'échappe à l'œil avisé d’Anne Roumanoff ! Tous les jours, avec la complicité de ses chroniqueurs et de leurs invités (comédiens, humoristes, politiques...), Anne Roumanoff traite et maltraite l'actualité avec malice et bienveillance. Le rendez-vous idéal pour faire le plein de bonne humeur.
In 1991 I was 22 years old, and had moved to New York City to be a professional musician. I had a little home studio, and was doing some random gigs around town. My roommate, Hoover Li, was an assistant engineer at a huge recording studio in midtown. Ryuichi Sakamoto was there recording his new album “Heartbeat”. Ryuichi mentioned to Hoover that he was looking for a guitarist for his next tour of Japan. Manu Katché on drums and Victor Bailey on bass. But no guitarist chosen yet. Hoover said, “My roommate is a great guitarist.” Ryuichi said, “But what does he look like?” Hoover came home around midnight, and told me the big news. I was already a fan, since I loved his album “Beauty”, and thought this would be a dream gig. Hoover gave me a tape of the new (unreleased) Heartbeat album, but told me he needed it back in the morning. I listened to the whole album carefully. There was no guitar on it. I was already imagining parts. I started playing along with it. I stayed up all night writing guitar parts for his album, recording them in my home studio, then mixing together his album — now with my guitar — back into a new master. In the morning, as Hoover was waking up to go into the studio, I gave him his tape back, but also a 2nd tape of the whole album, now with my guitar, for him to give to Ryuichi. I only slept a few hours, but woke up with the feeling like that wasn’t enough. I had to do more to prove I really wanted this gig. I bought six of his older CDs, and listened to them all day. One had a particularly hard cello part in the middle. I decided to transcribe it and write out the transcription in perfect bass-clef notation in pencil on staff paper, just to show him I could read and write music. Again, I asked Hoover to deliver it to Ryuichi, telling him I really wanted this gig. The next day I got a call from his manager, giving me the dates, asking if I was available! A month in Japan. Two weeks of rehearsal in Tokyo, then two weeks touring the country. I said yes, but the manager said they were undecided, and would get back to me. (Oh no! Are they changing their mind?) Hoover said Ryuichi wanted me to come down to the studio to meet him. I did. We barely spoke. He’s very quiet. But at one point I said, “Your manager said they’re undecided,” and Ryuichi just smiled and said, “I decide. Not them. I’ve decided. Don’t worry.” Whoo-hoo! Got the gig! When we were rehearsing in Tokyo, all the other band members were given very specific charts, but Ryuichi would say to me, “Just do what you did before.” Dream gig. 22 years old. In Japan. Playing to the famous 10,000 seat Tokyo Budokan concert hall, and more. Awesome. I did OK, but as the youngest, I was definitely the punching bag of the other band members. It was rough. Later that year, we got hired back to play the World Expo in Seville, Spain, this time with Darryl Jones on bass. I made the fatal mistake of thinking they were providing the outfits for us, like they had done in Japan. So just 30 minutes before showtime, (televised and all), I’m in shorts and a t-shirt, asking where everyone else got their nice outfits, and found out we were supposed to bring back the ones they gave us in Japan. Ooops! They tossed some other clothes on me, but were gravely disappointed, and I never heard from them again. (I’ll never know if it was because of the clothes or my playing.) Oh except a year later, I was living on the Oregon Coast, and got a little happy birthday postcard from Ryuichi himself. My personal lessons learned from this story: Being in the middle of things increases your chances for opportunities. Everything great that happens in your career starts with someone you know. When you hear of an opportunity you want, you have to go for it completely, over-the-top, not casual, and work your ass off to get it. The tiniest detail can derail everything. In this picture, from left to right, is translator Mei Fang, Everton Nelson, Satoshi Tomiie, Vivian Sessoms, Victor Bailey, Manu Katché, and me at the bottom.
In 1991 I was 22 years old, and had moved to New York City to be a professional musician. I had a little home studio, and was doing some random gigs around town. My roommate, Hoover Li, was an assistant engineer at a huge recording studio in midtown. Ryuichi Sakamoto was there recording his new album “Heartbeat”. Ryuichi mentioned to Hoover that he was looking for a guitarist for his next tour of Japan. Manu Katché on drums and Victor Bailey on bass. But no guitarist chosen yet. Hoover said, “My roommate is a great guitarist.” Ryuichi said, “But what does he look like?” Hoover came home around midnight, and told me the big news. I was already a fan, since I loved his album “Beauty”, and thought this would be a dream gig. Hoover gave me a tape of the new (unreleased) Heartbeat album, but told me he needed it back in the morning. I listened to the whole album carefully. There was no guitar on it. I was already imagining parts. I started playing along with it. I stayed up all night writing guitar parts for his album, recording them in my home studio, then mixing together his album — now with my guitar — back into a new master. In the morning, as Hoover was waking up to go into the studio, I gave him his tape back, but also a 2nd tape of the whole album, now with my guitar, for him to give to Ryuichi. I only slept a few hours, but woke up with the feeling like that wasn’t enough. I had to do more to prove I really wanted this gig. I bought six of his older CDs, and listened to them all day. One had a particularly hard cello part in the middle. I decided to transcribe it and write out the transcription in perfect bass-clef notation in pencil on staff paper, just to show him I could read and write music. Again, I asked Hoover to deliver it to Ryuichi, telling him I really wanted this gig. The next day I got a call from his manager, giving me the dates, asking if I was available! A month in Japan. Two weeks of rehearsal in Tokyo, then two weeks touring the country. I said yes, but the manager said they were undecided, and would get back to me. (Oh no! Are they changing their mind?) Hoover said Ryuichi wanted me to come down to the studio to meet him. I did. We barely spoke. He’s very quiet. But at one point I said, “Your manager said they’re undecided,” and Ryuichi just smiled and said, “I decide. Not them. I’ve decided. Don’t worry.” Whoo-hoo! Got the gig! When we were rehearsing in Tokyo, all the other band members were given very specific charts, but Ryuichi would say to me, “Just do what you did before.” Dream gig. 22 years old. In Japan. Playing to the famous 10,000 seat Tokyo Budokan concert hall, and more. Awesome. I did OK, but as the youngest, I was definitely the punching bag of the other band members. It was rough. Later that year, we got hired back to play the World Expo in Seville, Spain, this time with Darryl Jones on bass. I made the fatal mistake of thinking they were providing the outfits for us, like they had done in Japan. So just 30 minutes before showtime, (televised and all), I’m in shorts and a t-shirt, asking where everyone else got their nice outfits, and found out we were supposed to bring back the ones they gave us in Japan. Ooops! They tossed some other clothes on me, but were gravely disappointed, and I never heard from them again. (I’ll never know if it was because of the clothes or my playing.) Oh except a year later, I was living on the Oregon Coast, and got a little happy birthday postcard from Ryuichi himself. My personal lessons learned from this story: Being in the middle of things increases your chances for opportunities. Everything great that happens in your career starts with someone you know. When you hear of an opportunity you want, you have to go for it completely, over-the-top, not casual, and work your ass off to get it. The tiniest detail can derail everything. In this picture, from left to right, is translator Mei Fang, Everton Nelson, Satoshi Tomiie, Vivian Sessoms, Victor Bailey, Manu Katché, and me at the bottom.
In this episode, Mike and Mike discuss legendary pop/session drummer Manu Katché, who recently released an instrumental contemporary jazz album called The Scope. For the main segment, Mike and Mike choose fantasy drummer squads for 2020. Up for review is the new Starclassic Walnut Birch drumset by Tama. After answering a few listener questions, the [...] The post MD Podcast Episode 217: 2020 Drummer Draft, Manu Katché, Tama Starclassic Walnut Birch Drumkit, and More appeared first on Modern Drummer Magazine.
Michel Jonasz revient avec un nouvel album de chansons inédites, réalisé avec, notamment, Jean-Yves D’Angelo, son ami de toujours et accompagné, entre autres, de Greg Zlap ou Manu Katché. Ce dernier est également présent sur scène pour jouer deux titres, dont l'un avec Faada Freddy, célèbre rappeur sénégalais. Enfin, Lisa Simone électrise le public du Grand Studio, où elle y transporte son univers de jazz et soul. Elle sort son troisième album Need Of Love dont elle chante quelques extraits sur RTL.
Починаємо не зовсім звично: з маленької презентації двох альбомів Manu Katché, далі додаємо блюз від The BB King Blues Band. Переконуємося, що музика — це не спорт, але вона здатна зазирнути у найпотаємніші місця наших душ і перевернути там все догори дриґом. І ось, коли це вже сталося, залишається лише повторювати: “What a song! What a song…”
Починаємо не зовсім звично: з маленької презентації двох альбомів Manu Katché, далі додаємо блюз від The BB King Blues Band. Переконуємося, що музика — це не спорт, але вона здатна зазирнути у найпотаємніші місця наших душ і перевернути там все догори дриґом. І ось, коли це вже сталося, залишається лише повторювати: “What a song! What a song…”
Durée : 56:55 - FrancoSUN, le tour de France musical de SUN ! Les étapes de la semaine : Angers, Caen, Paris, Bruxelles, Saint-Etienne et Nantes. A l'affiche : Jeune Cash Monroe (groupe local de la semaine), Alex Rec, Yaël Naïm, Angèle, O - Olivier Marguerit, Baptiste W Hamon, Katerine (Voyage dans le temps), Manu Katché (avec Jazzy Bazz), BB Brunes, Dub Inc (et un collectif d'artistes), Manu Digital, Ctrfçn - Contrefaçon et Johan Papaconstantino. Retrouvez toutes nos nouveautés 24/7 sur notre flux dédié à la scène française et francophone : SUN Nouvo (http://nouvo.mysun.mx). Bonne écoute !
Durée : 56:55 - FrancoSUN, le tour de France musical de SUN ! Les étapes de la semaine : Angers, Caen, Paris, Bruxelles, Saint-Etienne et Nantes. A l'affiche : Jeune Cash Monroe (groupe local de la semaine), Alex Rec, Yaël Naïm, Angèle, O - Olivier Marguerit, Baptiste W Hamon, Katerine (Voyage dans le temps), Manu Katché (avec Jazzy Bazz), BB Brunes, Dub Inc (et un collectif d'artistes), Manu Digital, Ctrfçn - Contrefaçon et Johan Papaconstantino. Retrouvez toutes nos nouveautés 24/7 sur notre flux dédié à la scène française et francophone : SUN Nouvo (http://nouvo.mysun.mx). Bonne écoute !
Hour One with Ket Shah 01. Minako Yoshida - Shooting Star Of Love (RCA 1977) 02. Jake Leckie - After the Flood (Outside In Music 2019) 03. Joel Holmes Ft. Mariam Sawires - Remember Me (New Jazz Adventure 2018) 04. Ziminino - When The Buildings Fall (INTL BLK 2019) 05. Manu Katché - Paris Me Manque (Anteprima 2019) 06. David Borsu Ft. Cecilia Stalin - Work It Out (Broadcite 2019) 07. Jesse Maxwell - Blade (Trans Phatt 2019) 08. Mo Horizons Ft. Nene Vasquez - Ella Dice (Inst)(Agogo 2019) 09. Daniel Maunick - One Nite Stand (Far Out 2019) 10. Genius Of Time - Smiling Into Eternity (Running Back 2019) 11. Tomasz Wakulewski - Tell Ya Heart (Lupara 2019) 12. Black Coffee Ft. Msaki - Wish You Were Here (Blond-ish Morning Mix) (Ultra 2019) 13. Jordan O'Regan - Nevermind (Scott Diaz Rub)(Large Music 2019) Hour Two 01. The Clifford Jordan Quartet - John Coltrane (Strata East 1973/Pure Pleasure 2019) 02. Cotonette - Layla (Heartbeat/Heavenly Sweetness 2019) 03. Vibration Black Finger Ft. Ebony Rose - Sweet Nothing (Enid 2019) 04. Kalima - Where Is The Sunshine (1981 Olive Tree/Chuwanaga 2018) 05. Luther - Funky Music (Is A Part Of Me) (Cotillion 1976) 06. Marvin Gaye - Woman Of The World (Motown 2019) 07. Aristocrats - Let’s Get Together Now (Warner Bros 1973/Expansions 2017) 08. Twisted Soul Collective - Shake and Blow (Fingerman & Twisted Soul Reshake) (Twisted Soul 2018) 09. Robert Glasper - Enochs Meditation (DJ Kemit Mix) (Unknown 2019) 10. James Ingram - Lean On Me (Matty Helibronn Mix) (MAW Records 2001)
Typically my podcasts just flow organically out of what I'm currently listening to but sometimes I get a sense that I want to force a change is what I am listening to. I actively seek a different direction. That is what you have here. I have felt like I have just been only in the high energy realm for sometime. Now granted, that is where my predilection certainly lays but I do like to mellow it out sometimes and in this case I wanted to go with a mellow jazz vibe. I started with my go-tos and went from there. The genre grouping rapidly spiraled out of control however leaving me at a loss for what to title the podcast, hence the reference to this essay "Why Jazz isn't Cool Anymore" Anyway, I think you're gonna like the change of pace. Thanks for listening and don't forget to support the artists. Aaron Tracklist (links to buy) 1.Keep On by Alfa Mist on Antiphon 2.Number One by Manu Katché on Neighbourhood 3.Where We Used To Live by e.s.t. Esbjörn Svensson Trio on Tuesday Wonderland 4.Blue In Green (Take 3) by Bill Evans & Scott LaFaro & Paul Motian on Portrait In Jazz 5.At Home by Tord Gustavsen Trio on Being There 6.August by Mathias Eick on Ravensburg 7.Passacaglia by Lars Danielsson ft. Tigran, John Parricelli & Magnus Öström on Liberetto II 8.Galatea's Guitar by Gabor Szabo on Dreams 9.The Moving Finger by Dorothy Ashby on The Rubaiyat Dorothy Ashby 10.Let Me Go ft. Sophie Hunger by Erik Truffaz on In Between 11.Taksim by Night by Lars Danielsson ft. Hussam Aliwat with Grégory Privat, John Parricelli & Magnus Öström on Liberetto III 12.Ten-Day Interval by Tortoise on TNT 13.Kammermusik by Bugge Wesseltoft & Henrik Schwarz on Wesseltoft Schwarz Duo 14.Hold On We're Going Home by Sly5thAve on Composite
#3. Quentin Dujardin et Ivan Paduart feat. Manu Katche - Live @ Tournai Jazz Festival, 10.02.2017Un piano & une guitare. Ivan Paduart & Quentin Dujardin se prêtent à ce jeu à 4 mains dans une jubilation et une maîtrise totale. « CATHARSIS », c' est le nom de leur nouvel album, 10 ans après leur premier opus « Vivre ».C'est dans le foisonnement de la 6ème édition du Tournai Jazz Festival que nous avons retrouvé ces deux magnifiques musiciens accompagnés de Bert Joris, Théo De Jong et Manu Katché à la batterie dont on ne présente plus l'incroyable cv. Rendez-vous dans l'intimité des backstages et de leur loge où Quentin, Ivan et Manu nous ont fait l'honneur d'une interview en trio.Infos: http://www.chambreverte.be/ http://www.playmistyprod.be/ https://www.facebook.com/playmistyradio/
#3. Quentin Dujardin et Ivan Paduart feat. Manu Katche - Live @ Tournai Jazz Festival, 10.02.2017 Un piano & une guitare. Ivan Paduart & Quentin Dujardin se prêtent à ce jeu à 4 mains dans une jubilation et une maîtrise totale. « CATHARSIS », c’ est le nom de leur nouvel album, 10 ans après leur premier opus « Vivre ». C’est dans le foisonnement de la 6ème édition du Tournai Jazz Festival que nous avons retrouvé ces deux magnifiques musiciens accompagnés de Bert Joris, Théo De Jong et Manu Katché à la batterie dont on ne présente plus l’incroyable cv. Rendez-vous dans l’intimité des backstages et de leur loge où Quentin, Ivan et Manu nous ont fait l’honneur d’une interview en trio. Infos: http://www.chambreverte.be/ http://www.playmistyprod.be/ https://www.facebook.com/playmistyradio/
Torniamo dalla pausa carnevalesca per immergerci nelle brume meditative del jazz nord-europeo. Parliamo di Jan Garbarek, classe 1947, sassofonista norvegese, musicista di punta dell’etichetta discografica ECM, sempre in bilico tra jazz d’avanguardia, world music, pop e new age. Ad accompagnarci, tra gli altri: George Russell, Keith Jarrett, Manu Katché.
I have to be honest. One of the reasons I've done so many(#5 now) of these Sunday morning music mixes is that they are so popular, especially on Mixcloud. So I'm a sellout, a ratings whore. I admit it. But I like to think that each Sunday mix is a good listen in it's own way. I usually stumble upon a song or two that prompts me to start a new mix. In this case it was the song "Before My Time" which leads off the mix. It's the song that plays during the credits of the film Chasing Ice. When I heard it as the credits rolled it knocked my socks off. That's Scarlett Johansson singing. She's got a unique voice, not one to be used for candy coated pop music. But absolutely perfect for the beautiful restraint of "Before My Time." I hope this mix is another worthy addition to the Sunday morning music series. Enjoy. T R A C K L I S T : 00:00 J. Ralph & Scarlett Johansson - Before My Time (from Chasing Ice OST) 03:33 Sigur Ros - Varðeldur (from Valtari) 09:15 Manu Katché - Slowing the Tides (from Manu Katché) 14:35 Simon Scott - sealevel.1 (from Below Sealevel) 18:25 Kiln - Centrifu (from Thermals) 19:40 S. Carey - Mothers (from All We Grow) 24:45 Andrew Bird - Night Sky (from Norman OST) 28:13 Endless Melancholy - A Song for the Morning Star (from Music for Quiet Mornings) 32:40 Schulte & Martin - Frosty Morning (from Treasure) 36:10 J. Ralph - Chasing Ice (Croconite) (from Chasing Ice OST) 39:05 Max Richter - Winter 3 (from Vivaldi 4 Seasons Recomposed) 43:15 Patrick Watson - Noisy Sunday (from Adventurers in Your Own Backyard) 45:05 Garth Stevenson - Dawn (from Flying) 50:55 Manuell Göttsching - Quasarsphere (from Inventions for Electric Guitar) 56:55 J. Ralph - You're No Longer Just a Human Being (from Chasing Ice OST) 58:40 end
Bu programda konuğumuz Cem Çatıkkaş'la Blackberry Telefonların güvenlik özelliklerini, olası problemlerin neler olduğunu ve çözümlerini konuştuk.Program arasında Manu Katché'nin Neighbourhood albümünden Take off and Land'i dinedik.Bu bölümü buradan indirebilirsiniz.