http://thecharlesbradley.com
http://www.myspace.com/charlesbradleymusic


Origine du Groupe : North America
Style : Soul Blues
Sortie : 2012
Durée 00:53:06

Par http://liveweb.arte.tv

Coupe afro seventies, blouson de cuir à même la peau ou col pelle à tarte ouvert sur une chaîne en or qui brille : chez Charles Bradley, il n’y a pas que la musique qui vit dans le passé. Et c’est tant mieux. Comme Sharon Jones ou Naomi Shelton, cette autre grande voix de la soul a su attendre son heure. C’est le label new-yorkais Daptone Records, avec ses Reborn Soulmen, qui lui a permis de sortir son premier album en 2011. A 62 ans.

Sur la scène de la Cigale, accompagné de ses musiciens, ses « extraordinaires » en français dans le texte, sa voix éraillée trahit le nombre des années et de litres d’alcool avalés. Sa soul, elle, est intacte. Elle navigue entre la langueur du vieux prêcheur et l’allant d’un afro-beat soutenu de cuivres et de chœurs. Si son talent s’est développé dans l’ombre tutélaire de James Brown, dont il a longtemps joué les sosies, il apparaît aujourd’hui comme le fier filleul du Godfather of soul.


• Artistes : William Aukstik, Charles Bradley, Thomas Brenneck, Vincent Chiarito, Michael Deller, Tony Jarvis, Carlos Sanchez • Réalisateur : David Ctiborsky • Cadreurs : Marion Boutin, Hugo de Castelbajac, David Ctiborsky, Elie Girard, Jérémie Vial • Son : Jean-Baptiste Aubonnet, François Clos • Production : La blogothèque - Supermouche

https://www.myspace.com/georgiaannemuldrow


Origine du Groupe : North America
Style : Nu - Soul , Hip Hop
Sortie : 2012

Pour http://www.mowno.com

Georgia Anne Muldrow est une sacrée bonne femme. Libre comme l’air, elle donne insolemment vie à tout ce qui l’inspire, à tout ce qu’elle entreprend, et ne se refuse aucun petit plaisir, du plus simple au plus conceptuel. Ainsi, on la croise régulièrement sous sa casquette de chanteuse ou de musicienne/productrice, que ce soit brièvement sur les disques des autres, plus longuement sur quelques collaborations approfondies, ou quand on ne s’offre pas totalement à elle en se délectant des quelques albums solo qu’elle a signé de son propre nom ou d’autres comme Pattie Blingh ou Jyoti. Pourtant très jeune encore, elle est ainsi devenue l’ambassadrice d’une nu-soul psychédélique et avant gardiste, un registre presque chasse gardé désormais, qu’elle vient défendre une nouvelle fois avec “Seeds”: un nouvel album ou on l’entend s’acoquiner avec Madlib plutôt qu’avec son cher et tendre Dudley Perkins (aka Declaime) avec qui elle avait pris l’habitude de collaborer le plus souvent jusque là. Il fallait d’ailleurs bien que ce soit l’incontournable producteur californien pour qu’elle accepte pour la première fois de n’y faire que chanter. D’autant que celui-ci, tout en conservant majoritairement les sonorités psyché qui lui sont chères (à l’exception de “Best Love”), s’est particulièrement montré docile envers elle en lui livrant des productions pour le moins taillées pour cet univers tout en douceurs et en rondeurs. Comme on pouvait s’y attendre, cette collaboration offre ainsi quelques petites perles que sauront apprécier les adeptes de soul les plus attentifs et pointus. Ceux qui, à plusieurs reprises (”Seeds”, “Hushfriend”, “Kneecap Jelly”), sentiront quelques frissons leur parcourir l’échine, ou qui mesureront tout le poids de quelques détails d’importance, comme ces discrets samples apportant l’infime touche funky de “Kali Yuga”. De jolies sensations incroyablement récurrentes chez le génie Georgia Anne Muldrow.


Tracklist :
1. Seeds
02. Wind
03. Calabash
04. Kali Yuga
05. The Birth Of Petey Wheatstraw
06. Best Love
07. Husfriend Intro
08. Husfriend
09. Kneecap Jelly
10. The Few feat. Declaime (aka Dudley Perkins)
11. Remember (Outro)

http://michaelkiwanuka.com
https://www.myspace.com/mikeksongs


Origine du Groupe : U.K
Style : Soul
Sortie : 2012

By Kitty Empire  from http://www.guardian.co.uk

Home Again, the debut album by Michael Kiwanuka, is a curious debut for the winner of the BBC Sound of 2012 poll. It may be available as a download but it desperately wants to be a 33rpm vinyl record with a faded sleeve that first entered the second-hand record market around 1973, rather than a 21st-century artefact.

It begins gorgeously, with little flurries of flute on the minor-key "Tell Me a Tale". The producer is Paul Butler, whose day band, the Bees, specialise in this sort of expertly turned period shading. Throughout, Butler is revealed as a key factor in making Kiwanuka something greater than just the next soul man on the UK's retro-pop conveyor belt, something akin to a hipper James Morrison. Unfortunately, the early promise of this lush, jazzy slice of yearning isn't quite kept by the rest of the album.

Raised in north London by Ugandan parents, the young Kiwanuka tussled with his identity as a guitar-loving black kid. Until, that is, he discovered first Jimi Hendrix and then Otis Redding and eventually found his spiritual home: a vintage Venn overlap in which soul artists, folkies and the late 60s, early 70s singer-songwriters conjoin harmoniously. Embraced by Communion Records, home of the Mumfords, Kiwanuka was able to quit his session-musician day job (reluctantly abetting pop-grime hotshots such as Labrinth and Chipmunk) and strum more meaningfully. He is now signed to Polydor.

Having spent so long as a fish out of water, Kiwanuka knows a thing or two about longing ("I'm Getting Ready," avers one song) and about the pleasures of finally coming home. The title track starts out like prime Later With Jools Holland fodder, the sort of "quality" nodding, strumming guff that has afflicted the nation since David Gray. Then something unexpected happens: Butler double-tracks Kiwanuka's vocal, adds a shuffling drum beat and suddenly we're in Bon Iver territory – hazy and magical.

It doesn't last. Charm exudes from songs such as "Bones", with its brushed drums, doo-wop call and response, and churchy expressions of love. But there are not quite enough of these moments on Home Again, a record that settles into a nicely crafted, twinkly retro rut without really grabbing you by anything more vital than your lapels; tweedy, bespoke, second-hand. "I Won't Lie" has all the trappings of a thoughtful gem in the vein of Marvin Gaye. But trappings are all they are – Butler's rumbling drums and ebb-and-flow arrangement expose Kiwanuka's contribution: his voice never catches, his vulnerability is never underscored; he merely sings his words nicely.

Like his co-star of 2012, the Brits-anointed Emeli Sandé, Kiwanuka is undoubtedly gifted and, like her, seems preternaturally middle-aged, an old soul in a 25-year-old body whose need to appear mature at all costs is troubling. Home Again is in no way an unpleasant record, but its unity of sound, tempo, era and purpose is less Aristotelian than it is just a little ho-hum. Unlike the work of Kiwanuka's forebears – Bill Withers, Terry Callier et al – you don't come away from Home Again changed by its insights. Instead, you have just filled the air with some nice sounds.


Tracklist :
01 – Tell Me A Tale
02 – I’m Getting Ready
03 – I’ll Get Along
04 – Rest
05 – Home Again
06 – Bones
07 – Always Waiting
08 – I Won’t Lie
09 – Any Day Will Do Fine
10 – Worry Walks Beside Me

http://www.warrenhaynes.net
https://www.myspace.com/warrenhaynesmusic


Origine du Groupe : North America
Style : Blues Rock
Sortie : 2011


From http://bluesrockreview.com

It’s hardly coincidence that Man in Motion, the latest project from Warren Haynes, is also a spot-on way to describe the album’s creator. After touring and recording extensively with The Allman Brothers, Gov’t Mule, and The Dead, is it surprising that Warren found time to cut a solo album? Surprising – no, not to those that follow Warren. Anticipated and appreciated? Yes, you’d better believe it.

In his first solo studio recording in 18 years, it is a wonderful treat to listen to Warren pour it out in this soulful, personal piece of work. Warren’s guitar is present as always, but the power of Man in Motion lies in the passionate, penetrating vocals that provide a glimpse into the soul of the singer himself. Add to that the arsenal of keys, sax, and backing vocals from world-class talent, and out comes Man in Motion, a soul-driven blend of the modernity and roots that make Warren shine.

Man in Motion kicks off with the title track and single, “Man in Motion.” From there, Warren displays his adventurous, diverse style in cuts like “River’s Gonna Rise” and “Sick of My Shadow,” songs with a ton of groove and force. His inspiring vocals drive songs like “Everyday Will Be Like A Holiday” (originally by William Bell), “Your Wildest Dreams,” and “Save Me.” This ten-song album, from start to finish, is charged with inspiration. It is a piece of work that should be appreciated and enjoyed plentifully.


Tracklist :   
01. Man In Motion 07:52
02. River's Gonn Rise 06:51
03. Everyday Will Be Like A Holiday 05:29
04. Sick Of My Shadow 06:56
05. Your Wildest Dreams 07:18
06. On A Real Lonely Night 07:38
07. Hattiesburg Hustle 06:33
08. A Friend To You 05:44
09. Take A Bullet 05:24
10. Save Me 06:16

https://en.wikipedia.org/wiki/Mississippi_Fred_McDowell
https://en.wikipedia.org/wiki/Alan_Lomax


Origine du Groupe : North America
Style : Blues , Country
Sortie : 2011

By Amanda Petrusich from http://pitchfork.com

In September 1959, Fred McDowell-- an overalls-wearing, stoop-shouldered, Panola County cotton farmer-- picked up an old acoustic guitar and wandered over to his neighbor Lonnie Young's house. Word had spread that the folklorist Alan Lomax (traveling with the English singer Shirley Collins and a 26-pound, two-track reel-to-reel tape machine) was hunting local artists to record for Atlantic Records. McDowell, who was born around 1904 in Rossville, Tennessee, had grown up imitating the still-nascent sound of the Delta blues, using an old pocketknife (and then a whittled-down bovine rib bone, and finally the squat neck of a Gibson's gin bottle) as a rudimentary slide. By the time McDowell, then 55, cornered Lomax on Young's porch, his scope (and his skill) had broadened, and the sound he made-- a mesmerizing, groove-based blues that both nodded to and defied his Delta predecessors-- instantly captivated Lomax, and eventually the world.

Fred McDowell: The Alan Lomax Recordings (available as a download through Global Jukebox, the Alan Lomax Archive's digital imprint, and on LP via Mississippi Records) opens with Bukka White's "Shake 'Em on Down", a song that McDowell appears to enjoy playing more than he enjoys breathing or eating or maybe doing anything else at all.  Following Lomax's prompt-- "1, 2, 3, go," he commands in his high, nasal voice-- McDowell locks into a heavy, propulsive groove, while his sister, Fanny Davis, blows into a homemade kazoo that Lomax, in The Land Where the Blues Began, described as "a fine-toothed comb wrapped in toilet paper" (it sure is loud). "Shake 'Em on Down" is a bracing introduction to the cadence of North Mississippi Hill Country blues: McDowell's guitar is disorienting and relentless, so rhythmic and mind-bending that if you were to, say, listen to it while driving down a dark road in the rain, you'd likely veer off into a ditch (and then feel relieved). Davis' kazooing-- itself vaguely lawless-- provides a welcome counterpoint (it's like staring at a fixed point on the horizon while trying not to vomit over the side of a boat), while Miles Pratcher (of the excellent local square dance band the Pratcher Brothers) assaults a second guitar. The result is mystifying and spectacular.

McDowell's rendition of "Good Morning Little Schoolgirl" (a deeply fucked-up-- if not particularly uncommon-- ode to little girls, made famous, first, by Sonny Boy Williamson, and then again by the Grateful Dead) is more of a showcase for his nimble guitar work than any rogue sexual proclivities. McDowell's muted delivery of the lyrics ("Good mornin' 'lil school girl/ Can I go home, can I go home with you?/ Tell your mama and your papa/ Lord, I'm a little school boy, too") is merciful; he's politely disinterested, if not fully disengaged. McDowell reserves his howls of longing for slightly less uncouth fare, like "Worried Mind Blues", an unrequited love song he imbues with legitimate anguish ("You make me weak and you make me moan," he groans, sounding broken). Mostly, though, the rhythm is the thing: With his twangy, piercing strums, McDowell establishes himself as a singular player, infinitely more interested in the transcendental than the germane. Somehow, he manages to make the acoustic guitar-- that purveyor of sweet lullabies!-- sound menacing, not familiar.

After McDowell was featured on one of Lomax's Sounds of the South compilations, he enjoyed considerable acclaim outside of north Mississippi (the timing was right with the folk revival of the 1960s gathering steam) and more than a dozen solo LPs, although none approaches the looseness of his first session for Lomax. In 1971, the Rolling Stones covered McDowell's "You Got to Move" for Sticky Fingers; it's a sluggish and deliberate rendition, and Jagger's approximation of McDowell's worn, scratchy voice feels both flat and affected. A year later, McDowell died of stomach cancer; his body, swaddled in a silver lamé suit (a gift from the Stones), is buried at the Hammond Hill Baptist Church, near Como, Miss. Supposedly, Bonnie Raitt-- a guitar student of McDowell's-- paid for a new headstone after the original misspelled his name.

It's awfully easy to approach archival releases-- and field recordings, especially-- with a detached reverence, at least in part because they were rendered spontaneously on front porches and in backyards, miles from the formal, self-conscious fussing of the recording studio. Consequently, any and all fidelity issues tend to be heard as sepia-toned, "atmospheric" snafus (oh, crickets!); judgment is clouded by access, and we feel lucky-- embarrassed, even-- to be privy to these odd little moments at all. Accordingly, what's most remarkable about The Alan Lomax Recordings is its spectacular re-mastering job (per the Portland-based engineer Timothy Stollenwerk); now, it's possible to divorce these songs from their contexts long enough to be properly flabbergasted by McDowell's hypnotic, eager performance (although, should you get curious, the collection is also beautifully annotated by Arhoolie Records' Adam Machado and the Lomax Archive's Nathan Salsburg). None of these tracks was previously unreleased (all have appeared, in one form or another, on various compilations, many long out of print), but The Alan Lomax Recordings still feels revelatory-- and for his part, McDowell still sounds spectacularly alive.


Tracklist :
01. Shake 'em On Down (2:45)
02. Good Morning Little Schoolgirl (2:58)
03. Keep Your Lamps Trimmed And Burning (3:11)
04. Fred McDowell's Blues (4:14)
05. Woke Up This Morning With My Mind On Jesus (3:18)
06. Drop Down Mama (2:53)
07. Going Down To The River (5:04)
08. Wished I Was In Heaven Sitting Down (2:11)
09. When The Train Comes Along (2:52)
10. When You Get Home Please Write Me A Few Of Your Lines (3:25)
11. Worried Mind Blues (3:36)
12. Keep Your Lamps Trimmed And Burning (Instrumental Reprise) (0:34)