happy [half] birthday

happy half birthday my beautiful daughter! 

i can't believe that you are 6 months old today.  if you were able to eat cupcakes i would give you one.  you have a stuffed cupcake, perhaps i should introduce that today.  it seems appropriate.
i was cleaning out my camera and found these pics of us.  we hardly ever get pictures together so even though i'm a hot mess, have multiple chins and your hand is in your mouth i pretty much treasure these.  i'll do a whole post on all the new, fun things that 6 months has brought but that will wait.  for now we'll just be present to witness all your 'big-girl-ness' away from the computer, but probably with a camera still in front of my face.  sorry, i can't help it.  just look at you!
 happy.half.birthday.precious.princess

Ah, l'amour!

En una de esas noches lluviosas y frías holandesas, pasé un ratito en mi pasatiempos favorito, y oh! casualidades de la vida, cupido decidió lanzarme una flecha y decidí que sí o sí, iba a tejer ese cuello. 


Al mismo tiempo, las puce-lanas estaban hablando de hacer un KAL de un cuello, y no tuve más remedio que proponer este cuello. Al final, tras una dura votación, salió elegido. 

Casualmente, por esa época Drops lanzó una oferta en sus lanas de alpaca (¿he dicho ya que es mi material favorito?) y, claro, no tuve más remedio que coger "algunas" madejitas.  Con todos esos elementos, estaba claro que el color elegido tenía que ser rojo, que al fin y al cabo es el color de los corazones, de la pasión y todas esas cosas que yo asociaba a la palabra cupido

El resultado es un cuello super-esponjoso, con una definición de punto perfecta, y lo suficientemente delicado y abrigado como para poner en invierno. 


La lana, Drops Baby Alpaca Silk es una maravilla. Con el bloqueo ha ganado definición y caída (quizá no lo más adecuado para este proyecto), y tiene unos colores que a mí me tienen loca. Como esta lana era un poco (bastante) más fina que la del patrón original, decidí modificar el patrón y puse 252 puntos en vez de los 200 que mandaba. Para mí ha quedado de la longitud perfecta: justo para llevarlo suelto si hace calor y con dos vueltas cuando el frío pucelano aprieta. En suma, otro proyecto perfecto. 

VV.AA. ''DIABLOS DEL RITMO-THE COLOMBIAN MELTING POT, 1960-1985'' (COLOMBIA,2012) @ [320k]




VV.AA.  
''DIABLOS DEL RITMO-THE COLOMBIAN MELTING POT, 1960-1985'' (COLOMBIA,2012) @ 

Aún no termina 2012, pero este disco ya ha sido calificado como “la colección retro del año”. Como los mejores compilados de world-music su selección es, a la vez, descubrimiento musical y lección de historia. Sin embargo, nada aquí suena tedioso ni solemne. Al contrario, el título es justo: ésta es música compuesta e interpretada por los que parecen ser diablos del ritmo.

Lo que busca a grandes rasgos esta antología doble es ejemplificar los lazos entre Colombia y África. A través de canciones de ritmos latinos diversos pero innegable ancla trasatlántica, el auditor comprende de golpe la influencia negra en mucha de la música colombiana más agitada, y de lo vital que resultó en algún momento el puerto de Barranquilla para importar lejanos discos de Nigeria, Congo, Costa de Marfil y Cuba que terminarían por permear el folclore local (la historia se detalla en un valioso librillo de sesenta páginas).

Es un disco de investigación preparado por un hombre meticuloso. En sucesivas visitas a Colombia, el fundador del sello británico Analog Africa, Samy Ben Redjeb, fue reuniendo una valiosa colección de discos locales de los años setenta. Vio entonces que mucha de esa antigua música grabada en Bogotá, Medellín, Barranquila y otras ciudades del país —el segundo de Latinoamérica en cantidad de ciudadanos negros— tenía evidentes ligazones con el afrobeat, el afrofunk y la psicodelia. Había grupos de nombres como Wganda Kenya, por ejemplo, o trabajos de percusión que no podían haberse inspirado sino en el continente negro, como el de las grabaciones de Abelardo Carbono.

Música colombiana de influencia africana o música afrocolombiana. Éste es un disco de baile, de pulso a veces apabullante, y de encuentro entre ritmos latinoamericanos nacidos con África en la memoria (la puya, el porro, la gaita, el cumbiambe, el mapelé, el chandé) y pulsos negros cosmopolitas (funk, jazz, psicodelia) ajustados cómodamente al molde colombiano. Así, Diablos del ritmo consigue reunir décadas y estilos que no chocan entre sí pues mantienen la guía rítmica como cauce seguro, pese a la diversidad. Y el oído se sacude, sorpresa tras sorpresa, por un puente entre continentes de magnética invitación a sacudir bien el cuerpo.
Fuente

Se ha escrito sobre el disco:

"Éste es otro de esos compilados indispensables ante los que sólo puedes maravillarte por la heroica dedicación del hombre que la reunió” (The Independent).

"La calidad es suprema a lo largo de todo el disco, y cada tema está destinado a llenar una pista de baila con giros desatados. El sonido de estas treinta y dos joyas es al mismo tiempo radical y accesible, y satisface la necesidad tanto de las extremidadades del cuerpo como de las mentales” (BBC.co.uk)


DIABLOS DEL RITMO: THE COLOMBIAN MELTING POT 1960-1985

If you’re a new, intermediate, or hardcore fan of Colombian music, you’ll enjoy Diablos del Ritmo: The Colombian Melting Pot 1960-1985 by the Frankfurt-based Analog Africa record label. The double CD is an anthology of – and tribute to – the immense sound of 1970s Colombia.

Analog Africa’s Samy Ben Redjeb traveled to Barranquilla, the port city on Colombia’s Atlantic coast, in 2007, armed with several African records and a plan that he’d use them to trade for Colombian records he was after. Little did he know that the records would be a hit because of the impact they had on Barranquilla’s Carnival and the music emanating from the city itself in the 1970s.


Contemporary music collectors learned the real names of some of their favorite African songs thanks to Redjeb’s bounty and this exchange of records and music history eventually led to Diablos del Ritmo.

Though Redjeb collected thousands of records for this project, eventually he settled on 32 colourful tracks that appear on the double CD. There are a few from the 1960s and 1980s. The first disc contains Afrobeat, Palenque sounds, tropical funk, and terapia. The second has puya, porro, gaita, cumbiamba, mapalé, and chandé.

Another reason this album is a must-have for fans of Colombian music, is the 60-page booklet that comes with it. It’s like taking a university class, the booklet serving as a textbook complete with 40 vintage photographs. It’s also full of interviews and first-hand stories about how many of these records came to be. There’s also a bit on Redjeb’s travel to Colombia and how this anthology came to be.

If I had to pick a favourite track, without a doubt it would be “El Garabato” by Cumbia Soledeña. The track is synonymous with comparsas of children dancing at los carnavales! I’ve heard this song since I was a child and it always signifies a happy time of the year.

Another favorite is “Bajo el Trupillo Guajiro” by Sexteto Manaure, a spicy tropical number that sizzles. Of the Afrobeat selections, Wganda Kenya’s “El Caterete” is pure funk.
by Gina Vergel 28 November, 2012
Source

TOM TEASLEY ''AL THE WORLD'S A STAGE'' (USA,2012) @ [276k VBR]




TOM TEASLEY  
''AL THE WORLD'S A STAGE'' 
(USA,2012) @ 

With "All The World's A Stage, award winning percussionist Tom Teasley has created a feast of soundscapes with the rhythms and sounds of instruments from around the world.

There are so many colors and textures of the  Middle East and Asia. Teasley plays instruments that many have never heard of, including the aquasonic, balafon, bodhran, cajon, didgi-harp, riqq, melodica, coumbek, Korg wavedrum, Roland HandSonic, MalletKat, and bansari whistle. Nice mix of acoustic, and electronic percussion with endless possibilities.

It's always a treat getting a project from a percussionist, because when you are a supporting musician, your job is to make the lead performer sound as good as possible, and not necessarily to display all of the skills you have within your arsenal of skills. Now, on this 9 track CD, music fans will get to connect with a wide range of exotic sounds, and something as simple as a whistle takes on a different purpose when used for percussion, most notably on the track "Rise Up". The voice is another interesting 'instrument' when applied by Mr. Teasley, not like a beat box but with the techniques used in Indian music, heard on "Fuska and Varuna". This is a CD that will bring you to new places and you'll be glad that you took the trip. Happy travels.

By
Paul Anderson

Source
***********
Tom Teasley – All the World’s a Stage – T&T Music
Percussionist Tom Teasley proves there is a stage for all of the world’s percussion.
Published on October 29, 2012

Percussionist Tom Teasley takes the concept of a one-man band to a unique level on his eighth album as a leader, All the World’s a Stage. Over the course of 41 minutes and nine tracks, Teasley overdubs a large collection of traditional, ethnic, digital and self-created percussion instruments to produce a simulated percussion ensemble. Teasley uses both acoustic and electronic instruments to craft a multi-cultural track list which showcases Teasley’s varied influences, from Middle Eastern tonalities to those from India, and from African inspirations to American jazz. Teasley’s pan-global approach is always filtered through his own viewpoint and perspective, which provides a personable fusion.

Although there is no specific thematic unit which runs through the material, on most pieces Teasley utilizes one of four types of melodica (which has a musical keyboard on top and is played by blowing air through a mouthpiece attached to the instrument’s side), which helps provide a comprehensive sound which unifies Teasley’s music. Rhythm is paramount. Each cut has a dance-delineated declination. This can be experienced from the outset on the South Indian-oriented “Oresteia Furies Dance,” where Teasley plays the balafon (an African wooden percussion instrument related to the xylophone, marimba, glockenspiel and the vibraphone: sound is formed by hitting tuned keys with padded sticks), adds vocal percussion effects, and manipulates both the Roland HandSonic (a multi-pad, midi-based, hand-drum machine) and his self-produced Aquasonic (which has a metal base filled with water, and spokes of differing length bowed with a cello bow). “Fuska and Varona” (the title comes from two theatrical characters) has a similar arrangement and quality, where electronic and traditional percussive elements (including both bass and soprano melodica and cymbals) also commingle. Another distinctive percussive tool is heard here, the midi-controlled MalletKAT, which Teasley operates to layer in other percussive timbres.

Teasley constructs a sense of dramatic narrative on some cuts, which draw on Teasley’s award-winning theatrical/stage work. During the lightly melancholic “Orestes’ Lament,” Teasley employs an alto melodica, a spring drum, a djembe (a rope-tuned, skin-covered goblet drum played with bare hands, associated with Mali in West Africa) and other percussive implements, to sculpt a metrical footing. A Korg Wave Drum allows Teasley to integrate an underlying contemporary coloring. There is a fauna foundation on the minimalist “Return of the Green Bird,” where Teasley incorporates a Bansari whistle (which has a flute-ish characteristic), which echoes the sound of tropical birds; the lap style bodhrán (an Irish frame drum) and the riqq (an Arabian tambourine), thus fashioning one of the album’s more notable hybrid compositions. There is a different sort of story-like stratagem to “Nights Over Baghdad,” inspired by Teasley’s U.S. Dept. of State visit to Iraq and other nearby areas. While Teasley performs on a sweet soprano melodica (the primary instrument which carries the main theme and melody), he supplements the number with the riqq, a doumbek (a hand drum with a crisp, bass resonance), the MalletKAT and a cajón (a Peruvian, box-shaped wooden drum). Teasley closes with two artful tracks. “Rise Up” contains Asiatic flickers via Teasley’s koto-like allusions, derived from the MalletKAT, as well as a Middle Eastern refrain which comes from the riqq. Teasley’s alluring melody is fed through an alto melodica. Synthesized dynamics sift through the brief “Setzuan Blues,” which marries an Asian pattern with a blues treatment. It seems as if there are fewer and fewer all-percussion projects available, particularly any which have the melodic flair shown on All the World’s a Stage, so Tom Teasley’s continuing inventiveness in the sphere of percussion composition is a good sign that such endeavors can be released and find a home with listeners who can appreciate such ventures.
—Doug Simpson
Source

(Tom Teasley – co-engineer, aquasonic, balafon, djembe, bass drum, pandeiro, cajón, hi hat-shekere, shakers, vocal percussion, Roland HandSonic, wind, lap style bodhrán, alto melodica, doumbek, cymbals, Korg Wave Drum, marimba, riqq, didgi-harp, bass marimba, bass melodica, MalletKAT, soprano melodica, spring drum, hang drum, alto melodica, bansari whistle, Yamaha Motif)

TrackList: 
Oresteia Furies Dance; 
Rumba for Rama; 
The Apple Song; 
Nights Over Baghdad; 
Orestes’ Lament; 
Fuska and Varuna; 
Return of the Green Bird; 
Rise Up;
Setzuan Blues.


One Lace, many possibilities..


I have a few yards of this dark beige floral lace
and today I used it in a few of my projects.
Here I covered a perfume bottle..


The lace is easy to cut, I just followed the flowers.
I added a panel to the front of the round cushion
and a bit to the side of the tissue box cover.


Here I added two layers of lace to 
 the table cover.








I love my new finds, 
paper flowers in a pretty soft pink colour
and oval lace to add to just anything...


I hope you are having a wonderful weekend.
Today I will be joining in with

xoxo



DEELA ''BEST OF DEELA'' (ALEMANIA,2012) @ [320k]




(APORTE DE BABBODUB)

DEELA  
''BEST OF DEELA'' 
(ALEMANIA,2012) @

A celebrated Switchstance Recordings act from Day One, Deela brings together all that is to love about the label:

Mastermind Ingo Moell's musical roots are as varied as his tracks are playful, and he shows himself always willing and able to connect unexpected sonic dots where they fit perfectly. Coming from a culture of playing live, that's how it's done in the Deela studio to this day – all parts are recorded with real instruments and then fed into the machines, achieving a highly characteristic, organic spectrum of sounds and grooves that is inspired by the greatest artists in Afro, Latin, Jazz, Funk and Soul. Call it World Music if you like, for Deela's productions are embracing cultural and musical traditions across all five continents – but this is a modern world, bright and full of possibilities.

Apart from many original tracks that make the project a staple of Switchstance Recordings' fine artist roster, Deela has remixed artists as diverse as Diesler, Mo' Horizons or Issa Bagayogo, adding his very own kind of positivity to tracks that leave dancefloors around the globe yearning for more. But don't worry – even though these grooves might be heavily addictive, what's been said about Deela nearly a decade ago still hits the spot now:
This Deela's got the healthiest dope around!
Source
*********
More than once, producer Ingo Möll has proven that he and the international sound of his alter ego Deela go beyond existing categories of music. But this time he is closer to the cutting edge than he might have thought. With the new album Rumbullion, Deela shows how to cook a high energy gumbo that really opens up a dancer’s heart. Here, organic bass bangers are spiced up with Cumbia shakers, warm flute sounds, accordions and bouncy horn sections. Analog compression meets a variety of electronic effects applied on modern beat patterns like dembowish Moombahton. Catchy vocal samples taken from Reggae, Hip Hop or Funk sources are the little details that make Deela’s tracks so animating. But Rumbullion also offers dubwise headz music to chill and the percussive and housy Afro-Latin track “Sansa”.

“Así Soy” (‘That’s how I am’, also released as a single) and “Que Será” (“What will be”) feature the wonderful voice of Maria Garcia Lora who is known from Deela’s debut album “Mano Mano”. The andalusian singer from Cordoba based in Essen, Germany, makes sure Rumbullion gets the female voice it deserves: smooth, sexy, spanish. Well chosen latin melodies and funky harmonies cover the bumping beats with an all-over happy vibe. Once you take a sip from this Caribbean flavoured bouillon you can’t get enough. Highly addictive!
Source

1.Azua Azua (Latin Funk Mix) 05:24
2.Heartbreaker 04:45
3.Parero (feat. Maria Garcia Lora) 03:29
4.Shelta Blues 05:13
5.African Chant (Part II) 05:27
6.Absurdo 04:21
7.Try, Try And Try 03:58
8.Quieres Corazon (feat. Maria Garcia Lora) 03:46
9.Ritmo Do Bimba 04:15
10.Blackness Of The Sun 05:04
11.Enjoy 05:57
12.Conceicao (Straight Up Mix) 04:47
13.King Alpha & Queen Omega (feat. Mango Juice) 02:34

DIEGO SCHISSI QUINTETO ''TONGOS'' (ARGENTINA,2012) @ [228k VBR]



DIEGO SCHISSI QUINTETO  
''TONGOS'' 
(ARGENTINA,2012) @ 

Violentangos y libertangos
Entrevista a Diego Schissi 
El músico logra darle una vuelta de tuerca original a la composición de música ciudadana en la era post-Piazzolla.
Por Pablo S. Alonso. Especial Para Clarín

Rodolfo Mederos suele decir que el efecto de Piazzolla en los nuevos músicos de tango es el de una luz que más que iluminar, enceguece. Ha sido difícil para los compositores post-piazzolleanos el poder avanzar en una búsqueda estética con identidad propia y no quedarse en el mero ejercicio de estilo, repitiendo tics del autor de Prepárense . Diego Schissi, pianista y compositor que presenta su segundo álbum como líder, Tongos , no tiene este problema. Piazzolla es un referente inevitable por la formación de quinteto, pero especialmente por la idea de tango como música donde pueden confluir distintos géneros y estilos, populares y académicos.

Las once composiciones de Tongos , sucesor de Tren (2008), están repartidas en tres categorías cuyos títulos únicamente varían por su numeración. “Me entusiasmó hacer series de temas a la manera de ciertos artistas plásticos, que con una misma idea producen varios cuadros”, cuenta Schissi.

Los “Tongos”, reconfiguran elementos del tango como el rol protagónico del bandoneón y el violín, los golpes percusivos de los instrumentos de arco, o el arrastre del ensamble. La insistencia rítmica de los ostinatos tiene aún mayor presencia en la serie “Líquidos”. Ambas series podrían catalogarse como violentangos , por eso hay un tercer grupo de obras, las “Canciones”, ubicadas estratégicamente para generar espacios de calma, incluso íntimos, donde la contemplación prima sobre la agitación, y la atención está puesta en la melodía, como Canción 4 , un dúo entre el bandoneonista Santiago Segret y el guitarrista Ismael Grossman, o Canción 1 , con el lirismo del violinista Guillermo Rubino.

Schissi y el contrabajista Juan Pablo Navarro son los cimientos. “Un proyecto sin percusión fue novedoso para mí, viniendo del jazz”, admite el ex integrante del Quinteto Urbano, grupo seminal en el resurgir del jazz local.

Schissi también ha versionado en concierto temas de Spinetta y Charly García, y colaborado con cantantes como Lidia Borda, Ligia Piro y Susana Rinaldi.

El pianista demuestra que la mejor manera de aprehender la esencia de un compositor es conociendo los músicos de quienes éste aprendió: aparecen disonancias y rítmicas de Stravinsky y Bartok, referentes esenciales de Piazzolla. A diferencia de las falaces renovaciones del tango electrónico o el “rockero”, que desaprovechan herramientas inherentes al género, Schissi desarrolla inventivamente los materiales, incluso de motivos rítmicos y melódicos típicos del minimalismo ( Tongo 6 ), con procedimientos ya presentes en Beethoven, y su idea del rock remite al vuelo de King Crimson ( Tongo 4 ) o Frank Zappa (las construcciones melódicas de piano y bandoneón en Líquido 2 ), escuchas de adolescencia.

No obstante, Schissi se siente igual de inspirado por el máximo representante del tradicionalismo tanguero. “Troilo es el tango. La estética que manejamos es muy alejada a la troileana, pero en mi mente Troilo funciona como una especie de guía espiritual que siempre me arrima a contener lo que se desborda. Me sirve como contrafigura de Piazzolla, que busca el límite.”
Fuente
***************
It is interesting how music can be so intertwined with cultural and national identity. No matter how creatively an industrious composer bends its elements to his will the music remains a part of the tradition. Some musicians see this as a challenge, while many embrace the bond. On his new release Tongos, Argentinean pianist/composer Diego Schissi attempts to create a unique form of music inspired by Argentina’s most important cultural legacy, tango.

Born in Buenos Aires in 1969, Schissi was exposed to tango but was quickly drawn to the sounds of jazz. He studied at Conservatorio Nacional “López Buchardo” and, moving to the United States, the University of Miami, where he studied jazz performance. Upon graduation, Schissi remained in the States performing in ensembles led by Tito Puente, Nestor Torres and Maria Schneider, among others.

Schissi returned to Buenos Aires in 1996. Up until that point, he had been entirely engrossed in jazz – in study and performance over a span of 10 years. Schissi began playing with his own ensembles and with the popular Quinteto Urbano. His return to Buenos Aires found him increasingly drawn to the music of the legendary tango composer Astor Piazzolla. Schissi’s focus began to shift to tango composition, a music that he had never played before.

In 2009, Schissi created the Diego Schissi Quinteto, a new ensemble that focused on Schissi’s contemporary take on the tango model. The ensemble featured Schissi on piano along with violinist Guillermo Rubino, bandoneón player Santiago Segret, guitarist Ismael Grossman and bassist Juan Pablo Navarro. The performers came from different musical backgrounds. Where most contemporary ensembles featured members with classical and/or tango backgrounds, Grossman, Navarro and Schissi came from a strong jazz grounding.

While there is little jazz influence in the music of the Schissi Quinteto, the subtle hints of jazz set the work apart from other tango experiments. The differences are mainly in inflection and in how the musicians communicate in performance, not necessarily in improvisation, there being very little here. There is also a mindset among the performers aligned with that of a jazz musician: a raw drive to play the music, not just receive a paycheck.

Schissi’s music is a shift away from the form of tango. He chooses to “keep the energy rather than the gesture.” In doing so, Schissi intentionally keeps the traditional instruments associated with tango: bandoneón, violin, piano, guitar and bass. He does change other aspects, even if subtly. He ironically christens his music tongo and, as there are three forms of tango, there are three forms of tongo. The tango is mirrored by the tongo while the lyrical ¾ vals is countered by the canción and the cut time milonga by the liquido.

The music takes many of the elements that Piazzolla established and embellishes them with the compositional concepts that were originated by 20th century classical composers like Bela Bartok and Igor Stravinsky. All these influences combine to create a sound that is “not tango, but close.”

The Quinteto was premiered at the Festival Internacional Buenos Aires Jazz 2009 with the program “Tongos, canciones y líquidos” along with dances by choreographers Ana Garat and Pilar Beamonte. This performance was essentially a dress rehearsal for the recording of Tongos and the ensemble’s subsequent tour throughout Brazil, Chile, Uruguay and Argentina. Schissi’s achievement was recognized by the Secretary of Culture with a mention at the Argentinean National Music Awards.

Schissi’s young ensemble continues to stretch the boundaries of tango tradition that has continued to be very conservative. The work of the Quinteto has steadily become more and more popular with dancers and listeners over the past few years as many become enchanted by the beautiful and intriguing new sounds of Tongos.
Source


Tracks: 
1. Tongo 2 
2. Liquido 3 
3. Canción 4 
4. Tongo 4 
5. Liquido 5 
6. Tongo 6 
7. Canción 1 
8. Intro Liquido 2 
9. Liquido 2 
10. Tongo 1 
11. Canción 2 


credits
released 19 June 2012 
Guillermo Rubino - violin 
Santiago Segret - bandoneón 
Ismael Grossman - guitar 
Juan Pablo Navarro - bass 
Diego Schissi - piano, compositions

currently


black skinnies: Hudson, boots: Sam Edelman, vest: Converse for Target


currently (inspired by B)

watching: literally every show on television. i am a television whore and i don't even care. i DVR everything and watch them while Gemma takes her naps. favorites: Pretty Little Liars, The Good Wife, kourtneyandkimtakemiami, Modern Family, New Girl, Parks and Rec.

eating: the last crumbs from the best effing cinnamon rolls i have ever had in my entire life. which were 100% homemade and "i PROMISE L, not that hard to make!"(i don't believe you) THANK YOU ALI 

thinking about: how badly i want a fat burrito for lunch. also, about my impending weekend plans that definitely include chillin with JJ and G, mani/pedis with LJ, at least 2 redboxes and also some Indian food. and may quite possibly include a Kenny G concert with my cousin. 

mad at JJ for: clipping his toenails wildly and freely (i.e. not over the garbage can) 

reading: The New Yorker, In the Shadow of the Banyan by Vaddey Ratner 

celebrating: the fact that JJ and i are now officially signed up for the Disneyland 5K! and also, i downloaded the couch-to-5K app on my phone. and i picked this fluffy pink cartoon poodle to be my coach. i'm all set. NOW, to get started on the actual training...

craving: well, besides that fat burrito. i adore this pink leather-bound Jane Austen set:



making me happy: Gemma. she gives kisses when you ask for them! and yesterday she just learned how to wave bye-bye! OHMYGODYOUGUYSSHEISSOOOOOSMART


Punto y vestido




Hola chicas, después de unos cuántos días con nieve y luego lluvia hoy por fin pude aprovechar para hacer fotos. Hoy os enseño una de mis adquisiciones de las rebajas: este cárdigan de punto, muy calentito, de H&M. Además de ser perfecto para los días fríos que estamos teniendo, me encanta su color. 

Sé que en días fríos la mayoría de nosotras combinamos este tipo de prenda con pantalones y camisa/camiseta; la combinación que elegí fue con un vestido, medias y tacones. Creo que es una opción calentita y a la vez elegante. Espero que os guste el outfit de hoy. ¿Vosotras también usáis ese tipo de prenda con vestidos? 






Olá meninas, depois de uns quantos dias com neve e chuva, finalmente eu pude aproveitar uma pequena pausa para fazer algumas fotos pra vcs. Hoje eu mostro pra vcs uma das minhas comprinhas desses "sale": um cardigã de tricot da H&M. Além dele ser perfeito para esses dias frios, eu amei a cor!

Sei que nos dias de frio a gente costuma combinar esse tipo de peça com calças e camisa/camiseta; mas hoje eu me decidi por combinar com um vestido, meias e salto. Acho que fica uma combinação quentinha e ao mesmo tempo elegante. Espero que tenham gostado do outfit. Vcs também usam esse tipo de peça com vestidos?



Cárdigan de punto/ Cardigã de lã: H&M
Vestido: Sisley
Zapato/ Sapato: Pedro Miralles


basically my whole day yesterday



corduroy pants: J Brand, blazer/heels: BCBG


Gemma is so over it in that second pic. but LOOK AT HER LITTLE TONGUE in the last one. sticking her tongue out is her new favorite thing.

here is my day yesterday. i'm going to write all about it. because i can.

i left my favorite necklace at Gymboree on accident. Jimbo better not steal it or i will shank his ass. 

WE GOT TO MEET MY FRIEND SAND'S BABY YESTERDAY and i weeped a bit because she is the most precious little thing. i love her. she's so delicious. and the little newborn fuzz on her arms you guys. i almost died dead. BECAUSE NEWBORN ARM FUZZ IS THE VERY BEST. and Gemma was like a giant compared to Baby I. Sand and i are so lucky these two girls will grow up together as friends. 

i made Sand and her husband pasta roma to have for dinner and so i also made it for me and JJ. so we ate dinner. and then i watched some of my DVRed shows while JJ browsed hockey gear online. and then i checked Facebook. and then i ordered a bath toy holder from Amazon because right now Gemma's bath toys are in a salad bowl in the bathroom and i feel like they're growing mold. then i wrestled with Cleo. and then i annoyed JJ while also succeeding at one of my new year's resolutions (pinching his bum) so essentially i was killing two birds with one stone. and then we went to bed. 

at 1 a.m. i heard a strange noise outside. it was close. and it kept coming closer and closer and all of a sudden it was right outside our bedroom window. just like a scary movie. AND THEN IT HIT ME. I KNEW THE SOUND. it was the sound of a garbage can being wheeled down the driveway. i said "OHMYGOD JJ WAKE UPPPPPP THE NEIGHBOR IS TAKING HIS GARBAGE OUT AT 1 A.M. THAT IS NOT NORMAL." and JJ said, "you don't have to shout, i'm right here and i'm already awake." and so we listened to our weird neighbor finish dragging his garbage to the end of the driveway. and i said, "JJ. but really though, why would they wait until 1 a.m. to take the garbage out?" and JJ said, "because there's probably a body in there." and i said "OHMYGOD THAT'S SO SCARY SHUT UP. but you're right. there's definitely a body in there." so basically we are 98% positive that our neighbors are murderers. try going back to sleep after that conversation. it took me like 38 minutes. then at 4 a.m. Cleo decided she had to go poop. so typical. so i had to walk outside and wait for her to take care of that business. and the murder neighbors' light was on. at 4 a.m. you guys!!!!! obviously they are vampires. vampire murderers. WHAT SHOULD I DO?!?!?!?!?!?

SATHIMA BEA BENJAMIN ''A MORNING IN PARIS'' (SUDAFRICA,1963-2007) @ [FLAC]





SATHIMA BEA BENJAMIN  
''A MORNING IN PARIS'' 
(SUDAFRICA,1963-2007) @
[FLAC]

Legendary Duke Ellington Jazz Performance Reissued

The Duke Ellington-produced album A Morning in Paris -- recorded in 1963 by South African singer Sathima Bea Benjamin featuring Ellington, Billy Strayhorn, and Abdullah Ibrahim as pianists -- will be reissued on October 16 in celebration of Sathima's 71st birthday. CDs will be in stores January 22, 2008, but advance copies will be available at Sathima's birthday concert at New York's Sweet Rhythm Jazz Club on Wednesday, October 17.

A Morning in Paris

"I know I shall never, ever again have such a positively wonderful and ecstasic musical experience. I have been blessed beyond words, to have Duke Ellington, Billy Strayhorn, and Abdullah Ibrahim as my accompanists that 'Morning in Paris.' Their input in my musical career empowers me forever."

The Duke Ellington-produced album A Morning in Paris -- recorded in 1963 by South African jazz singer Sathima Bea Benjamin featuring Ellington, Billy Strayhorn, and Abdullah Ibrahim -- will be reissued for download on October 16 in celebration of Sathima's 71st birthday. CDs will be in stores January 22, 2008, but advance copies will be available at Sathima's birthday concert at New York's Sweet Rhythm Jazz Club on Wednesday, October 17.
The story of Sathima Bea Benjamin's A Morning in Paris -- one of the lost and found gems of jazz recording history -- begins in 1963 when a young South African singer named Beattie Benjamin, living in exile in Zurich, catches Duke Ellington's ear after his own performance and convinces him to come directly down to the Club Africana to listen to her boyfriend's trio. Beattie (who would later be given the name "Sathima" by bassist Johnny Dyani) exercised that night a persistence that would dramatically change her life and career, as well as that of her future husband, Dollar Brand (later Abdullah Ibrahim), and perhaps even the history of jazz. Duke not only agreed to hear the trio; he also insisted that Beattie sing for him. Enthralled by what he heard, Duke sent the musicians to Paris, whereupon both Dollar and Beattie would record albums for Frank Sinatra's Reprise Records, for which Duke was in charge of A&R. Dollar's album became in short time a classic that would establish him as one of the most uniquely personal pianists in jazz history.
Sathima's tapes, which feature the pianist work of Abdullah Ibrahim, Billy Strayhorn, and Duke himself, never reached the public, and were ultimately thought to be lost. However, the tapes resurfaced in 1996 when author David Hajdu, in the course of working on a Billy Strayhorn biography, was given a copy of the session that was secretly made by Gerhard Lehner, the recording engineer. For Sathima, the events of that Paris morning were dream-like in more ways than one -- the performances lived on the courage to take a chance, flourished under the unexpected support of a great artist; became dreams of the past when the possibility of ever hearing them again disappeared into thin air, only to resurface for her and the world to hear 33 years later.
Writing about the morning, Sathima Bea Benjamin notes "I know I shall never, ever again have such a positively wonderful and ecstatic musical experience. I have been blessed beyond words, to have Duke Ellington, Billy Strayhorn, and Abdullah Ibrahim as my accompanists that 'Morning in Paris.' Their input in my musical career empowers me forever."

Since the recording debut, the Grammy-nominated jazz singer Sathima Bea Benjamin has established herself as a master interpreter of American jazz standards, having recorded and collaborated with some of the most legendary figures in jazz. In 2004, President Thabo Mbeki recognized Sathima's work in jazz and support of the exiled ANC during apartheid, and awarded her the Order of Ikhamanga, South Africa's highest honor.
Out-of-print for several years now, A Morning in Paris will be made available for download for the first time ever on October 16, 2007. Copies of the CD, distributed exclusively through City Hall Records, will be in stores January 22, 2008.
However, advance copies will be available at Sathima's 71st birthday concert, at New York's Sweet Rhythm Jazz Club, on October 17, 2007. The concert features Sathima in performance with pianists Stephen Scott and Onaje Allan Gumbs, bassist Marcus McLaurine, and drummer George Gray.
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SATHIMA BEA BENJAMIN ''CAPE TOWN LOVE'' (SUDAFRICA,2003) @ [320k]




SATHIMA BEA BENJAMIN  
''CAPE TOWN LOVE'' 
(SUDAFRICA,2003) @ 


Sathima Bea Benjamin
By Professor Robin D.G. Kelley

The cosmopolitan and international character of Sathima Bea Benjamin's music is partly a reflection of her family's roots. Born Beatrice ("Beattie") Benjamin in Johannesburg, October 17, 1936, her father, Edward Benjamin, descended from the island of St. Helena off the coast of West Africa. Her mother, Evelyn Henry, had roots in Mauritius (an island off the East African coast) as well as the Philippines. Benjamin's parents had been living in Cape Town, but job opportunities compelled Edward to relocate to Johannesburg just months before Beattie's birth. Her parents divorced soon thereafter, and after a few years living with her father and his new wife, Beattie and her sister Joan moved in with their paternal grandmother in Cape Town.
Benjamin grew up listening to phonograph records, radio, and her grandmother's humming of the old popular songs from operettas and early Tin Pan Alley musical theater. She also built her repertoire watching British and American movies, and she kept a note pad handy to write down the words of songs she heard on the radio since she had no money for songbooks or sheet music. It was through the radio that she discovered Nat King Cole, Billie Holiday, Doris Day, Ella Fitzgerald, and other jazz and pop singers who would influence her early singing style.

She first performed in public in talent contests held at the local cinema during intermission. She continued to develop as a singer, singing in the school choir and even taking a few voice lessons to learn opera. As a choir member, however, she never was assigned a solo because she liked to "scoop" or play around with pitch. Of course, this became a feature of her personal and unique style, but for a formal choir in Cape Town such experiments and embellishments were frowned upon.

At age 16, Benjamin graduated from high school and went on to complete two years of teacher training. By the late 1950s, soon after securing her first teaching job at an elementary school in Cape Town, she began to perform at various nightclubs, community dances and social events. However, once the principal found out about her 'moonlighting', he issued an ultimatum - either she stop singing or quit teaching. Benjamin chose the life of a jazz singer.

So in 1957, at the age of 21, Beattie Benjamin went on the road with Arthur Klugman's traveling show, ‘Coloured Jazz and Variety’. While the show gave Sathima experience, the entire production was a commercial failure and she, along with friend and fellow band member, Jimmy Adams were stranded in Mafeking until they were able to make enough money performing locally to make it to Johannesburg. There they befriended the great modern alto saxophonist Kippie Moeketsi, who assisted them financially. The pair eventually found work with an African band in Maputo, Mozambique, and traveled wherever they had to in order to make ends meet.

She returned to Cape Town around 1959, at a moment when the music scene really flourished but the vice grip of apartheid tightened. There she met and fell in love with the young, innovative pianist/composer Dollar Brand (Abdullah Ibrahim) who even then was reputed to be one of South Africa's greatest jazz musicians. They began working together and in that same year, 1959, recorded what should have been the first jazz LP in South Africa's history. Titled ‘My Songs for You’ with accompaniment by Ibrahim, Joe Colussi on bass and Donald Staegemann on drums, the recording of mostly standards was never released. In addition to working with Ibrahim, she became a regular member of Harold Jephthah's trio, which included the talented but virtually unknown pianist Henry February, with whom she would collaborate on her 1999 release, ‘Cape Town Love’ .

Benjamin and Ibrahim's life together in the Cape Town jazz scene was cut short by tragic events in Sharpeville and Langa on March 21, 1960. In both townships, Africans had gathered to protest the pass laws by speaking out and burning their passes. Police violently attacked the demonstrators, killing 69 Africans and wounding at least 196 in Sharpeville alone. Whatever vestiges of democracy existed in South Africa were swiftly eliminated after the Sharpeville massacre. The state passed laws banning all African organizations and permitting 90-day detentions without legal process. Activists were jailed, tortured, and in many cases killed; between 1963-65 alone, at least 190 Africans were hanged.

In the aftermath of the Sharpeville Massacre of 1960, Benjamin and Ibrahim decided to join the growing South African exile community in Europe. The couple, along with Ibrahim's rhythm section - bassist Johnny Gertze and drummer Makhaya Ntshoko - settled in Zurich, Switzerland, and worked throughout Germany and Scandinavia. Through various gigs they met some of the greatest American jazz musicians either passing through or living in exile, including Don Byas, Dexter Gordon, Kenny Drew, Ben Webster, Bud Powell, John Coltrane, and Thelonious Monk. The artist who would have the greatest impact on Benjamin, however, was Duke Ellington.

Benjamin met Duke Ellington while he was in Zurich for short engagement in February of 1963. Standing in the wings during most of the Ellington band's performance, once the concert ended she insisted that Duke hear her husband's trio at the Club Africana, one of the few local jazz spots where the couple could work fairly regularly. Duke obliged and liked what he heard, but he also insisted that Benjamin sing for him. He adored her voice and promptly arranged for the couple to fly to Paris and record separate albums on the Reprise label (at the time, Ellington was the A&R man for Reprise Records). Ibrahim's record, ‘Duke Ellington Presents The Dollar Brand Trio’, was released the following year and subsequently helped him build a following in Europe and the US. Benjamin's recording, unfortunately, languished in the vault because Reprise executives did not think she was "commercial" enough. It was eventually released under the title ‘A Morning in Paris’, but not until 1996.

Benjamin continued to maintain a relationship with Ellington, who remained an enthusiastic supporter of her career. In 1965, Ellington arranged to have Benjamin perform with the band at the Newport Jazz Festival. At one point, Ellington had even asked her to join his band permanently, but she declined because being on the road would have taken her away from Ibrahim, whom she married in February of 1965.

Throughout the 1960s Benjamin and Ibrahim moved back and forth between Europe and New York City, where they struggled to make it in the jazz world. For Benjamin, who had yet to release a recording of her own, gigs were few and far between. She gave birth to her son, Tsakwe, in 1971 and spent much of her time as a mother and supporter of her husband.

1976 marked a turning point for Benjamin. She and Ibrahim returned to South Africa to live, she gave birth to her daughter Tsidi, and she went into the studio and recorded ‘African Songbird‘, the first album of hers to be released. The LP, made up entirely of original compositions by Benjamin, not only unveiled her talent as a composer but it revealed an interest in the freedom struggle in South Africa. A few months later, that interest became a full-blown engagement after the schoolchildren of Soweto rose up to protest the state's decision to teach math and social studies in Afrikaans instead of English. Once again, the police retaliated against the protesters but the damage this time around was worse than Sharpeville: at least 575 Africans were killed and 2,389 wounded. This was enough to convince Benjamin and Ibrahim to go back into exile. So in 1977 they returned to New York, settled into the Chelsea Hotel, and they both became politically active in behalf of the African National Congress. As a result of their activities as cultural workers for the liberation movement, the apartheid government of South Africa revoked their citizenship, thus compelling them to become US citizens.

Artistically, Benjamin began to take greater control of her career. In 1979, she launched her own record label, Ekapa, primarily to produce and distribute her music. Between 1979 and 2002, she released eight albums: ‘Sathima Sings Ellington’, ‘Dedications’, ‘Memories and Dreams’, ‘Windsong’, ‘Lovelight’, ‘Southern Touch’, ‘Cape Town Love’, and ‘Musical Echoes’. Each of these recordings received rave reviews, and ‘Dedications’ was nominated for a Grammy in 1982. A mix of standards, old Tin Pan Alley songs, and original compositions, these recordings reveal the full range of her talent as a singer, songwriter, and bandleader. Indeed, she brought together some of the most talented musicians on the scene to accompany her, including pianists Kenny Baron and Onaje Allan Gumbs, drummers Billy Higgins and Ben Riley, and bassist Buster Williams. Like other great vocalists in the jazz tradition, she is a remarkable storyteller, delivering lyrics with such patience and emotion that listeners are compelled to hang on to every word. She doesn't rely on vocal acrobatics or melisma -- just pure, crystalline sound. As New York Times critic Jon Pareles wrote twenty-two years ago, "In song after song, Miss Benjamin could make a word cry out with just a flicker of vibrato."

As a composer, pieces such as ‘Music’, ‘Lady Day’, ‘Dreams’, and ‘Gift of Love’ (for Duke Ellington) are really poems set to gorgeous, uncluttered melodies. Her controversial ‘Liberation Suite’ (1982) comprised of three compositions, ‘New Nations a Coming’, ‘Children of Soweto’, and ‘Africa’, marked a departure from most ‘political music’ that attempted to speak to the conditions of black South Africans. These pieces point to the future rather than dwell on the current crises, emphasizing love over conflict and violence. As an arranger, she made her own mark on the music by incorporating ‘Cape Town Rhythms’, the distinctive shuffle beat common in the popular dance music of her native land. She has recorded songs such as ‘In a Mellow Tone’ and ‘I'm Getting Sentimental Over You’ over these unique uptempo rhythms and as a result produced truly original renderings of classic songs.

Bringing together her two worlds - Cape Town and New York City - has been an essential element of Benjamin's music. She has recorded in both places and, for the most part, used American musicians for her US recordings and South African musicians when in her native land. However, for her most recent CD, ‘Musical Echoes’, she decided to bring the outstanding American pianist and collaborator, Stephen Scott, to Cape Town to record with South Africans, bassist Basil Moses and drummer Lulu Gontsana. The result is a true synthesis of both worlds, and one of her most brilliant records to date.

Sathima Bea Benjamin continues to perform and record when opportunities arise, and over the past four decades she has always enjoyed enthusiastic reviews. Recently she has begun to receive the kinds of accolades deserving of an artist of her stature. In October of 2004, South African President Thabo Mbeki bestowed upon her the Order of Ikhamanga Silver Award in recognition for her "excellent contribution as a jazz artist" in South Africa and internationally, as well as for her contribution "to the struggle against apartheid." And in March of 2005, the prestigious art group, Pen and Brush, Inc., presented her with a Certificate of Achievement for her work as a performer, musician, composer, and "activist in the struggle for human rights in South Africa." Finally, she is the subject of a forthcoming documentary produced and directed by Angelica Mills. It is scheduled for completion in the Spring of 2006.
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