Television: Tour 2013 – São Paulo e Recife no roteiro.

5 abr

 

O grupo de Nova Iorque inicia o Tour 2013 no dia 17 de abril, em São Paulo, com show no Beco 203 e segue para Recife onde se apresenta no dia 19 no Abril Pro Rock.

Quem perdeu o show no TIM Festival (2005) e no Beco 203 (2011) tem mais uma chance para assistir uma verdadeira lenda tocando ao vivo. Leia aqui a excelente cítica do show em 2011.

Veja todos os shows da turnê:

Abril

17 São Paulo, BR, Beco 203

19 Recife, BR, Abril Pro Rock

22 Montevideo, UR, La Trastienda

23 Buenos Aires, AR, Teatro Vorterix

24 Santiago, CH, Club Ex Oz

Maio

02 Tokyo SHIMOKITAZAWA GARDEN

03 Tokyo KICHIJYOUGI CLUB SEATA

05  Tokyo KOUENJI HIGH

06  Fukuoka CB

08 Osaka MUSE

10 Tokyo SHIMOKITAZAWA GARDEN

12 Seoul Samsung Card Hall

Wayne Hussey está de volta! Dia 17 de março no SESC Consolação.

27 fev

O guitarrista, cantor e compositor inglês, fundador do The Mission faz um show acústico com clássicos do grupo, musicas inéditas e covers.

Jimmy Rip and The Trip: 23/08 – SESC Rio Preto; 24/08 – SESC Ribeirão

17 ago

Jimmy Rip nasceu em Nova York, seu primeiro contato com um violão foi aos 6 anos. Na idade de 12 anos, ele estava tocando profissionalmente em vários clubes de Nova York.

Fortemente influenciado pela música dos Stones primeiros Rolling Jimmy logo se interessou nas gravações de pioneiros do blues como Muddy Waters e John Lee Hooker, desenvolvendo o talento para se tornar um dos músicos de estúdio mais importantes do seu tempo.

Hoje, Jimmy está vivendo na Argentina oferecendo seu talento com “Jimmy Rip & The Trip”. Neste novo projeto Jimmy é acompanhado por Luli “Bass” Valdés no baixo e Silvana Colagiovanni na bateria, duas belas jovens com forte swing e pegada rock/blues.

Wayne Hussey: entrevista legendada

30 jul

Showlivre.com: aqui está a entrevista legendada.

 

Wayne Hussey no showlivre.com

21 jul

Programa completo (o audio desaparece no meio mas volta logo em seguida).

Wayne Hussey entrevistado por Ronnie Von

21 jul

Wayne Hussey (The Mission UK): único show em São Paulo

28 jun

Wayne Hussey, líder da banda The Mission UK, fará um único show em São Paulo no dia 14 de julho no SESC Ipiranga.

Será um show “acústico” com voz e violão/teclado.

O repertório será composto por músicas do The Mission e da carreira solo do Wayne.

A venda de ingressos inicia dia 29 de junho na rede SESC.

Jon Hassell / Possible Musics 2012: 2 shows em São Paulo

27 maio

Jon Hassell / Possible Musics 2012

Jon Hassell – trumpet / keyboard
Peter Freeman – bass / live sampling / percussion
Jamie Muhoberac – keyboard / zendrum / percussion

Dias 16 e 17 de junho de 2012 no SESC Belenzinho.

The debt I owe to Jon Hassell (Brian Eno; Friday November 9, 2007; The Guardian)

26 abr

On the occasion of a November 2007 concert in Queen Elizabeth Hall, Brian Eno was asked by The Guardian to write about Jon Hassell. Here it is in full:

 

The debt I owe to Jon Hassell.

Brian Eno; Friday November 9, 2007; The Guardian.

 

I arrived in New York on a beautiful spring day in April 1978. I’d intended to stay for a week but the visit stretched on and on and I ended up staying for about five years.

Those first few months in the city were a formative time for me. I didn’t know many people, and I had time on my hands, so I was open to things in a way that I might not have been in a more familiar landscape. I listened to a lot of live music and bought a heap of records. One of the most important was by a musician I’d never heard of – a trumpeter called Jon Hassell. It was called Vernal Equinox.

This record fascinated me. It was a dreamy, strange, meditative music that was inflected by Indian, African and South American music, but also seemed located in the lineage of tonal minimalism. It was a music I felt I’d been waiting for.

I discovered later, after I met and became friends with Jon, that he referred to his invention as Fourth World Music (which became the subtitle of the first album we made together: Possible Musics). I learned subsequently that Jon had studied at Darmstadt with Stockhausen (as indeed had Holger Czukay from Can, another occasional colleague), that he’d played on the first recording of Terry Riley’s seminal In C, and that he’d studied with the great Indian singer Pran Nath.

We had a lot to talk about. We had both come through experimental music traditions – the European one, as exemplified by Stockhausen and Cornelius Cardew, and the American one of Cage and Terry Riley and LaMonte Young. At the same time, we were aware of the beauty and sophistication of all the music being made outside our culture – what is now called “world music”. And we were both intrigued by the possibilities of new musical technology.

But beyond these issues, there was a deeper idea: that music was a place where you conducted and displayed new social experiments. Jon’s experiment was to imagine a “coffee coloured” world – a globalised world constantly integrating and hybridising, where differences were celebrated and dignified – and to try to realise it in music.

His unusual articulacy – and the unexpected scope of his references – inspired me. In general, artists don’t talk much about how or why they make their work, especially “why”. Jon does. He is a theorist and a practitioner, and his theories are as elegant and as attractive as his music: because in fact his music is the embodiment of those theories.

We spent a lot of time together, time that changed my mind in many ways. We talked about music as embodied philosophy, for every music implies a philosophical position even when its creators aren’t conscious of it. And we talked about sex and sensuality, about trying to make a music that embraced the whole being and not just the bit above the neck (or just the bit below it).

It was in these conversations that, among other things, My Life in the Bush of Ghosts, which I made with David Byrne in 1981, was nurtured. All of us were interested in collage, in making musical particle colliders where we could crash different cultural forms with all their emotional baggage and see what came out of the collisions, what new worlds they suggested.

If I had to name one over-riding principle in Jon’s work it would be that of respect. He looks at the world in all its momentary and evanescent moods with respect, and this shows in his music. He sees dignity and beauty in all forms of the dance of life.

I owe a lot to Jon. Actually, a lot of people owe a lot to Jon. He has planted a strong and fertile seed whose fruits are still being gathered.

 

Jon Hassell performs at the Queen Elizabeth Hall on November 17 as part of the London Jazz festival.

 

 

 

Kaki King no Estúdio Showlivre: musicas inéditas

31 mar

Aqui está a playlist completa:

http://www.youtube.com/playlist?list=PLDB7A5A84695DFC13&feature=plcp