Fasanojazz 2015 26 Maggio Al 12 Giugno

Total Page:16

File Type:pdf, Size:1020Kb

Fasanojazz 2015 26 Maggio Al 12 Giugno MERCOLEDì 22 APRILE 2015 Diciotto anni di Fasano Jazz! Il popolare festival di Fasano (BR) compie la maggiore età e per la diciottesima edizione propone il consueto e apprezzato programma di lusso, un cartellone ricco di novità in scena dal FasanoJazz 2015 26 maggio al 12 giugno. Quella del 2015 è un'edizione attesissima, che conferma le scelte coinvolgenti e appassionate della direzione artistica XVIII Edizione dal 26 maggio-12 giugno 2015. Il di Domenico De Mola: musica di qualità, ingressi gratuiti e prezzi festival compie la maggiore età! popolari, location affascinanti in una vera e propria cittadella del jazz e del rock. Quest'anno poi, oltre al sito www.fasanojazz.it, il festival si avvale anche della App per Android 'FasanoJazz': gratuita, creata con gli studenti dell'IISS Salvemini di Fasano e reperibile su Play Store di Google, CRISTIAN PEDRAZZINI con informazioni, immagini e un simpatico giochino per appassionati jazz e prog. L'evento di punta dell'edizione n. 18 è l'unica data estiva al centrosud dei leggendari Caravan. Da anni Fasano Jazz ha lanciato un autentico gemellaggio musicale con la città di Canterbury: le varie incarnazioni dei Soft Machine, gli Hatfield and The North, Richard Sinclair, Jimmy [email protected] Hastings e i Gong del compianto Daevid Allen (al quale il festival è SPETTACOLINEWS.IT dedicato) sono alcuni dei nomi provenienti dalla scena di Canterbury che hanno partecipato con successo al festival, ma mancavano all'appello i fondamentali Caravan. Inarrestabili dal 1968, emblematici in quell'abbraccio tra jazz e rock tipico del Canterbury Sound e tanto amato a Fasano, si esibiranno al Teatro Kennedy lunedì 1 giugno nella formazione del 2015, capitanata come sempre dal carismatico Pye Hastings e dal violinista Geoffrey Richardson. Non mancherà nel loro live il celebre In The Land Of Grey And Pink, capolavoro del 1971 e considerato tra i massimi esempi di progressive-rock. Il concerto dei Caravan sarà al centro di un programma multiforme, che si aprirà con un 'prologo' curato dal maestro Di Lorenzo: Filologia della Musica Pop-Rock, ovvero Beatles e Concerto Grosso eseguiti dalla band del liceo Musicale Luigi Russo di Monopoli. Sabato 30 maggio torna a Fasano Boris Savoldelli, funambolica voce funk-jazz nota e apprezzata in tutto il mondo, stavolta con un nuovo progetto insieme a Marco Bardoscia e Raffaele Casarano (sassofono): The Great Jazz Gig In The Sky. Si tratta di una rivisitazione - molto sui generis... - del capolavoro dei Pink Floyd The Dark Side Of The Moon, anzi un "trialogo", un incontro a tre voci che promette molte sorprese. Sabato 31 toccherà a un protagonista del jazz nordeuropeo: Bjorn Solli. Votato nel 2002 come miglior musicista giovane norvegese, il chitarrista si presenterà Pag. 1 / 4 con Watchdog, il gruppo composto da Donatello D'Attoma, Luca Alemanno e Vladimir Kostadinovic, un punto di incontro tra le geometrie della scuola scandinava e la passionalità di quella italiana. Anche il blues non manca mai a Fasano e mercoledì 3 giugno sarà la sua serata, con il doppio set di Bastiano & WMEnsemble in apertura e i Red Phoenix Blues dell'asso Giacomo Caliolo (già chitarra di Francesco De Gregori, Rondò Veneziano, Struttura & Forma). Una serata completamente dedicata a Frank Zappa con uno dei musicisti più legati al Fasano Jazz, ovvero Roberto Gatto. Il popolare batterista romano, tra i più autorevoli e conosciuti uomini jazz al mondo, sarà lo special guest dei Quintorigo sabato 6 giugno, per un concerto speciale incentrato sulla musica di Frank Zappa. Se Gatto è alla sua settima partecipazione, i Quintorigo debuttano a Fasano: sarà l'occasione giusta per vedere in azione uno dei gruppi più amati nel panorama italiano dell'ultimo ventennio, reduce dal successo dell'ultimo lavoro Quintorigo Experience (2013) e raramente accompagnato da una batteria. Chiude il festival venerdì 12 giugno uno dei musicisti più importanti del nuovo progressive rock italiano: Fabio Zuffanti. Protagonista con diverse formazioni dalla metà degli anni '90 ad oggi (Finisterre, Hostsonaten, Maschera di Cera, Aries etc.), il bassista genovese è considerato tra i principali artefici del prog-rock contemporaneo e il suo ultimo disco La quarta vittima (2014) ha riscosso significativi responsi, come il suo libro che ha sollevato polveroni tra gli addetti ai lavori, il controverso "pamphlet ribelle" O casta musica (2012). Nella ZBand compare anche Martin Grice, glorioso sassofonista dei Delirium dal 1972. Fasano Jazz prosegue imperterrito come manifestazione sui generis per la lettura data al jazz, per le proposte che attirano diversi segmenti di pubblico, per l'attenzione alla varietà, al talento e alla qualità. Fasano Jazz non è solo ottima musica con grandi maestri e giovani interpreti ma anche un'opportunità per conoscere la bellissima città pugliese, ricca di tradizione e arte. Programma: PROLOGO: Martedì 26 maggio Teatro Comunale Sociale ore 21 ingresso libero Filologia della Musica Pop-Rock a cura del M° Antonio Di Lorenzo Band Liceo Musicale "Luigi Russo" di Monopoli in: The Beatles: the Rooftop Concert Antonio Di Lorenzo - drum solo "The End" con presentazione del disco "Dr. Beat" Produzione speciale per il Festival Fasano Jazz: "Concerto Grosso" Orchestra Liceo Musicale "Luigi Russo" Composizione Valter Poles Direzione Vincenzo Campinopoli -------------------------------------------------------- Sabato 30 maggio Teatro Comunale Sociale ore 21 Euro 5,00 Pag. 2 / 4 CASARANO - BARDOSCIA - SAVOLDELLI: "THE GREAT JAZZ GIG IN THE SKY" a trialogue based upon the music of Pink Floyd's Dark Side Of The Moon Raffaele Casarano contrabbasso Marco Bardoscia sassofono Boris Savoldelli voce & elettronica ------------------------------------------------------- Domenica 31 maggio Teatro Comunale Sociale ore 21 ingresso libero DONATELLO D'ATTOMA "WATCHDOG" feat. Bjorn Solli Donatello D'Attoma pianoforte Bjorn Solli chitarra Luca Alemanno contrabbasso Vladimir Kostadinovic batteria ------------------------------------------- Lunedì 1 giugno Teatro Kennedy ore 21 Euro 10,00 CARAVAN Pye Hastings lead vocal & guitar Geoffrey Richardson violin, guitar, spoons etc Jan Schelhaas keyboards Jim Leverton bass Mark Walker drums ------------------------------------------------------- mercoledì 3 giugno Teatro Comunale Sociale ore 21 ingresso libero first set BASTIANO & WMEnsemble Sebastiano Lillo chitarra resofonica & slide Vincenzo Gagliani percussioni Salvatore Ancora contrabbasso Piero Errico batteria second set RED PHOENIX BLUES Sara Saccol voce Stefano Molinari tastiere Giacomo Caliolo chitarre Antonello Palmas basso Pino Di Stadio batteria Pag. 3 / 4 ------------------------------------------------------- sabato 6 giugno Teatro Kennedy ore 21 Euro 5,00 QUINTORIGO & ROBERTO GATTO play FRANK ZAPPA Moris Pradella voce Valentino Bianchi sassofono Andrea Costa violino Gionata Costa violoncello Stefano Ricci contrabbasso Roberto Gatto batteria ---------------------------------------------------------- venerdì 12 giugno Teatro Comunale Sociale ore 21 ingresso libero FABIO ZUFFANTI & ZBAND Fabio Zuffanti basso, bass pedal, voce Giovanni Pastorino tastiere Martin Grice sassofono & flauto Simone Amodeo chitarra Paolo Tixi batteria Pag. 4 / 4.
Recommended publications
  • Bibliografia Canterbury Ridotta
    Presentazione La scena di Canterbury fu un movimento musicale che si sviluppò tra la fine degli anni Sessanta e la meta dei Settanta nell’omonima cittadina del Kent. Anche se furono molti i gruppi che la composero – alcuni dei quali ancora oggi leggendari come i Soft Machine, i Caravan o i Matching Mole - il numero dei musicisti coinvolti fu sempre molto ridotto, favorendo così un rapporto osmotico tra le varie band anche nelle scelte musicali intraprese. Ciò che caratterizzò la Scena fu infatti una comune idea di arte che possiamo definire – citando Marcus O’Dair, autore della recente biografia di Wyatt – come “un certo stile rock psichedelico venato di jazz, pastorale, very english… con tempi complessi, una preferenza di tastiere rispetto alle chitarre e un modo di cantare convintamente radicato nell’East Kent, là dove i cantanti dell’epoca posavano tutti da Delta bluesman”. Nata con l’album Soft Machine (1968) e conclusa da Rock Bottom (1974) – nonostante i successivi epigoni - la Scena di Canterbury fu sicuramente il momento più alto di tutto il genere Progressive e uno dei movimenti musicali più innovativi (e altrettanto ostici) di tutto il rock. Riascoltato oggi può apparire troppo contorto e scarsamente fruibile, persino nelle sue espressioni più “pop” quali i dischi di Kevin Ayers o dei Caravan, ma in realtà è ancora un’esperienza unica ed entusiasmante per tutti gli ascoltatori disposti a superare le barriere e i tabù che troppo spesso caratterizzano il mondo della musica popolare. Aprile - Maggio 2015 Discografia: Guida all’ascolto Soft machine - Soft machine (1968) Una premessa importante: la Scena di Canterbury fu per sei Soft machine – Two (1969) entusiasmanti anni il fulcro della musica d’avanguardia inglese, Soft machine – Third (1970) proponendo opere spesso di non semplice fruizione che richiedono più Soft machine – Fourth (1971) di un ascolto per essere godute pienamente.
    [Show full text]
  • Caravan in the Land of Grey and Pink Mp3, Flac, Wma
    Caravan In The Land Of Grey And Pink mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: In The Land Of Grey And Pink Country: Italy Released: 2015 Style: Jazz-Rock, Prog Rock MP3 version RAR size: 1616 mb FLAC version RAR size: 1766 mb WMA version RAR size: 1676 mb Rating: 4.5 Votes: 976 Other Formats: AC3 ASF AUD WAV RA MPC XM Tracklist Hide Credits Golf Girl 1 5:05 Engineer – John Punter Winter Time 2 7:46 Engineer – John PunterEngineer [Overdubbing And Re-mix] – Dave Grinsted Love To Love You (And Tonight Pigs Will Fly) 3 3:06 Engineer – John PunterEngineer [Re-mix] – Peter Rynston In The Land Of Grey And Pink 4 4:51 Engineer – John Punter Nine Feet Underground 5 Engineer [Overdubbing] – Derek VarnalsEngineer [Rhythm Track, Overdubbing, 22:40 Re-mix] – Dave Grinsted Bonus Tracks I Don't Know Its Name (Alias The World) 6 6:12 Written-By – D. Sinclair*, Hastings*, Coughlan*, R. Sinclair* Aristocracy 7 3:42 Written-By – Hastings*, Coughlan*, R. Sinclair* It's Likely To Have A Name Next Week 8 7:48 Written-By – D. Sinclair*, Hastings*, Coughlan*, R. Sinclair* Group Girl 9 5:04 Written-By – D. Sinclair*, Hastings*, Coughlan*, R. Sinclair* Dissassociation / 100% Proof 10 8:35 Written-By – D. Sinclair*, Hastings*, Coughlan*, R. Sinclair* Companies, etc. Published By – Gruppo Editoriale L'Espresso S.p.A. Credits Bass Guitar, Acoustic Guitar, Alto Vocals – Richard Sinclair Drums, Percussion – Richard Coughlan Electric Guitar [Electric Guitars], Acoustic Guitar, Vocals – Pye Hastings Flute, Tenor Saxophone, Piccolo Flute – Jimmy Hastings Organ, Piano, Mellotron, Backing Vocals [Harmony Vocals] – David Sinclair Written-By – D.
    [Show full text]
  • Caravan 19 A4
    Where but for Caravan Would I? Issue No.19 March 2005 I’m very grateful to Jim Leverton for sparing the time to give this interview. The piece is a summary of an interview he gave Ralph a few years ago, updated to reflect current happenings. INTERVIEW WITH JIM LEVERTO N As background, Jim came from a musical "The Lonely Ones, subsequently to be Gordon Mills who managed all three was family at took up piano at an early age. At named "The Loving Kind" and managed also looking for an opening for Jim. the age of 8, he took up guitar, left by Gordon Mills. The band recorded 3 Around the same time (1968) Noel handed and is self taught. Aged 14 Jim singles for Pye records and their Redding, still with Hendrix, had also joined his first semi-pro group, "the Big drummer Pete Kircher ended up in formed Fat Mattress and Jim played on Beats" who played rhythm and blues Status Quo. At the time Noel Redding their first LP and was with them on tour around the Dover area. Leaving school at was invited to audition for Eric Burdon, to support Hendrix. When Noel left 15, Jim became an apprentice bricklayer but the vacancy was filled. But as fate Hendrix they decided to give Fat which lasted around 9 months when he would have it, Chas Chandler needed a Mattress a real go with Eric Dillon on was asked to join "The Burnettes" a bass player for another band so Noel drums and Neil Landon on vocals.
    [Show full text]
  • Memories of the 1960'S Folkestone Music Scene 13/05/2020, 17:39
    Memories of the 1960's Folkestone Music Scene 13/05/2020, 17:39 MEMORIES OF THE 1960’S FOLKESTONE MUSIC SCENE I first became interested in the guitar in the late 1950s when my older brother, Fred, bought an acoustic guitar. He was about fourteen years old at the time, five years older than me and quite keen on the latest record charts. The charts were full of American artists such as Bill Haley, Elvis Presley, The Everly Brothers, Little Richard, Eddie Cochran, Buddy Holly, Chuck Berry, Fats Domino and Duane Eddy. There were also British bands and artists like Tommy Steele, Joe Brown, Lonnie Donegan, Cliff Richard and The Shadows. In the late 1950s, the guitar was a relatively new instrument in Britain and unlike the piano, few people seemed to know how to play the instrument. There were few guitar teachers. I always had the impression that the guitar never seemed to be regarded as a proper instrument. If you were interested in learning to play a musical instrument, you were usually guided to play the piano or violin. However, I was not deterred and proceeded to teach myself. My tutors were ‘Radio Luxembourg’ and my parents’ ‘Dansette’ record player. I tuned the guitar to my own pitch and tried to pick out the melody by ear. The first problem I found with learning to play the guitar, was mastering how to produce a note. Unlike the piano, where hitting the key will produce the note, striking a fretted note incorrectly on the guitar produces nothing. The second problem is that guitar strings, especially steel strings, are not kind to the fingers.
    [Show full text]
  • Robby Valentine Topper Tobt Epica Gothic Met Goddelijke Tik
    TIJDSCHRIFT OVER PROGRESSIEVE ROCKMUZIEK verschijnt 7 keer per jaar, 12e jaargang december 2007, losse exemplaren 5 io pa g e s 7 7 RITUAL EN KAIPA PATRIK LUNDSTRÖM ZINGT ROBBY VALENTINE TOPPER TOBT EPICA GOTHIC MET GODDELIJKE TIK ‘REMSLAAP’ ONTWAAKT RIVERSIDE VERDER: NOVEMBRE, ISOPODA, KRAMER, RUSH 'IN CONCERT' COLOFON 3 UITGEVER Stichting iO Postbus 67 Paradoxale slaap 2678 ZH De Lier (tevens adres abonnementen administratie) fax: 0174-511213 e-mail: [email protected] website: www.iopages.nl ABONNEMENTEN Iedereen kent tijdens de slaap Lundström tot het schrijven van Een jaarabonnement kost per nacht gemiddeld vier of het prachtige nieuwe album The 31,00 binnen Nederland, resp. 39,00 voor de rest van Europa en vijf zogenoemde ‘remperiodes’. Die Hemulic Voluntary Band. De Zweed 49,50 buiten Europa. duren ongeveer twintig minuten per keer is zowel in de formatie Ritual als Kaipa het Nieuwe abonnees ontvangen de en het zijn de tijden dat je meestal behoor- gezicht van de band. Sprookjesachtige prog- uitgave van de maand volgend lijk droomt. ‘Rem’ staat voor Rapid Eye gy folkrock zoals we dat graag horen. Deze op de maand van aanmelding. Movement (snelle oogbeweging) en wordt klanken stimuleren tot wegdromen, even Adreswijzigingen dienen 4 weken ook wel paradoxale slaap genoemd. Die uit de heksenketel van het dagelijkse leven. tevoren te worden doorgegeven. (naar bovenstaand adres van uit- schijnbare tegenstelling heeft te maken met Tegelijkertijd zijn er diepere boodschappen gever of via e-mail). Vermeld altijd een grote hersenactiviteit en een maximale verborgen. Doet het toch weer een beroep je volledige naam en adres. ontspanning van de spieren.
    [Show full text]
  • Cambridge Rock Festival Program, Issue 2013
    BANDS THURSDAYiiiß1ST STAGEONE - JIIICIIEGllIlIttlMEIIIII Stewarfs Musical Director in 1976 (a role lonmed 17 years ago by Gurtarist;Yocalist he played lor 19 years). Duling that time Jim John Campbell .Kevln O'Grady- Drums and co-wrote some 01 Rod's biggest hits, and he Mark Amold- Bass complete !he line up. plays them in Cregan &Co. Ben Mills lound Am have perfonmed in Barbados, Brazil, lame~'" on lV's XFactor in 2006, and has the perfect "bag 01 gravei" voice to &veden, Siovenia and Gneece and have built sing these lantastic sangs., Wilh Pat Davey (bass), Sam Tanner (keys) &Hany areputation on being the Top Jimi Hendrix James (drums), this is aseliously talented band. ....' _m . tribute In Europe.ln 2010 they opened The Isle Of \'light Festival to mark 40 years slnce Jimi Hendrix appeared !here. PlJBEnAJn) FUlYDSHDWIEJIrWS to the Camblidge Rock Festival, wi!h a powerful set 01 songs in tribute to the tlibute to classic rock legends Foreigner legendary Pink ~oyd. Coveling all era's lrom and Joumey. Now enteling it's 4th year 01 the psychedelic 60's, Dark Side 01 the Moon, exten~ve touring throughout the UK and The Wall, Division Bell and many other 01 performlng to capacity crowds at same 01 Pink Floyd's musicallandmarks. The Pure the best venues in the country. It's true ~oyd Showlmm ourveryown EastAnglia are to say that "A Foreigners Journey" have true to the spirrt 01 the on~nals, and perform wilh an energy and enthusiasm achieved national notoliety alongside same that sets them apart lrom other tlibutes 01 the biggest and best rock tlibute bands out there today.
    [Show full text]
  • Download (1MB)
    University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts.
    [Show full text]
  • Canterbury Sound’ Andy Bennett UNIVERSITY of SURREY
    Music, media and urban mythscapes: a study of the ‘Canterbury Sound’ Andy Bennett UNIVERSITY OF SURREY In this article I examine how recent developments in media and technology are both re-shaping conventional notions of the term ‘music scene’ and giving rise to new perceptions among music fans of the relationship between music and place. My empirical focus throughout the article is the ‘Canterbury Sound’, a term originally coined by music journalists during the late 1960s to describe the music of Canterbury1 jazz-rock group the Wilde Flowers, and groups subsequently formed by individual members of the Wilde Flowers – the most well known examples being Caravan, Hatfield and the North and Soft Machine (see Frame, 1986: 16; Macan, 1997; Stump, 1997; Martin, 1998), and a number of other groups with alleged Canterbury connections. Over the years a range of terms, for example ‘Motown’, the ‘Philadelphia Sound’ and, more recently, the ‘Seattle Sound’, have been used as a way of linking musical styles with particular urban spaces. For the most part, however, these terms have described active centres of production for music with a distinctive ‘sound’. In contrast, however, in its original context the Canterbury Sound was a rather more loosely applied term, the majority of groups and artists linked with the Canterbury Sound being London-based and sharing little in the way of a characteristic musical style. Since the mid-1990s, however, the term ‘Canterbury Sound’ has acquired a very different currency as a new generation of fans have constructed a discourse of Canterbury music that attempts to define the latter as a distinctive ‘local’ sound with character- istics shaped by musicians’ direct experience of life in the city of Canterbury.
    [Show full text]
  • Bohren & the CLUB of GORE Piano Nights
    Album namens 'Cold Reading' zurückzukeh- aus dem Jahre 1968 durch, handelt es sich ren. Und das ist mir glücklicherweise nicht beim 2014er 'Paradise Filter' um ihren drei- entgangen. Kopf der Band ist Keyboarder zehnten Output. Auf dass die Zahl der Band Tony Bronsdon, der mit seinem gefühlvollen Glück bringt! Immerhin gehören sie auch zu Tastenspiel dieses Album dominiert. Auch der Sorte Altprogger, die in den erfolgreichen Gitarrist/Bassist/Keyboarder Tony Lowe war Zeiten schlechte Plattenverträge abschlossen in den Anfängen schon dabei, als neues Mit- und die verkehrten Manager zur Seite stehen glied macht Sänger/Schlagzeuger Will Hack hatten. Es ist ihnen nicht viel Geld zur Alters- das Trio komplett. Wunderbare Keyboards, versorgung geblieben, so dass sie sich zur feines Gitarrenspiel und sehr angenehmer Finanzierung von 'Paradise Filter' von der Gesang - das alles zusammen macht eine aus- Künstlerwebseite 'Pledgemusic' unterstützen gesprochen runde Sache aus dieser überra- ließen. Am 13. August 2013 wurde die Vor- schenden Wiederkehr. Ich nenne mal exem- finanzierung über die treue Caravan-Fange- BOHREn & THE CLUB OF GORE plarisch den Titel 'Fast Decay', eine lustige meinde gestartet und schon am 16. September Piano nights keyboard-dominierte Nummer, die mich bis- konnte Gründungsmitglied Pye Hastings das (Pias / Rough Trade, 2014) weilen schwer an die holländische Formation Erreichen der kalkulierten Produktionskosten Die Entdeckung der Langsamkeit, die uner- Trace um deren Keyboarder Rick van der Lin- bestätigen. Da die zehn Kompositionen mit trägliche Leichtigkeit der Einfachheit (oder den erinnert. Hervorragendes Spiel an der einer gesamten Laufzeit von 49:23 Minuten der Einsamkeit?) - wer sich in ungestörten Orgel, überhaupt nicht verkopft oder völlig im Konzept standen, war der Produktions- 61 Minuten mit Bohren eine Piano Night ver- überladen, sondern einfach nur peppig und prozess in einem Bauernhofstudio in der Can- schafft, dem stehen tatsächlich echte Entde- schön anzuhören.
    [Show full text]
  • Caravan Free Ebook
    FREECARAVAN EBOOK R A Montgomery | 53 pages | 01 May 2007 | Chooseco | 9781933390543 | English | United States MMSDC Certified Minority Owned Company Anticipated greatly by caravan drivers, camping and nature enthusiasts, the exhibition once again received great interest from exhibitors and visitors. The exhibition, which displayed camper trailers, motor caravans, lighting and life units, solar energy panels, satellite systems, heating- cooling devices on a 17 thousand square meter area. Caravan are an English band from the Canterbury area, founded by former Wilde Flowers members David Sinclair, Richard Sinclair, Pye Hastings and Richard Coughlan in The band have never achieved the great commercial success that was widely predicted for them at the beginning of their career, but are nevertheless considered a key part of the Canterbury scene, blending psychedelic rock. Caravan definition is - a company of travelers on a journey through desert or hostile regions; also: a train of pack animals. How to use caravan in a sentence. Caravan (band) Define caravan. caravan synonyms, caravan pronunciation, caravan translation, English dictionary definition of caravan. n. 1. A company of travelers journeying. Caravan definition, a group of travelers, as merchants or pilgrims, journeying together for safety in passing through deserts, hostile territory, etc. See more. Anticipated greatly by caravan drivers, camping and nature enthusiasts, the exhibition once again received great interest from exhibitors and visitors. The exhibition, which displayed camper trailers, motor caravans, lighting and life units, solar energy panels, satellite systems, heating-cooling devices on a 17 thousand square meter area. Caravan definition is - a company of travelers on a journey through desert or hostile regions; also: a train of pack animals.
    [Show full text]
  • Music Week May 22, 1976 Marke T Place
    MUSIC WEEK MAY 22, 1976 Eitin John Cabaret but his two hits from and they none of their lhc film, Money and the After The Goldrush LP, MARKE T PLACE admiration for him. worked with Crazy Horse, and SOmc wh Wilkommcn, while climaxing CHRIS WHITE SonYi CC ld 1101° havc -y his Palladium act were only a led Gun through four albums chosen a wnr"C tlmc^ 10 l0UI sample of his great talents. The and hc recently released his whh the nfh ' man who replaced Tony second solo album Cry Tough Caravan on A&M. At the New Victoria ^n t^1 \rLte sanicn{S Newlcy in Stop the World — 1 AMONG THE many words in wtime,n bu 11 ws r• Want To Get Off and Tommy his bitter-sweet voice shone ny too ' o ks il,e oHro Stcclc in Half A Sixpence, in a concert reviewer's vocabulary through the high-powered rock Publicity ~ Inc amount of that become somewhat and rollers and quiet lump-in- and cxcit die Broadway musicals and overworked through the years EenernisH ■ 1 an arca emeni first headlined at the Palladium the-throai numbers, and has h " '''ai lately a mere 20 years ago, did of silting in front of indifferent similarly his guitar work and r " '0° r"11 of mediocrity though digestible bands is switched from melodic finger Ca be a splendid musical tributes to the asset nnr, , "lyin,heCas<: W^ive American showman, George "virtuosity". It takes a band picking to dynamic ripping Jonnfohn whosewh flast two albumsor M.
    [Show full text]
  • Une Discographie De Robert Wyatt
    Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H.
    [Show full text]