Suche:lloyd miller

Vinyl Only / Heavyweight Vinyl / Original Glued Prints tip-on by hand on Thick Cardboard 700 gram / 2 Separated parts handily gluing / PVC Outer Sleeve / Insert sheet Q&A with Lloyd Miller by Tony Higgins / Handcrafted silk-screen "Lloyd Miller 1938/2024" on Vintage paper with 100% natural "Persian Blue" color.

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller - Dulcimer Santur, Oud, Shamisen, Dhol, Tabla
Marilyn Miller - Flute
Tú Trinh Dàm - Voice
Dusdi Siwi Jarn - Voice

Notes:
Made with the intention of exploring and experiencing the various musical and cultural perspectives of a territory as vast as that of Persia, "Near And Far East" is a significant historical document that transcends the restrictive concept of territory but rather inhabits a space of absolute time. The album's content is not just window into faraway places, but a leap into the times and cultures that have now been swallowed up by the incessant movement of globalization and capitalism. Listening to it is turning your ear into the true musical culture of countries whose rapid change has eliminated the cultural peculiarities at their roots. Inspired by his long journeys in Iran, Lloyd Miller takes us on a journey through the instruments and sounds of a time, giving us his interpretations of a musical world that was - and that now remains - an historical document for future explorers who are curious about the mysterious musical arts of the middle and far east. Certainly a holy grail for samplers and loopers who can find exotic panoramas here! (Tony Higgins)

Comes with an insert with exclusive pictures and condensed interview about the serie with Lloyd Miller made in March 2022 printed on 300 gram Favini "Remake" paper, plus exclusive goodies!

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller- Drum (Zarb), Lute (Oud), Lute (Kamanche), Lute (Sehtar)
Marilyn Miller -lute
Jan Otterstrom - Guitar
Stan Wood - Percussion
Anna Claire Eastmond - Vocals

Notes:
The second and last chapter of Dr Miller's journey between cultures and its uses, which began with "The Far East", dissected and looked into the root of the sound of distant Asia, continues with this new chapter dedicated instead to the countries bathed by the Mediterranean and contiguous to Central European history. From Spain to Arabic sounds, a new compendium that takes us back to other places and times, Dr Miller is once again able to dissect and encapsulate sounds and spices from distant places and spaces in a time machine. Thanks to these historical documents, we have the opportunity to discover feelings that are impossible to find 50 years later, sucked up and watered down by globalization and social capitalism.

raid on the values of oriental jazz master and pioneering ethnomusicologist Lloyd Miller.

As we’ve said before on the rare encounters we’ve had with Miller’s work, he’s quite a unique figure within the worlds of jazz, traditional Middle-Eastern folk and musicology. Few in history seem to be so heavily embedded within local music scenes and have been capable of absorbing so much from their surroundings. His original works (almost all self-released) are extremely hard to find and are pretty much out of reach for most.

This double LP ‘Orientations’ is really what we’ve been longing for though. With unrestricted access to Dr Miller’s archives, local Utah label FOUNTAINavm have combed through previously unreleased recordings from the early 60’s to the early 00’s, capturing the breadth and scale of this unique artist. The cultural clash between east and west underpins each piece, where Miller’s astonishing dexterity on at least 15 different non-western instruments is infused with European Jazz standards. Like listening back in time, the fragrant humid air of the old orient hangs heavy in the atmosphere, capturing a time of great change in the area where the osmosis of culture between East and West would really take off, not without its problems. But these are recordings we keep coming back to, like the lilting romance of piano piece ‘Shahin’ recorded in early 70’s Tehran, or the hypnotic South Indian inspired Carnatic Clarinet from 1960’s. Miller’s work exists at an interesting historical intersection where jazz, folk, spiritual and documentary aspects of music all overlap. (Mint / New - heavy 2LP gatefold).

This double LP album is sourced from Lloyd Miller’s personal archives of masters and personal recordings.

Archival, Curation, and Tape Transfers by Adam Michael Terry.

From documentary film production to winemaking, Landon Lloyd Miller has left his unique mark in multiple areas, juggling a lifelong passion for music — including a long run as frontman of his Shreveport-based western band, The Wall Chargers — with an ever-present desire to create and collaborate. He's a Renaissance man for the modern age, as adept with an acoustic guitar as he is with a movie camera. "Light Shines Through," Landon's debut solo album, finds him turning a new corner, trading The Wall Chargers larger-than-life stomp for something more insular, introspective, and dynamic. The Wall Chargers shared the stage with Of Montreal, Glen Hansard, Dylan LeBlanc, Shawn James, Abram Shook, Seratones, Kyle Craft, Daniel Romano, The Lonesome Heroes, Big Cedar Fever, and The Octopus Project as well as festivals including SXSW, Valley of the Vapors, Mayfest, Secret Stages, Louisiana Music Prize, Red River Revel and Demon Fest. Miller's songs have appeared in films including Mr. Marvelous, Clowns & Robbers, The Fosters, Cut To The Chase, and The Paranormals.

Lloyd Miller, Jahrgang 1938, ist ein US-amerikanischer Musikethnologe, Arrangeur, Komponist und Multiinstrumentalist. Millers Karriere begann in den 1950ern mit Dixieland. Aufenthalte im Nahen und Mittleren Osten weckten sein Interesse an orientalischer und speziell persischer Musik. Das machte aus Miller einen Pionier des Oriental-Jazz. Während der Siebziger hatte er als Kurosh Ali Khan sogar eine eigene Fernsehshow im Iran. Die Sendung lief sieben Jahre und brachte dem Musiker eine große Popularität ein Neben diversen erkussionsinstrumenten spielt Miller Bass, Flöten, Kamantsche, Klarinette, Oud, Piano, Santur, Sehtar, Tabla und Zarb. 2010 veröffentlichte Miller mit der britischen, vom Afrofuturismus angehauchten Spiritual-Jazz-Band The Heliocentrics ein gemeinsames Album, das Strut nun in einer limitierten Auflage von 1000 Exemplaren als Doppel-LP neu auflegt. Hier beweist das Londoner Musikerkollektiv, das im Jahr zuvor (2009) mit Mulatu Astatke, dem großen Ethio-Jazz-Veteran aus Äthiopien, ein viel beachtetes Werk in Umlauf gebracht hatte, einmal mehr seine musikalische und instrumentale Vielseitigkeit

43°C, the debut LP by French electronic producer Basile3, is the result of a decade of cultivating a musical identity that focuses on hybridization, sonic recycling, and playfulness. The enigmatic title "43°C" signifies a haze of bliss (4+3=7, the producer's lucky number) backdropped by the ecological state of a world that’s grown slightly but surely warmer.

In this anticipation fiction, Basile3 offers a soundtrack that is an exploration of club music, electronica infused with r&b and ambient synths. The French producer warmly invites listeners to his state of mind, blooming with genre-bending floating soundscapes.

Featuring Telma Cappelo, Daisy Ray, Loydfears, Lucy Sissi Miller and Minor Science.

2023 REPRESS in Ltd Transparent Vinyl

Strut are proud to announce the first ever internationally released new studio album by one of the all-time legends of Nigerian music, Orlando Julius, in a mouth-watering new collaboration with London super-group The Heliocentrics. At his club residency in Ibadan, Orlando Julius was one of the very first to begin fusing US R&B with traditional highlife during the mid-'60s with his Modern Aces band. His 'Super Afro Soul' album from '66 set the blueprint for a whole generation of Afrobeat and Afro funk stars and, in an illustrious career, Julius met and played with Louis Armstrong, The Crusaders, Hugh Masekela and Lamont Dozier among others, famously co-composing the classic 'Going Back To My Roots' in 1979 whilst based in the USA.
or 'Jaiyede Afro', Julius takes us back to his own roots, revisiting several compositions from h s early years whi ch have never previ ousl y been recorded. The title track recal l s his experiences as a boy: 'my mother would go to group meetings with other women. They would sing together and play drums, I would play along with them and we would sing this song together.' Infectious chant 'Omo Oba Blues' is a traditional song sung at Julius' school which he re-arranged in 1965 for his Modern Aces band. The epic Afrobeat jam 'Be Counted' stems from his years in the USA: 'this was written around 1976 while I was living on the West coast. I did start recording it for the 'Sisi Sade' album around 1985 but it was never finished.'
Other tracks include 'Buje Buje' and 'Aseni', both re-worked arrangements from his rare 'Orlando Julius and The Afro Sounders' album from 1973.
Recorded at the Heliocentrics' fully analogue HQ in North London, the band follow their memorable collaborations with Mulatu Astatke and Lloyd Miller by taking Orlando's sound into new, progressive directions, retaining the raw grit of his early work and adding psychedelic touches and adventurous new arrangements. They also contribute live favourite, the James Brown cover 'In The Middle' and a series of memorable shorter interludes.

Nach Crazy Rhythms Of Mata Hari, Shake Your Bones, dem Cool Cat Club und Born To Hula! Folgt nun der 5. Teil der DJ-Set Serie auf Stag-O-Lee. Wie auch bei den Vorgängern handelt es sich hier um einen auf 80 Minuten eingedampftes DJ-Set von einem verdienten Recken der Zunft - Keb Darge. Gaz Mayall folgt direkt mit Volume 6. Linernotes: Rockabilly didn't cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn't really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott's stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, "Little Bit Lonesome" by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened. Two of the aforementioned collectors are no longer with us. I therefore dedicate this comp to Dave Vickers and Cosmic Keith who both had a huge influence on my life and my musical taste.

'Esoteric, modal and deep jazz from the undergound, 1968-77'

Jazzman Records presents the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.
Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz – music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.
The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come.