Suchergebnisse
Suchergebnisse:
Das Album. Spillane ist wie sein Vorgänger-Album The Big Gundown, das radikale Coverversionen der Filmmusik Ennio Morricones enthielt, ein Konzeptalbum: Es ist eine Hommage an den Krimiautor Mickey Spillane. Das Titelstück Spillane ist eine Klang collage, die hörspielartig Spillanes Helden recherchehaft näherkommt: Aus ...
Spillane is an album by American composer and saxophonist/multi-instrumentalist John Zorn, composed of three "file-card pieces", as well as a work for voice, string quartet and turntables. It is named after mystery writer Mickey Spillane , whose novels featuring detective Mike Hammer provided the basis for the album's title track.
- 54:01
- Avant-garde
- 1987
Albert Collins auf dem Long Beach Blues Festival 1990. Albert Collins (* 1. Oktober 1932 in Leona, Texas; † 24. November 1993 in Las Vegas) war ein US-amerikanischer Blues -Gitarrist und Sänger. Seine Fans gaben ihm etliche Spitznamen, wie zum Beispiel Ice Man oder Master of the Telecaster .
Spillane is a perfectly dense sonic transfer of a classic film noir, Two-Lane Highway a wonderfully atmospheric feature for Albert Collins with superb contributions from Big John Patton and excellent support from Horvitz, Shannon Jackson and Previte. By far Collins ´best rhythm unit he ever had.
Spillane is a perfectly dense sonic transfer of a classic film noir, Two-Lane Highway a wonderfully atmospheric feature for Albert Collins with superb contributions from Big John Patton and excellent support from Horvitz, Shannon Jackson and Previte. By far Collins ´best rhythm unit he ever had.
By that he means that this piece was created to praise guitar player and bluesman, Albert Collins. He wanted Collins to shine and bring the bst out of him. For this purpose he listened to almost every record Collins ever made. He then "constructed a plot, taking Collins through twelve scenes of various moods, keys, tempos etc". the final result is Zorn's "portrait of a great bluesman". Now the ...
The piece was created to highlight the guitar of perhaps the greatest living bluesman, Albert Collins. I wanted to put him in a setting that was sometimes comfy, sometimes very challenging and new for him, where he could burn. I thought about this piece for months. I bought and listened to almost every record Albert Collins ever made. During ...
