Jul I'm Sorry

This album is marked by the interaction between John Lee Hooker and his guitar-playing cousin Earl. Earl, who succumbed to illness in 1970, was a fine bluesman in his own right, possessing a formidable slide technique. Many are unaware that the two often performed together, and the band that accompanies John Lee here also backed Earl frequently. The opening cut, then, a slow 12-bar number called "The Hookers" is not about ladies of the evening, but rather about the gentlemen in question.
Heard here less than a year before his death, Earl still sounds frisky and versatile, often utilizing a funky wah-wah style without ever descending into the psychedelic excesses that plagued so many late-'60s electric blues albums…

The Berlin weekly journal Die Woche, issued from 1899 to 1944 by the publisher August Scherl, announced a composition competition in 1903 with the aim of encouraging new songs 'im Volkston' (in the style of folk music). Prominent composers of the time were approached by the publishers for this competition and asked to send in an appropriate song. Of the songs submitted, thirty were selected and published in a special issue that was available in shops. At the first performance of the songs of this first competition, however, it became clear that many of these songs were indeed in a folk-music style, but due to their complexity they were rather closer to the genre of the art song.

This album is marked by the interaction between John Lee Hooker and his guitar-playing cousin Earl. Earl, who succumbed to illness in 1970, was a fine bluesman in his own right, possessing a formidable slide technique. Many are unaware that the two often performed together, and the band that accompanies John Lee here also backed Earl frequently. The opening cut, then, a slow 12-bar number called "The Hookers" is not about ladies of the evening, but rather about the gentlemen in question.

Heard here less than a year before his death, Earl still sounds frisky and versatile, often utilizing a funky wah-wah style without ever descending into the psychedelic excesses that plagued so many late-'60s electric blues albums. One of the most effective cuts is "Lonesome Mood," a low-key, one-chord stomper in the classic John Lee mold, where Earl's wah-wah guitar meshes with Johnny Walker's organ and Jefferey Carp's harmonica to create a subtly shifting, sensuously undulating web of sound over which John Lee works his hoodoo. On IF YOU MISS 'IM, John Lee definitely benefits from keeping it in the family.

LaBrassBanda - Live im Circus Krone München
DVD 1:1 rip (VIDEO_TS) | 16:9, Dolby Digital Stereo, 90 Minutes | Full Artwork
Label/Cat#: Trikont # US-0414-8 | Country/Year: Germany 2010 | Size: 4,32 GB | 5% Recovery Info
Genre: Folk, World | Style: Neue Volksmusik (New German Folk Movement), Brass

LaBrassBanda ist eine aus Übersee am Chiemsee stammende Blasmusik-Gruppe um den Leadsänger und Trompeter Stefan Dettl. Der Bandname leitet sich ab vom italienischen la banda und vom englischen brass band, was beides jeweils auf Deutsch „Blasmusikkapelle“ bedeutet. Die Musik zählt zum Genre der Neuen Volksmusik. Sie selbst bezeichnen ihre Musik ironisch auch als Bayerischen Gypsy Brass, Funk Brass oder Alpen Jazz Techno…

Six years after their acclaimed disc devoted to Mendelssohn's works for cello and piano, Christian Poltera and Ronald Brautigam now tackle the two cello sonatas by Johannes Brahms, two central works in the repertoire, unquestionably the most important since those by Beethoven. The First Cello Sonata was composed between 1862 and 1865 when Brahms was in his thirties. He seemed intent on showcasing the lyricism of an instrument that is often compared to the human voice.