Note :

http://www.emilywellsmusic.com

http://www.myspace.com/emilywells

 Cela faisait pas mal de temps que nous ne nous étions pas sérieusement penchés sur nos cousins d’Amérique (hormis les canadiens) tant les choses bougent en Europe ces jours-ci. Il est vrai
que les gros cartons récents venus d’Outre-Atlantique sentaient un peu trop souvent le réchauffé ou le formaté. Fort heureusement nos oreilles se sont envolées jusqu’à la côte Ouest des
Etats-Unis, à Los Angeles, ou réside une jeune artiste du nom d’Emily Wells qui pourrait bien devenir la Björk locale.



Son parcours est peu commun : à peine majeure elle était déjà courtisée par les Majors du disque mais préféra quitter New-York où elle vivait alors pour traverser les Etats-Unis en voiture et se
former en tant qu’artiste, avant d’atterrit finalement à Los Angeles. Elle n’a donc pas choisi la facilité et aujourd’hui sa musique lui donne raison. Adepte du ‘Do it yourself’, Emily Wells a
bâti son œuvre à force de travail et de persévérance, apprenant d’abord comment produire et enregistrer. C’est donc dans son propre studio qu’elle a composé, enregistré, mixé et produit cet
album, son second après ‘Beautiful Sleepyhead and the Laughing Yaks’ (2006).



Mais l’originalité de ce disque vient sans aucun doute du mariage réussi entre les cordes classiques et le piano qui évoquent la musique de chambre (‘Symphony 2: and the Click Boom Boom‘), et une
atmosphère Pop ouverte à tous, jamais trop arty ou nombriliste. On pense un peu à l’album de FM, ‘A Dream Or Two’, sorti il y a quelques mois, en bien plus captivant. Avec sa voix de chat, Emily
Wells enchante aisément son audience avec les 10 ‘mélodies’ qui constituent cet oeuvre. Malgré son apparence calme, un véritable esprit rock plane sur cet album, notamment sur les excellents
‘Symphony 6: Fair The Well and the Requiem Mix’ ou ‘Symphony 8: and the Canary’s Last Take’. Voici donc une improbable cousine de My Brightest Diamond, de Joanna Newsom (‘Symphony 2: and the
Click Boom Boom’) et de Kate Bush, qui aurait choisi de mettre plus en évidence son penchant pour la Pop. Pop oui, mais pas seulement, puisqu’elle n’hésite pas non plus à s’essayer au Hip Hop sur
‘Symphony 3: The Story (Featuring Count Bass D)’



Voici une artiste à découvrir, une ‘femme orchestre’ qui met admirablement à profit son talent pour créer un univers singulier. Si elle a choisi la voie de l’indépendance, la qualité et
l’originalité de ce disque devraient certainement lui ouvrir de grandes portes dans un futur proche. Puisqu’elle nous pose sur son dernier titre la question ‘Could This Really Be the End?’, notre
réponse est ‘Non, je ne crois pas !’.



par Stars Are Underground

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Origine du Groupe : North America

Style : Electro Classique , Trip Hop , Experimental

Sortie : 2008



Tracklist :

1. Symphony 1: In the Barrel of a Gun

2. Symphony 2 & the Click Boom Boom

3. Symphony 3: The Story (feat. Count Bass D)

4. Symphony 4: America's Mercy War

5. Symphony 5 Was a Surprise

6. Symphony 6: Fair Thee Well and the Requiem Mix

7. Symphony 7: Dreams Memories & Heaven

8. Symphony 8 & the Canary's Last Take

9. Symphony 9 & the Sunshine

10. Symphony 10: Could This Really Be the End?

Note :

http://www.nelscline.com

http://www.myspace.com/nelscline

Nearly 10 years into leading the winkingly named instrumental trio the Nels Cline Singers, it's hard to imagine what fringe of jazz and improvised rock could be unearthed next by the local guitar
hero who joined the boundary-pushing band Wilco in 2004.



Now with their fourth album, Cline and a taut but feral rhythm section of bassist Devin Hoff and drummer Scott Amendola have regrouped for an often-breathtaking recording that's also their most
rewarding and immediately approachable listen.



A sprawling double album split between one disc of studio recordings and a bare-knuckled live set, "Initiate" is steeped in the worldbeat-dusted jazz-rock of the ‘70s. Opening with a swirling
chorus of electronic effects, they land a bracing first shot with "Floored," which finds Cline flexing a guitar tone akin to the warped keyboards of Chick Corea's work in Miles Davis' electric
period while Amendola and Hoff lay down a concrete-busting funk-rock groove. "King Queen" forges a sort of psychedelic take on Cuban jazz as Cline and guest organist David Witham ride Hoff's
elliptical bassline, building an insistent melody that opens to the outer limits.



They  also show a  more delicate side with "Divining" and "Zingiber" -- tracks featuring an atmospheric chorus of actual singing from the trio -- but with the second disc the group lays
on the throttle and seldom lets up. Highlighted by a blistering, 14-minute cover of Weather Report's "Boogie Woogie Waltz" (featuring members of San Francisco indie band Deerhoof), they 
course through fiery improvisations while also nodding toward jazz tradition with a cover of Carla Bley's "And Now, the Queen" and a Jim Hall-dedicated version of the Singers' comparatively
straightforward "Blues, Too."



Engrossing and ceaselessly inventive, "Initiate" isn't always easy listening, but it's essential for lovers of jazz and its fertile frontier.



-- Chris Barton

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Origine du Groupe : North America

Style : Experimental , Jazz , Rock

Sortie : 2010



Tracklist :

CD1 :

01 - Into It

02 - Floored

03 - Divining

04 - You Noticed

05 - Red Line to Greenland

06 - Mercy (Supplication)

07 - Grow Closer

08 - Scissor Saw

09 - B86 (Inkblot Nebula)

10 - King Queen

11 - Zingiber

12 - Mercy (Procession)

13 - Into It (You Turn)



CD2 :

01 - Forge

02 - Fly Fly

03 - Raze

04 - And Now the Queen

05 - Blues, Too

06 - Thurston County

07 - Sunken Song

08 - Boogie Woogie Waltz

Note :

http://www.buggesroom.com

http://www.myspace.com/buggewesseltoft

http://www.sidselendresen.com

http://www.myspace.com/sidselendresen

This is a lovely album. While it does little to escape the trademark Scando-new-jazz sound (a sophisticated, minimal austerity), it's all the better for it. A Norwegian duet between vocalist
Sidsel Endresen and keyboard player Bugge Wesseltoft, it's a quiet, graceful set, varying from traditional folky songform to abstract avant-jazz.



During Endresen's earlier tenure at ECM, I saw her perform with the arch English eccentric Django Bates (plus group). That collaboration worked, and so does this one, the third between Wesseltoft
and Endresen(on Wesselftoft's label, Jazzland).



I must admit, I've been previously unimpressed with Bugge Wesseltoft, and particularly his bleedin' "new conception of jazz" (unlike others). Here though, he's the perfect foil for Endresen,
conjuring subtle, evocative settings for her spare vocals, playing with real grace throughout. He's witty and sophisticated when supporting the nod to cocktail-bossa on the attractive "Survival
Techniques 3"; abstract and funky on "Heartbeat" (no, not that one); intelligently explorative on "Hav"; and simply, humbly supportive on a ravishly stark version of Neil Young's "Birds".



The centrepiece "Names, Numbers" is wonderfully sinister, thanks to Wesseltoft's freaky distorted stylings, his basslines stalking rather than walking. It sounds almost like a mid-sixties Raymond
Scott piece, until Endresen punctures the mood with her aloof poetry. Lyrically, abstract, minimalist dashes of single words and short phrases are the order of the day, perfectly suited to her
clear Scandinavian intonation.



Introspective female singer-songwriters of a certain ilk are usually, lazily, matched up against Joni Mitchell. But there's no mistaking Endresen's similarity to Mitchell on occasion - the
similarly fragile yet firm, slightly croaky voice; similarly progressive settings based around jazz and world music.However, Meredith Monk also comes to mind - particularly in the extraordinary
post-speech tape-cutups of "Survival Techniques 1+2" and layered vocals of "Voices". Likewise, others who've matched the song with jazz and experimentation (the likes of Robert Wyatt and Annette
Peacock, say - even Laurie Anderson).



Enough comparison - Endresen has her own recognisable musical voice, building an increasingly impressive body of work. "Out Here, In There" is a starker piece than the previous (excellent)
Undertow for Jazzland, but still surprisingly varied given the lack of personnel, this constraint only serving to stimulate creativity. Recommended.



by Dan Hill

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Origine du Groupe : Norvegia

Style : Electro Jazz , Ambient , New Jazz , Vocal ,Experimental

Sortie : 2002



Tracklist ;

1. Truth

2. Out here. In there 

3.  Survival Techniques 1+2

4. Survival Techniques 3 

5. Names, numbers

6. Hav 7. Birds

8. Voices

9. Heartbeat

10. Ido

11. Try



Bugge Wesseltoft: all keys, percussion, programming.

Sidsel Endresen: all vocals

Note :

http://www.myspace.com/moonraker

True innovators of live electronic music have landed. Moonraker branches out from the current state of music, working with the remnants of d'n'b and house. The energy of dance music is filtered
through the live band, creating the sexiest sound to surface in years. The power of the human voice merges with epic soundscapes and ever-evolving breakbeats to continue the ancient story forever
told.



The recent upsurge of the live electronic scene has gained a rapidly growing audience, and Moonraker has been steadily moving to the crest of this wave of new music. Having been together for two
years, the group has packed countless rooms in the Boston area, including the Middle East, House of Blues, Bill's Bar, the Paradise and the Somerville Theater. Moonraker is continually broadening
its fan base with regular performances in Massachusetts, Maine, Rhode Island, Vermont, Toronto and New York City (Wetlands, Mercury Lounge, Knitting Factory). Moonraker were named 'Best New Band
in Boston' by WBOS 92.9, and are featured regularly on local radio (WBCN, WERS). Moonraker has shared the stage with notable acts including DJ Spooky, Ice-T, Amon Tobin, Joan Osbourne and the
Disco Biscuits.



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Origine du Groupe : North America

Style : Trip Hop , Electro

Sortie : 2001



Tracklist :

1. Shalom

2. Night With You

3. Organic Love

4. The Rescue

5. Madeline

6. Dying Sun

7. These Walls

8. Wood & Stone

9. Modern Way

Kelli Scarr - Vocals

Shaolun - Keyboard

David Moltz - Guitar

Kody Akhavi - Bass

Dan Mintzer - Drums

Note :

http://www.vervemusicgroup.com/wayneshorter

http://www.myspace.com/unofficialwayneshortertribute

Gamin, Wayne Shorter et son frère dévoraient les bd et les films de série B avec extra-terrestres, monstres, loup-garou, vampires et créatures de Frankenstein. Speak No Evil clôt l'année 1964, où
Wayne a participé à l'enregistrement de 20 disques dont 3 avec les Jazz Messenger, 9 avec Miles Davis, 3 avec Gil Evans, 1 avec Lee Morgan, 1 avec Grachan Moncur III et Night Dreamer puis Juju en
tant que leader. L'album s'inscrit dans la lignée bop, un bop avec un soupçon d'étrangeté - mais on en est pas encore au Weather Report - et Wayne Shorter précise : I was thinking of Misty
landscapes with wild flowers and strange, dimly-seen shapes-the kind of places where folklore and legend are born. And then I was thinking a thing like witchburnings, too*. La session
d'enregistrement du 24 décembre 1964 menée par Rudy Van Gelder parle de magie, de sorcière, de diable, de danse de cadavres et de fleurs sauvages ; 6 compositions de Wayne Shorter avec Freddie
Hubbard à la trompette, Herbie Hancock au piano, Ron Carter à la basse et Elvin Jones à la batterie. Dance Cadaverous  est une composition un peu décalée, piano sophistiqué qui se promène du
côté du classique. Quelque chose d'étrange - comme dans les compositions de Monk - et de planant se glisse dans la mélodie vers le milieu du morceau, la rythmique est plutôt cool. Shorter dit à
propos du morceau : I was thinking of some of these doctor pictures in wich you see a classroom and they're getting ready to work on a cadaver*. On se penchera aussi avec bonheur sur le jeu
d'Herbie Hancock pour Infant Eyes, la balade, où le saxophone tenor de Wayne balance du velours. A l'instar de Witch Hunt  qui ouvre l'album, le disque sonne de manière nonchalante, mais
faut pas s'y tromper, c'est du lourd que nous avons là. Des mélodies un peu bizaroïdes qui une fois rentrées dans la caboche risque fort de continuer à trotter.



*Notes extraites du livret de Don Heckman.

Origine du Groupe : North America

Style : Jazz

Sortie : 1964

Tracklist :

   1. "Witch Hunt" 8:07

   2. "Fee-Fi-Fo-Fum" 5:50

   3. "Dance Cadaverous" 6:45

   4. "Speak No Evil" 8:23

   5. "Infant Eyes" 6:51

   6. "Wild Flower" 6.00

   7. "Dance Cadaverous" (alternate take) 6:35

Note :

http://fr.wikipedia.org/wiki/Dillinger_%28reggae%29

From Wikipedia :

Dillinger, de son vrai nom Lester Bullock, est un toaster jamaïcain  né le 25 juin 1953 à Kingston.



En 1971, il commence sa carrière comme DJ dans des sound systems (en particulier celui de Dennis Alcapone). Il est d'abord influencé par U-Roy ou Big Youth avant de trouver son propre style.



Son nom vient du célèbre gangster américain John Dillinger. Il se faisait appeler Alcapone Junior en hommage à son modèle Dennis Alcapone et c'est le célèbre producteur Lee 'Scratch' Perry qui
l'a rebaptisé du nom d'un autre célèbre gangster. C’est Yabby You qui remarque le premier Dillinger et lui fait enregistrer en 1974 son premier single Freshly.



L’année suivante Augustus Pablo le fait enregistrer sur Brace a Boy et Sir Coxsone produit Killer Man Jaro. C’est d’ailleurs le patron de Studio One qui produit son premier album Ready Natty
Dreadie, en 1975, sur lequel il toaste sur une sélection de rythmes rocksteady et reggae.



En 1976, son deuxième album CB 200, produit par Jo Jo Hoo Kim, contient plusieurs singles dont le fameux Cocaine In My Brain. Ce titre rencontre un gros succès en Europe. Dillinger enregistrera,
en 1979, la suite du morceau intitulée Marijuana In My Brain, qui sera numéro 1 en Hollande si bien qu'un album du même nom sort ensuite.



Dillinger travaille ensuite avec Bunny Lee qui produit les deux albums Talkin Blues, en 1977, et Top Ranking, en 1977. La même année il enregistre en Angleterre l’album Clash qu’il partage avec
Trinity. Il fait en 1979 un duo avec Johnny Clarke, un autre sur le titre Lamb’s Bread avec Sugar Minott et un autre avec Delroy Wilson.



En 1980, il tente un des premiers enregistrements de reggae électro avec Badder Than Them. En 1983, il auto-produit Join the Queue. La même année on peut écouter Funky Punk avec LSD In My Brain.
Suivent en 1984 : Blackboard Jungle, King Pharaoh et Tribal War. Après quelques années d’absence, il travaille à nouveau avec Bunny Lee dans les années 1990 sur Say No To Drugs. Dernièrement, les
fans de Dillinger ont pu apprécier un best-of sous forme du double CD Rebel With a Cause

Origine du Groupe : Jamaica

Style : Reggae Toaster , Dancehall

Sortie : 1963



Tracklist :

1  Cocaine in my brain       

2  Jah love      

3  Funkey punk          

4  Mickey Mouse crab louse      

5  I thirst          

6  Loving pauper      

7  Flat foot hustlin'

8  Crabs in my pants      

9  Marijuana in my brain

Note : ++

http://www.popachubby.com

http://www.myspace.com/popachubbyband

From Wikipedia :

Popa Chubby, de son vrai nom Ted Horowitz, est un chanteur et guitariste  de blues  et de rock  new-yorkais.



Originaire du Bronx à New York, son style agressif est influencé par Willie Dixon ainsi que Jimi Hendrix, Albert King ou encore Danny Gatton créant ainsi une synthèse Blues, Rock, Funk, Pop très
personnelle mais transpirant le blues new-yorkais. Comme Calvin Russell, il a beaucoup plus de succès en France  qu’aux États-Unis, où il n’est connu que des spécialistes, bien que la
situation ait tendance à s'inverser[réf. nécessaire]. Son nom de scène est tiré d’une expression d'argot, "pop a chubby", qui veut dire "avoir une érection", mais peut également faire référence à
son embonpoint (popa/papa joufflu). Chacun de ses albums est un concept en lui-même : un album de ballades avec des chansons comme Hallelujah, de rock-punk pur ("If the Diesel Don't Get You Then
the Jet Fuel Will"), ou encore de blues comme "Back Door Man" où l'on sent bien la patte du "maître"[réf. nécessaire]. Perfectionniste, c'est le roi des coups de gueule.



En 2006 il entame une tournée en la commémoration de Jimi Hendrix, celui qui lui a fait découvrir le rock à la radio avec son Purple Haze. Il possède une collection de guitares dont une Fender
que le fabricant n'avait pas répertoriée[réf. nécessaire].



Il joue également de la batterie, qu'il lui arrive de pratiquer sur scène.

Origine du Groupe : North America

Style : Rock , Blues

Sortie : 2005

Tracklist :

01 Hey joe [live] - 6:13

02 Dirty lie [live] - 7:27

03 Back door man [live] - 6:49

04 I can't see the light of day [live] - 7:10

05 If the diesel don't get you then the jet fuel will [live] - 5:22

06 Sweet goddess of love & beer [live] - 6:14

07 Motorcycle mama [live] - 6:54

08 Somebody let the devil out [live] - 5:52

09 Hallelujah [live] - 6:53

10 Keep on the sunny side [live] - 4:07

11 Time is killing me [live] - 6:26

12 How'd a white boy get the blues? [live] - 3:10

Note : ++

http://www.mavisstaples.com

http://www.myspace.com/ashleybeedle

http://www.myspace.com/darrenmorrismusic

Dédié à Mavis Staples (chanteuse de soul importante, notamment avec les Staples Singers mais aussi pour son engagement dans le mouvement des droits civiques de Martin Luther King), "Mavis" est un
disque qui sonne terriblement daté : un joujou de producteurs (les Anglais Ashley Beedle et Darren Morris) mou comme un vieux disque de trip-hop avec casting de luxe -  Kurt Wagner
(Lambchop), la diva disco-soul Candi Staton, Ed Harcourt, Sarah Cracknell (Saint Etienne) ou encore le miraculé Edwyn Collins. "When I walk with you" sample "I'm not in love" de TenCC, ouah
l'originalité ! Tout le monde roupille...



Par Placido Castafiori

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Origine du Groupe : U.K , North America

Style : Soul , Funk

Sortie : 2010

Tracklist :

01 Gangs of Rome ft. Kurt Wagner 5:00

02 What You Looking For ft. John Turrell 4:50

03 Nemesis Required ft. Cerys Matthews 4:38

04 Revolution ft. Candi Staton 5:28

05 Puzzles & Riddles ft. Ed Harcourt 6:14

06 When I Walk With You (Heartbreak Song) ft. Sarah 5:11

Cracknell

07 Sinful Love ft. Disa 5:24

08 Dreamers (Interlude) ft. Chris Coco 1:29

09 Let Your Love Shine ft. Danielle Moore 3:58

10 4:14 ft. Cherilyn MacNeil 5:26

11 Feeling Lucky ft. Edwyn Collins 5:05

12 Revolution ft. Candi Staton (Heavy Soul Extended 6:18

Mix)

Note :

http://www.somimusic.com

http://www.myspace.com/somimusic

One tendency I've found among musicians is that worldly artists tend to be pretty good at making worldly music. Vocalist and songstress Somi certainly qualifies. Born in middle-American Illinois
but to immigrants from the East African nations of Rwanda and Uganda, Somi spent part of her childhood in Zambia. She studied the cello through much of her life, until she was inspired by her
mother to take up singing. Eventually, she molded her own emblem on music; that sound of hers is a perfect blend of American jazz and soul with East African hues and rhythms. Somi calls it "New
African Soul." This multicultural approach has been honed over two albums and as of October 13, Somi has a third album that's perhaps her most personal one yet, entitled If The Rains Come
First.



If "New African Soul" sounds just a tad like Michael Olatuja's Speak album written about here earlier this year, well, Olatuja is very much involved on this album, too: he contributes his
electric and acoustic bass playing deftness on every track, as well as producing this record along with Michele Locatelli. Having recorded this disc last spring in Paris, they were able to pull
in a rhythm section from the city's vibrant local African music scene. By using musicians who instinctively understand Somi's delicate vision, Olatuja and Locatelli gives the sonic palette some
depth and it's smooth as the surface of a bayou, but tastefully avoids trends of the day. It embraces the ears with the comforting sounds of acoustic guitars, gurgling electric piano and genuine
African percussion. Most importantly, they allow Somi's voice, songs and musical conception come fully to life.



Somi's lithe voice carries the elegant moodiness of Nina Simone and the smokey allure of Sade. Even though Somi sings in three different East African languages as well as English, you don't even
notice she's giving us linguistic change-ups because the universal language of music stays out front. She doesn't attempt to knock you over with a broad range (although as "Maybe Then" shows us,
she has little difficulties hitting the upper register), nor does she over-emote, a trap too many soul singers fall into. She takes the songwriter's approach of rendering her lyrics in service of
the melody.



Somi wrote the lyrics for all eleven tracks and created those melodies with some help from the producers and the other backing musicians. Though Somi doesn't play any instruments on this record,
she clearly understands enough about music theory from all her years studying classical music to put together some subtle, elaborate melodies that are consistently sweet-sounding. Take, for
instance, the opener "Hot Blue," which grooves along gently on a circular African rhythm but concludes with a more assertive bridge where Somi provides a lead vocal counterpoint in English to
background vocals sung in one of those African tongues. Her lyrics are consistently introspective, dealing with issues of spirituality and confronting life's challenges while relishing its
blessings.



The contemporary Brazilian vocal backing on "Rising" combine with African beats and jazz guitar to create a breezy three-way connection among Africa, South America and North America." Other
notable touches are the tight, soothing East African grooves and airy vocals found on the title tune, the gentle piano tribute to Somi's father "Jewel Of His Soul, and the way the jazzy melody
just floats above rapid percussion rumbling underneath on "Kuzunguka." Somi even supplies some effective oral percussion on the acoustic guitar based "Changing Inspiration" (see video of live
version below).



The track being promoted most heavily is "Enganjyani," which means "most beloved" in the Rutooro language. Hugh Masekela guest appearance may have much to do with the hoopla on this track, but
even the famed South African trumpeter takes a backseat to Somi's flair for easy flowing melodic lines and naturally heartfelt vocal stylings.



Somi came up with the heading If The Rains Come First from her mother, who told her that rains can bring blessings as much as they offer challenges. Somi took the challenge of putting together a
well conceived and carried-out record of African soul and the result is a blessing for those who appreciate such a intelligent and mellifluous mixture of sounds spanning oceans.



If The Rains Come First comes to us via ObliqueSound Records, the label co-founded by Locatelli and an outfit that thus far seems to have a good eye for finding and recording those worldly
musicians who make quality world music.



By Pico

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Origine du Groupe : North America

Style : Alternative Fusion World , Soul , Nu-Jazz , Afrobeat

Sortie : 2009



Tracklist :



1 Blue 4:27

2 Prayer to the Saint of the Brokenhearted 3:21

3 Wallflower Blues 4:53

4 Be Careful, Be Kind 5:12

5 Enganjyani 5:19

6 Rising 3:22

7 Changing Inspiration 3:14

8 Kuzunguka 4:46

9 If the Rains Come First 5:09

10 Jewel of His Soul 4:31

11 Maybe Then 6:08

Note :

http://www.kikuchinaruyoshi.com

http://www.myspace.com/kikuchinaruyoshi

Second full-length album from the Naruyoshi Kikuchi Dub Sextet features more hard bop mixed with dub tracks based around Miles Davis tracks, new funky uppers like the new track "Monkey Mush
Down," the hip-hop/break-beat style track "Dismissing Lounge Frm The Limbo," and more Mastered in New York.

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Origine du Groupe : Japan

Style : New Jazz , Electro Jazz

Sortie : 2008



Tracklist :



1. (I’ve lost my) Taylor Burton

2. Koh-I-Nur

3. Orbits

4. Despute

5. Ascent

6. Monkey Mush Down

7. Dismissing Lounge From The Limbo