Miles Davis - Doo Bop - 1992.rar
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By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the élan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)
This was followed by a series of strong studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). The quintet's approach to improvisation came to be known as \"time no changes\" or \"freebop,\" because while they retained a steady pulse, they abandoned the chord-change-based approach of bebop for a modal approach. The rhythm section became more free, able to change tempos and time signatures spontaneously. Through Nefertiti, the studio recordings consisted primarily of originals composed by Wayne Shorter, and to a lesser degree of compositions by the other sidemen. In 1967, the group began the unusual practice of playing their live concerts in continuous sets, with each tune flowing into the next and only the melody indicating any sort of demarcation; Davis's bands would continue to perform in this way until his retirement in 1975.
There are ten songs on this album, and the first track is Pale Red. This is a fantastic way to start the album. Pale Red is a slow track that starts with Burns accompanied by a piano. As you listen to the song you discover a song with a strong narrative and a clever use of similes. The song describes two lovers returning to somewhere they once lived, only to find it being pulled down, and she sings about it being too late to go back. Burns also sings about what she likes about her lover. However, by the end of the song she says that she should not be with him. The pulling down of the building could be a simile for her thinking about breaking up her relationship. This song is a good start to the album.
Orlando Julius' Super Afro Soul is a milestone of African popular music and is said to have influenced some of James Brown's late 60s output. Listening to this contemporaneous single, which Strut helpfully appended to the album on their excellent reissue, it's hard not to notice the structural similarity to Brown's \"I Feel Good\", or the fact that one of the horn riffs essentially predicts Sam & Dave's \"Soul Man\". This is good-time early African funk and one of the most important songs that almost nobody's ever heard.
Peter King was a highly educated musician, and today he runs a music school in his native Nigeria. He has songs that I almost think were held back by his extensive schooling, which may have caused him to smooth the compositional edges too much. \"Mystery Tour\" is not one of those songs. His sax playing darts and dives like it came off a bop record, and the rhythm is pure, gutbucket funk that's miles into the jungle groove. The Shango in the album title was the Yoruban god of thunder and the mythical ancestor of all Yorubans, and it's not difficult to hear that King was trying to bring a little of his own thunder on the record, one of his rawest.
The New Tone ska movement (coined by Bad Operation) has been bubbling up for the past few years, and its first true breakthrough album just might be We Are The Union's Ordinary Life. The band released their debut LP way back in 2007, but they reinvented themselves with 2018's Self Care, an album that grappled with mental health issues over some of the catchiest ska-punk songs in recent memory, and was WATU's first album with Jeremy Hunter (JER, Skatune Network) in the band. Ordinary Life takes the new direction of Self Care even further, and it's also an album that marks a milestone in vocalist Reade Wolcott's life; it's the first WATU album since Reade publicly came out as a trans woman, and the songs on this album tell her story. The album also has mental health songs and love songs, and -- to quote Reade -- what she \"really tried to do was to frame the trans experience and frame dysphoria alongside things that are maybe more relatable to the general public.\" It worked; Ordinary Life nails a balance between being deeply personal and universally relatable, and it's also home to some of the best music WATU have ever written. It's a ska album, but the production and songwriting owes a lot to modern indie artists like Phoebe Bridgers, Soccer Mommy, and Charly Bliss, all of whom Reade cites as influences. Its sound is proof that ska doesn't have to be a nostalgia thing, and it doesn't have to exist outside of today's musical zeitgeist. Ordinary Life finds We Are The Union pushing forward, and making ska music that fits right in with the current alternative landscape. [A.S.] 153554b96e
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