Vale um almoço na Fogo de Chão. Resultado em uma semana, na sessão de comentários.
terça-feira, 28 de setembro de 2010
Jan e sua viola de gamba
Caro Felix, você tem razão. Não há registros do grande Jan, um dos fundadores da banda Focus, dando um trato em uma resophonic guitar. Porém, eu achei esta rara foto do mestre, quando ainda residia nos subúrbios de Amsterdam, por volta de 1840, executando uma Viola de Gamba, com maestria e até um certo desleixo. Note seu ar enfadado, típico de quem está pensando, "mas não dá para ligar esse troço na tomada não?!?"
sábado, 18 de setembro de 2010
Imperdível
Adivinhem quem veio ao Brasil para uma série de apresentações?
Isso mesmo, um dos dois mestres holandeses da guitarra, Jan Akkerman. Abaixo vai um link com o cronograma das apresentações:
http://whiplash.net/materias/news_859/114466-focus.html
Taí a dica então. Notem também que Akkerman está tocando uma Gibson Les Paul e não o tal Dobro.
Isso mesmo, um dos dois mestres holandeses da guitarra, Jan Akkerman. Abaixo vai um link com o cronograma das apresentações:
http://whiplash.net/materias/news_859/114466-focus.html
Taí a dica então. Notem também que Akkerman está tocando uma Gibson Les Paul e não o tal Dobro.
terça-feira, 14 de setembro de 2010
México Lindo...
Catuspress, urgente! Escãndalo no esporte americano. Jogadores do time "New York Jets" foram acusados de cometer assédio sexual contra a jornalista mexicana Ines Sainz.
Ines Sainz
http://www.upi.com/Sports_News/2010/09/14/NFL-probing-Jets-on-harassment-claim/UPI-15121284505805/
http://newsfeed.time.com/2010/09/14/jets-locker-room-scandal-so-what-counts-as-harassment/
http://www.cbsnews.com/8301-504083_162-20016401-504083.html
Segundo a charmosa jornalista, quando estava dentro do vestiário os jogadores lhe dirigiram uma série de "comentários grosseiros", além de procurarem, dentro do campo, lançar a bola "de maneira a estar sempre perto dela".
O dono do Jets já pediu desculpas pelo episódio.
México lindo...Os jogadores do "New York Jets" perderam a cabeça e adotaram uma conduta antidesportiva (será que essa foto é photoshop?)
Ines Sainzhttp://www.upi.com/Sports_News/2010/09/14/NFL-probing-Jets-on-harassment-claim/UPI-15121284505805/
http://newsfeed.time.com/2010/09/14/jets-locker-room-scandal-so-what-counts-as-harassment/
http://www.cbsnews.com/8301-504083_162-20016401-504083.html
Segundo a charmosa jornalista, quando estava dentro do vestiário os jogadores lhe dirigiram uma série de "comentários grosseiros", além de procurarem, dentro do campo, lançar a bola "de maneira a estar sempre perto dela".
O dono do Jets já pediu desculpas pelo episódio.
México lindo...Os jogadores do "New York Jets" perderam a cabeça e adotaram uma conduta antidesportiva (será que essa foto é photoshop?)
segunda-feira, 13 de setembro de 2010
http://www.claudiafriedlander.com/the-liberated-voice/2010/07/vocal-styles-classic-metal-singers.html
A CLASSICAL SINGER ANALYZES 5 CLASSIC MALE METAL SINGERS
1. Bruce Dickinson
Iron Maiden – “The Number of the Beast” (1982)
Initial reaction: “The first two guys are so impeccable that they’re each in their own way presenting a manifesto on how to sing well, irrespective of musical genre”.
I have nothing but admiration for this singer. Listen how he starts off with a soft growl, then moves seamlessly into a well-supported, sustained high full-voice sound that then evolves into an effortless long scream! His diction is easily intelligible, regardless of the range he’s singing in or the effect he’s going for. He achieves an intensely rhythmic delivery of the lyrics without losing legato and musical momentum, something a lot of classical singers struggle with, especially when interpreting the many staccato and accent markings that crowd scores by Bellini, Donizetti, etc.
A couple of observations for my classical readers:
There is a visceral dramatic intensity driving this singing. Many rock and metal singers are tenors who sustain much higher, much longer than operatic tenors are ever required to. It’s not just the microphone that makes this possible. These guys are singing their guts out with incredible commitment. Intention is a very powerful thing.
Notice the rasp that occasionally colors his sound. This is an effect that is totally distinct from strain – his entire larynx and throat needs to be completely loose and free to respond this way. In some of the following examples, you’ll hear singers deliberately making their voice more shallow, shrill, nasal or “harsh”. If they know what they’re doing, they can set up all of these effects without creating resistance and strain. You can tell the difference in much the same way you would listen to a classical singer – free singing is like a massage, while entangled singing makes you sympathetically tighten up your own throat.
2. Ronnie James Dio
Black Sabbath – “Falling Off the Edge of the World” (1981)
This is another very fine singer. His voice is so naturally resonant – he reminds me of Freddie Mercury. Like the first singer, he performs with perfect legato, clear diction, and a consistent, organic vibrancy. He arranges his resonance space to create a shallow snarl without setting up any resistance for his breath. You can tell how healthy his delivery is from the way he moves in and out of brief moments of harmony with the other tracks with impeccable intonation.
3. King Diamond
Mercyful Fate – “Gypsy” (1984)
Initial reaction: “There is some unfortunate studio magic here that made me think there was more than one singer, because they edited out the evidence of him shifting from full-voice singing to that crazy high countertenor thing he does (I assume he did this live all the time); how he moves from one to the other is what makes him amazing, and I want to hear the gears shifting”.
Here is some impressively artful singing. He begins in full-voice tenor fraught with sobbing verismo-like ornaments and then wails in an ultra-high, very focused countertenor, alternating these two approaches throughout the song, at times even within the same phrase. But not only do I not understand a single word he’s saying, I don’t even know what the overall message or emotion of the song is supposed to be! It is true of classical singing as well as for any other style: there is no need to sacrifice communication for the sake of stunning effects like this. All I hear is virtuosity. At first it’s cool, then it gets boring, and you shouldn’t feel bored listening to metal.
4. Ozzy Osbourne
Black Sabbath – “War Pigs” (1970)
Initial reaction: “Fourth guy is just bad throaty singing… Made my throat tight to listen to him. How long did his career last?”
This is a singer with decent diction and good musical instincts but no command of vocal technique. He is massively over-adducting his vocal folds while driving enough air through them to get them to speak, but his throat is so tight that there is no flow or resonance. His rhythmic punctuation of the lyrics is very distracting, in contrast with Singer #1 who delivered his text with rhythmic accents that served, rather than detracted from the flow of music and poetry. It hurt my throat so much to listen to him that I was tempted to ask Cosmo how long his career lasted before he either washed out or needed surgery. The entire range of his singing is contained within a single octave – with the exception of the moment when he yells “Oh Lord!” a little higher, in my opinion the only quasi-free vocal sound on the entire track.
5. Rob Halford
Judas Priest – “Dreamer Deceiver” (1976)
Initial reaction: “Last guy is super talented and the only one I really wish I could get my hands on. He demonstrates several mad skills, but they aren’t well-integrated. It doesn’t matter so much because he is so committed, expressive, and musical, but I could have helped him do it easier and better”.
This singer has a fabulous range of vocal colors and effects to choose from. His diction is easy to understand, and his phrasing is lovely throughout. He begins with such a high, gorgeous, resonant messa di voce that I was surprised to hear how low his actual full singing voice sits once he moved into it. Clearly he had been singing with a somewhat elevated larynx when he started out so high, and later in the song when he moves into a more shrill, high sneer or a scream you can tell his larynx is in a much higher position once again. The high singing and screaming is still relatively free, but I feel that it would be even more impactful if he would master a vocal technique that would enable him to better integrate all of these different things he does so well, primarily with the goal of incorporating the depth and resonance of his natural low sound into the high stuff. He is the only one of the five who I truly wish would visit my studio some time.
1. Bruce Dickinson
Iron Maiden – “The Number of the Beast” (1982)
Initial reaction: “The first two guys are so impeccable that they’re each in their own way presenting a manifesto on how to sing well, irrespective of musical genre”.
I have nothing but admiration for this singer. Listen how he starts off with a soft growl, then moves seamlessly into a well-supported, sustained high full-voice sound that then evolves into an effortless long scream! His diction is easily intelligible, regardless of the range he’s singing in or the effect he’s going for. He achieves an intensely rhythmic delivery of the lyrics without losing legato and musical momentum, something a lot of classical singers struggle with, especially when interpreting the many staccato and accent markings that crowd scores by Bellini, Donizetti, etc.
A couple of observations for my classical readers:
There is a visceral dramatic intensity driving this singing. Many rock and metal singers are tenors who sustain much higher, much longer than operatic tenors are ever required to. It’s not just the microphone that makes this possible. These guys are singing their guts out with incredible commitment. Intention is a very powerful thing.
Notice the rasp that occasionally colors his sound. This is an effect that is totally distinct from strain – his entire larynx and throat needs to be completely loose and free to respond this way. In some of the following examples, you’ll hear singers deliberately making their voice more shallow, shrill, nasal or “harsh”. If they know what they’re doing, they can set up all of these effects without creating resistance and strain. You can tell the difference in much the same way you would listen to a classical singer – free singing is like a massage, while entangled singing makes you sympathetically tighten up your own throat.
2. Ronnie James Dio
Black Sabbath – “Falling Off the Edge of the World” (1981)
This is another very fine singer. His voice is so naturally resonant – he reminds me of Freddie Mercury. Like the first singer, he performs with perfect legato, clear diction, and a consistent, organic vibrancy. He arranges his resonance space to create a shallow snarl without setting up any resistance for his breath. You can tell how healthy his delivery is from the way he moves in and out of brief moments of harmony with the other tracks with impeccable intonation.
3. King Diamond
Mercyful Fate – “Gypsy” (1984)
Initial reaction: “There is some unfortunate studio magic here that made me think there was more than one singer, because they edited out the evidence of him shifting from full-voice singing to that crazy high countertenor thing he does (I assume he did this live all the time); how he moves from one to the other is what makes him amazing, and I want to hear the gears shifting”.
Here is some impressively artful singing. He begins in full-voice tenor fraught with sobbing verismo-like ornaments and then wails in an ultra-high, very focused countertenor, alternating these two approaches throughout the song, at times even within the same phrase. But not only do I not understand a single word he’s saying, I don’t even know what the overall message or emotion of the song is supposed to be! It is true of classical singing as well as for any other style: there is no need to sacrifice communication for the sake of stunning effects like this. All I hear is virtuosity. At first it’s cool, then it gets boring, and you shouldn’t feel bored listening to metal.
4. Ozzy Osbourne
Black Sabbath – “War Pigs” (1970)
Initial reaction: “Fourth guy is just bad throaty singing… Made my throat tight to listen to him. How long did his career last?”
This is a singer with decent diction and good musical instincts but no command of vocal technique. He is massively over-adducting his vocal folds while driving enough air through them to get them to speak, but his throat is so tight that there is no flow or resonance. His rhythmic punctuation of the lyrics is very distracting, in contrast with Singer #1 who delivered his text with rhythmic accents that served, rather than detracted from the flow of music and poetry. It hurt my throat so much to listen to him that I was tempted to ask Cosmo how long his career lasted before he either washed out or needed surgery. The entire range of his singing is contained within a single octave – with the exception of the moment when he yells “Oh Lord!” a little higher, in my opinion the only quasi-free vocal sound on the entire track.
5. Rob Halford
Judas Priest – “Dreamer Deceiver” (1976)
Initial reaction: “Last guy is super talented and the only one I really wish I could get my hands on. He demonstrates several mad skills, but they aren’t well-integrated. It doesn’t matter so much because he is so committed, expressive, and musical, but I could have helped him do it easier and better”.
This singer has a fabulous range of vocal colors and effects to choose from. His diction is easy to understand, and his phrasing is lovely throughout. He begins with such a high, gorgeous, resonant messa di voce that I was surprised to hear how low his actual full singing voice sits once he moved into it. Clearly he had been singing with a somewhat elevated larynx when he started out so high, and later in the song when he moves into a more shrill, high sneer or a scream you can tell his larynx is in a much higher position once again. The high singing and screaming is still relatively free, but I feel that it would be even more impactful if he would master a vocal technique that would enable him to better integrate all of these different things he does so well, primarily with the goal of incorporating the depth and resonance of his natural low sound into the high stuff. He is the only one of the five who I truly wish would visit my studio some time.
sexta-feira, 10 de setembro de 2010
Darwin Awards 2010
Já temos sérios concorrentes ao prêmio "Darwin Awards" edição de 2010. Lembrando a quem já esqueceu, o "Darwin Awards" é concedido à pessoas que morrem de uma maneira especialmente burra, evitando assim que seus genes sejam transmitidos a gerações posteriores e melhorando o coeficiente de inteligência médio da humanidade.
Os últimos candidatos sérios ao título são piratas da Somália. Com tanto navio americano, inglês, francês dando sopa eles inventaram de sequestrar um navio russo. Uma das reportagens abaixo observa que dificimente é feita uma tentativa de resgate nos sequestros de navio naquela região. Mas os russos são meio drásticos com essas questões. Uma tropa de choque do navio "Marechal Shaposhnikov" invadiu o navio sequestrado, matou um dos sequestradores e capturou os demais, libertando os reféns:
http://news.bbc.co.uk/2/hi/8664011.stm
http://www.foxnews.com/world/2010/05/06/russian-special-forces-storm-oil-tanker-helicopter-free-crew-arrest-somali/
Marechal Shaposhnikov
Para o restante dos piratas burros que escaparam vivos, Medvedev já avisou: eles terão penas duras. Esqueçam condenação à prestação de serviços à comunidade, rapazes. O mais provável é que os piratas passem uma longa temporada na Sibéria. Alguns podem pensar que deve ser um requinte de crueldade condenar um africano à Sibéria, mas pensem no aspecto positivo: eles dificilmente voltarão ao continente africano, melhorando assim o índice de inteligência daquele sofrido continente.
quinta-feira, 2 de setembro de 2010
Led Zeppelin dá Samba?
Parece que eu sou o marido enganado aqui deste blog. Sempre o último a saber das coisas. Page esteve no Brasil e aproveitou para dar um pulo na Beija-Flor e na Mangueira:
http://g1.globo.com/pop-arte/noticia/2010/06/jimmy-page-samba-com-madrinha-da-bateria-na-beija-flor.html
http://ultimosegundo.ig.com.br/cultura/musica/jimmy+page+visita+quadra+da+mangueira/n1237679107561.html
"Wanna Whole Lotta Love, Raissa?"
Vai ver Page convidou a Raissa para ver o Dobro que ele deixou no hotel, mas a moça só gosta de Les Paul 1959 para cima.
Para não ficar só nessa história do Page, vejam só este vídeo do Bonamassa dando uma canja em uma apresentação do Danny Gatton (Bonamassa tinha 12 anos...)
http://www.youtube.com/watch?v=WLB900atJFs
Assinar:
Postagens (Atom)