Manolo Sanlúcar - Tauromagia

 

Artist:          Manolo Sanlúcar

Album:        Tauromagia

Year:           1988

Line-up:      Guitar: Manolo Sanlúcar

                   2^nd Guitar: Isidro Muños, Vicente Amigo

                   Vocals: La Macanita, El Indio Gitano, Jose Merce, Diego Carrasco

                   Percussion and Palmas: Manolo Soler, Tino Di Geraldo, Diego Carrasco

                   Dance: Manolo Soler

Label:         Polydor

"I wish the experts in universal music to understand that they may approach flamenco, so they do not consider it something tribal and topical, so they see a branch of music in flamenco that allows very profound musical analysis and has extraordinary poetic and musical quality".

- Manolo Sanlúcar

When it comes to flamenco guitar, the one player of this fine instrument the people – especially outside Spain - are most likely to know is Paco de Lucía. Yet, when speaking of the giants of flamenco guitar I find myself personally more drawn to the playing and compositions of Manolo Sanlúcar. Incidentally Paco and Manolo have various things in common: Both of them were born in the 1940's in Cádiz. Taught by their amateur guitar playing fathers and having also guitar playing brothers, Paco and Manolo went on being of the most important flamenco composers and revolutionary players who are now considered to be the main figures in the evolution of the modern flamenco guitar.

It is quite useless trying to compare Paco and Manolo as players on a technical level as they are both the undisputed masters of the guitar. Nevertheless, I have always admired the playing of Manolo more. It seems to me that Manolo has this very strict discipline behind his playing and technique whereas Paco comes across more as a natural wonder child. In addition to the playing, the one thing that sets Manolo apart from Paco is his talent as a composer. Yet again, it cannot be denied that Paco has not composed a great number of interesting, evolutionary and stunning pieces. However, Manolo has been the one guitar player of flamenco who has always gone one step beyond. From a very beginning of his career Manolo has been an avid researcher of both the flamenco tradition as well as the guitar as an instrument. He was aware that the flamenco guitar - but the acoustic nylon string guitar in general - had infinite possibilities which were yet to be explored. Apart from the exploration of the guitar from a technical standpoint Manolo has been very interested integrating flamenco with symphonic and orchestral music. Thus, we finally come to the album discussed on this post: Tauromagia.

Considered by many flamenco aficionados to be one the best flamenco albums of all time, Tauromagia takes its' listener on a journey through Andalucia and flamenco. The title meaning literally ”magic of bulls”, Tauromagia is also a concept album the central theme being the classical Spanish bullfighting which has not only been important cultural phenomenon in southern Spain but in the whole Spain. The compositions on the album are in themselves little pieces of sheer excellency but the strength of the album lies also deeply on its' versatility and the seamless flow between the tracks. Not only are we treated with a delicious variety of different palos (the styles and forms of flamenco), but Tauromagia is filled with a lot of captivating nuances. Every piece has it is distinct character and feel which makes the album a cohesive whole. From the calm lullaby Nanencia through rondeña (a sonata performed solely by Manolo Sanlúcar on the guitar is considered a peak moment by many), solea por bulería, tangos, bulerías, jaleos and ending on a cheerful note with alegrías Tauromagia is full of magic moments raging from a quite and meditative pieces to more driven and energetic perfomances. We have virtuoso guitar playing, athmosphere, interesting orchestration for a flamenco album, great vocal perfomances by such great cantaores as Jose Merce, El Indio Gitano, La Macanita and Diego Carrasco and a lot more. Altough Tauromagia is an album composed by a guitar player, it should be noted that the guitar playing here always serves the music never being self-indulgent.

Flamenco is a philosophy, a feeling, a way to understand life and death, it is more like the heart than the head, more like an intuition than reasoning, more like art than science, more like passion than reflection, more like a devotion than obligation. Tauromagia is surely one of the best albums to catch the magic of flamenco.

Here we have the last piece on Tauromagia, alegrías named Puerta de Príncipe performed in the film Flamenco by Carlos Saura:

https://www.youtube.com/watch?v=FyNBvJ_R6Vg

Written by Παναγιωτιης

Alamaailman Vasarat - Käärmelautakunta

Artist:            Alamaailman Vasarat                             

Album:          Käärmelautakunta             

Line-Up:        Jarno Sarkula – Bass Clarinet, Soprano & Tenor Saxophone

                      Erno Haukkala, Slide Trumpet, Tuba

                      Miikka Huttunen – Grand Piano, Pump Organ

                      Marko Manninen – Cello

                      Tuukka Helminen – Cello

                      Teemu Hänninen – Drums, Percussion

Year:             2003

Label:            Silence

Höyry-Kone (Steam-Machine) was a Finnish progressive rock group that published two albums in the 90’s. Alamaailman Vasarat (Hammers of the Underworld) was formed by Höyry-Kone-member Jarno Sarkula alongside with few other members from that band as well. The debut-album “Vasaraasialainen” was published in 2000, and after that the band has released six albums, “Käärmelautakunta” being the second. The unique style that these brilliant musicians mix is impossible to describe in short. After beautiful piano and cello melodies you can hear waltz, punk, humppa (a Finnish dance, sort of very fast foxtrot), heavy metal riffs, klezmer, hypnotic jazz, and oriental melodies. Still, it all sticks together and forms a very interesting and enchanting sound that once you hear just a glimpse of it you can recognize it: This is Alamaailman Vasarat.

Often compared to Apocalyptica, another Finnish band that uses cellos in rock-oriented way, Alamaailman Vasarat is much more than a rock’n’roll group that is influenced by many different styles of music. They have a good sense of humor what comes to using comedical elements in music. Reminds me much of Focus, there are few points in this album composed tongue-in-cheek, but that just brings a very wide smile to your face. Their originality is admirable; the world has much more space for these kinds of bands:  Musicians that have a vision and aren’t afraid of execute it.

Alamaailman Vasarat and Käärmelautakunta should please all listeners seeking something different and enjoy music that is well done and cleverly composed. Here is something from the tight heavy sound of the band, Alamaailman Vasarat – Astiatehdas (Dish Factory):

 https://www.youtube.com/watch?v=PoaLy6-BXFw

Written by: Oz

Aphrodite's Child - 666

 

Artist:         Aphrodite's Child

Album:       666

Year:          1972

Line-up:      Anargyors ”Silver” Koulouris – guitars, percussion

                   Evengelio Odyssey Papathanassiou – keyboards, flute, percussion, vibes, 

                                                                                backing vocals

                    Artemios Ventouris Roussos – bass, lead & backing vocals

                    Lucas Sideras – drums, lead and backing vocals

                    Guest musicians:

                    Harris Chalkitis – bass, tenor saxophone, congas, backing vocals

                    Irene Papas – vocals

                    Michel Ripoche – trombone, tenor saxophone

                    Yannis Tsarouchis – Greek text

                    John Frost - narration

Label:          Vertigo

Seeing that the world celebrated Easter a few weeks ago and I just finished reading The Last Temptation of Chirst by the wonderful Cretan author Nikos Kazantzakis (Νίκος Καζαντζάκης) I feel the occasion is ideal to introduce you the album 666 by Aphrodite's Child, as it just happens to be a perfectly fitting album to this Christian theme.

Every fan of some good old progressive rock knows his British and German household names. My colleague has also discussed some of the less known gems of the Scandinavic prog scene of the 1970's in this blog. However, there were an equal number of likeminded progressive musical minds in the Mediterranean region. Italy had its' very own scene which has later been labeled Rock Progressivo Italiano, but there was interesting musical activity in other countries as well. Enter Greece and the band Aphrodite's Child.

In the short history of Aphrodite's Child (1968-1972), the band managed to release only three albums, 666 being the last one and the corner stone where the band's career culminated. 666 is a somewhat ambitious double album released on the prog-friendly Vertigo label. In addition to being a double album clocking in 78 minutes, 666 is also a concept album based on the story of the Apocalypse as described in Revelation of John. Interestingly, the album is heavily instrumental potraying the story of its' concept in a more abstract manner through music and sound rather than through words. The music itself mixes elements of Greek folk (especially of the Orthodox tradition), psychedelia, spoken word and progressive hard rock and pop. The album has been known for the falsetto vocals of Artemios Ventouris Roussos, better known as Demis Roussos, and keyboard wizardy of Evengelio Odyssey Papathanassiou, who the majority of music listeners know better as Vangelis. Lucas Sideras gives a solid and occasionally very forward driven and groovy performance on the drums. However, it is the guitarist Anargyors ”Silver” Koulouris who has been left in the shadows of music history. It is his inventive orchestration, powerful melodies and careful timed solos that proof to be the focal points of the songs on this album.

The album might not be as ambitious as a progressive rock concept album as its' British equivalents. The strength of 666 is based more in individual songs than as a whole coherent album. The progressive element of the music is found more in the structure, some instrumental jam sections and soundscape atmospheres than in overly complex song structures, strange time signatures or virtuoso playing. However, the album features such songs as Infinity, where Irene Papas gives a rather impressive but also a most unorthodox vocal performance, and the 20-minute epic All the Seats Were Occupied.

666 is definitely worth for your while if you are into that classic 70's prog and hard rock. Interesting fact is that after Aphrodite's Child disbanded Demis Roussos went to make cheesy pop schlock and Vangelis is known for his soundtracks of some big Hollywood titles, the most famous ones being movies like 1492 – Conquest of Paradise, Blade Runner and Alexander.

Check out The Four Horsemen from 666:

http://www.youtube.com/watch?v=selfqEH-JnY

Written by Παναγιωτιης

In the Woods... - Omnio

Artist:           In the Woods…

Album:         Omnio

Year:            1997

Line-Up:       X. Botter

                    Jan Transit

                    Christer Cederberg

                    Oddvar A:M

                    C:M. Botteri

                    Anders Kobro

                    Synne Diana Soprana

                    Bjørn Harstad

Label:           Misanthropy Records

From the ashes of Green Carnation, In the Woods… was born and what a strange and enchanting Norwegian group with an engagingly mysterious sound it turned out to be. Terje Vik Schei, also known as Tchort, left for Emperor from Green Carnation as a main composer in the former band, and so the rest of Green Carnation decided to have a fresh start with a new name and a new sound. Even though almost every Norwegian band has a black or death metal background, the result is unique and beautiful.

The band is usually called avant-garde metal, but Omnio is pretty doom. Mid-tempo and slow riffs with hypnotic melodies together with the variation of smooth and rough vocals is the surface of this album, but the more you listen to it the deeper it takes you to swirling confusion and to peaceful tranquility. This is one of those albums to listen instead of counting sheep; it may lead to rather interesting dreams. The female vocals work brilliantly in a couple of the songs. Experimental metal creating a unique atmosphere, the mysterious group is worth exploring.

The tale of In the Woods… isn’t very long. The band published only three albums at the end of the 90’s and it remains a hidden gem in the huge population of Norwegian metal acts. This is a definite addition to any prog-rock collection, it is even not that difficult to find. I urge all fans of metal and prog to check this out:

In the Woods… - Omnio? (pre, bardo and post): https://www.youtube.com/watch?v=iXhb98nurwc

Written by: Oz

Yves Robert - In Touch

 

Artist:         Yves Robert

Album:       In Touch

Year:          2003

Line-up:     Yves Robert – trombone

                  Vincent Courtois – cello

                  Cyril Atef - percussion

Label:        ECM

Alright folks! Due to our busy schedule, we decided to be little progressive – as is perfectly fitting to our nature, the little maniacs that we are – and play our April Fools' prank a week earlier. Now we are back in the game and ready to deliver you another hidden musical gem. Today we are going to take a peak at a record which is rather interesting in more than one way. In Touch is the debut album of French trombonists Yves Robert as leader who has previously worked and recorded with composer Heiner Goebbels and French wind instrument player and bandleader Louis Sclavis. On this particular album, Robert is joined by cellist Vincent Courtois and percussionist Cyril Atef.

I have this habit of buying records sometimes on very random reasons; it might be the cover, the band name or the album name or the line-up. On this occasion, I picked up the album while browsing the sales section and two things caught my attention: First, the album was released on ECM Records which in itself is a certain hallmark when it comes to record labels. Secondly, the line-up on this album aroused my interest. The trio consisting of a trombone, a cello and percussion is quite unique and interesting to say the least. You have the trombone which is usually associated nowadays with jazz music, although it has its origins in Western art music. You have the cello as accompaning instrument which is people normally see as a classical instrument and the percussions which I guess are a kind of a neutral family of instrument found in various musical traditions.

Well, what kind of music this kind of odd trio might produce then, you might ask. In Touch is an album where various elements of seeming contradictions come at play but magically happen to work very smoothly. Robert himself has described his own music as ”imaginary baroque”. This manifests itself in a weird but interesting mixture of jazz and baroque music as warm and lyrical themes are mixed with beautiful counterpoint and improvisations. The compositions are very open particularly to collective improvisation (meaning that every member of the trio can improvise at the same time rather than traditionally taking turns to improvise while the others accompany the soloist). In addition the players treat their instruments in a very original manner: Each member takes the full advantage of the capability of his instrument by using idiosyncratic techniques. Robert's sound, use of the range and extreme registers of the trombone, the use of multiphonics and various breathing techniques, Courtois's dancing pizzicatos, use of the bow and harmonies and the unique rhythms and various different percussion instruments of Atef are all just dazzling. In that sense, the music also has a certain element of ambient music in it as the albums from time to time takes the time to nourish the sensuality of sound.

In Touch is a meeting of like-minded versatile musicians who have come together to make music which is a conversation and sharing of ideas and creativity. It is a quiet record which on the other hand has an intimate warmness but also a certain intensity in it. As said earlier, it is an album where opposite ends meet and somehow make it work.

This record is such an aural obscurity that not one track is found from YouTube! I guess you just have to trust me on this one, even tough is it officially April Fools' Day.

Written by Παναγιωτιης