Leggi La Recensione Del Buscadero

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Leggi La Recensione Del Buscadero LLOYD JONES accompagna i quattordici le anime roventi, che sulla dio adesso, restituisci l’a- pasto di suoni attentan- TENNESSEE RUN pezzi originali, sorretti da scia di un beat contagioso more e la pace”, un invito do alle casse dello stereo, B VIZZTONE LABEL GROUP una band che annove- si dimenano tra urla da ro- alla gentilezza, alla sociali- l’incestuosa Ain’t Nothing L www½ ra tra le sue fila i miglio- adhouse e sensuali danze tà, ai ritmi gioiosi delle re- Like the Boogie partorisce U ri musicisti dell’area dei cajun, in un idillio musica- lazioni riflessi nei suoi funk un sensuale mix di indie, E Nasville’s Studios. Tre, in- le che odora di puro amo- che assieme ai ricami chi- funk, folk e blues che si in- S vece, le big stars ospiti re per il blues. tarristici, alle backing vo- sinua diretto nelle visce- come backing vocals: Del- Helga Franzetti cals dei “fratelli” John Lou re, mentre una profonda bert McClinton, sulla sma- Lousteau, Oliver Roman, voce piena di sentimento, gliante Everybody’s Some- Wiley Hodgen e al piano con il magnetismo sedati- body’s Fool, Teresa James SEASICK STEVE di Martin Guigui, trascina vo di cui è maestra, dirige a coinvolgere LLoyd in vol- LOVE & PEACE in pieno Zeitgeist anni set- le armonie su una dolcissi- teggi “texani” con I Wish CONTAGIOUS tanta. Nel complesso i do- ma Mercy, tra le note piz- I Could Remember Lo- www½ dici pezzi non si discostano zicate di una quieta e mor- ving You e un’ammaliante di molto dal catalogo del- bida chitarra. Prodotto e Spiccati umori R’n’B a ri- LaRhonda Steele a strega- la produzione “Steve”, ma scritto interamente dal- empire di vigore il setti- re tutti quanti sulle sinuo- gli arrangiamenti appaio- lo stesso Steve, il decimo mo figlio del chitarrista se onde bayou di That’s no maturi e i lunghi brani album dell’artista, che or- di Portland. Lloyd Jones, All I Want. La produzione strutturati da importanti mai vive tra Inghilterra e from Oregon (la cui cit- di Kevin McKendree, se- fasi strumentali, appar- Norvegia, è forse il disco tà principale, la più bian- duto alle tastiere, rega- tengono con fierezza alla più personale della ven- ca degli States, è diven- la gustosi arrangiamenti, vecchia scuola, abolen- tennale carriera: registra- tata triste scenario della dai discreti sapori soul in do le mode del momen- to e mixato in analogico guerra culturale razzista sottofondo all’abbondan- to. Una Regular Man as- (in parte a Los Angeles e in corso nel Paese), a di- te pepe rovesciato sugli suefatta lungo le strisce di in parte nel fienile di casa), spetto delle sue origini insani ritmi honky tonk di L’ultimo album dell’eccen- terra e sudore che proce- presenta quel caratteristi- nordiche rinnova il gusto Turn Me Loose, mentre le trico bluesman dal passa- dono dritte verso il blu del co suono pieno e granulo- verso accattivanti sonorità spinte degli ottoni, capita- to misterioso, vive e respi- cielo in Mississippi, i riff so prelevato direttamente in equilibrio tra uno swing nati daJim Hoke al sax te- ra in un’epoca che tutto ci nervosi e i brucianti stomp dal master-tape sul tornio, vecchia scuola, energiche nore, con Quentin Waree ha lasciato tranne un po’ di una Those in The Mud senza nessuna sovra inci- propulsioni roots e il blues Roy Agee rispettivamen- di normalità. L’uscita di che impazzisce su ritmi in sione o manomissione ge- paludoso del sud. Abitua- te ad occuparsi di tromba Love & Peace, program- levare, il tempo scandito nerata da un computer. La to a collaborazioni impor- e trombone, richiamano mata per il mese di Mag- nel blues acido di Clock Is figura di Seasick Steve può tanti, anche nelle vesti di i gloriosi suoni dei Mem- gio, ha dovuto attendere Running, uno slide malato anche essere uno stereo- songwriter (Clarence Ga- phis Horns. Ritmi stuzzi- il caldo di Luglio per scal- nell’ipnosi acustica diCar - tipo, ma l’autenticità del temoth Brown, Joe Louis canti, fiati vivaci e le in- dare gli animi del pubbli- ni Days, l’accattivante sce- suo sound schietto e sen- Walker, Curtis Salgado), stancabili battute della co blues. Il disco ha fatto na di My Woman e l’umi- za fronzoli, la sua autoiro- Jones arriva da sei dischi sezione ritmica, brillante- irruzione in un mercato da (splendida) ballata di nia e la sua coerenza, re- maturati sull’esperienza mente condotta da Steve forzatamente messo in I Will Do For You, ricono- stano gli ingredienti di una di palchi prestigiosi e nelle Mackey al basso e Ken- pausa da un intervallo scono al nostro musicista formula musicale convin- tournée internazionali ac- neth Blevins alla batteria, creativo difficoltoso, ca- la bellezza di un sound fat- cente. Love & Peace è un canto a figure del calibro tengono alti i toni dall’ini- rente in spunti e propo- to di pensieri ed emozioni, inno alle possibilità, un ri- di Otis Clay, Earl King, Big zio alla fine, prendendosi ste musicali di rilievo. Di- sempre pronto a germo- chiamo alla bellezza della Mama Thornton, Charlie una pausa solo sul roman- stinguendosi tra le poche gliare sotto il luminoso ri- vita, un fiducioso appel- Musselwhite, Etta James tico slow dal sapore anni uscite importanti durante verbero del blues. Qua e lo a quelli che sono i va- e Albert Collins, culmina- ‘50 di A True Love Never un periodo di stand-by, il là la sabbiosa armonica lori di convivenza, rispet- ta nell’ultimo lavoro Ten- Dies. L’atmosfera ribolle disco di Seasick Steve ha di Malcom Harison e la to e umanità. Sia dunque nessee Run. La splendida fin da subito con l’aper- dato una spinta adrenali- contaminante chitarra di il tempo di rimettere in un foto di copertina meglio tura di una You Got Me nica all’appiattimento ge- Brother Luther Dickinson mare tempestoso, in cui non potrebbe interpreta- Good a ricordare le scos- nerale, contagiando coi sollevano un po’ di pol- sembrano dominare solo re lo spirito girovago del- se del primo James Brown suoi beat generosi e pic- vere, in un album intriso i pirateschi vascelli dell’o- la sua musica, un brillan- con i suoi The Famous Fla- canti un’estate poco ecci- di ruvida passione. Love dio, le nostre piccole bar- te groove in movimento ai mes, per poi surriscaldar- tante. Il messaggio, già da & Peace affonda le radici che della ragionevolezza e confini tra il sound di New si in un torrido ondeggia- solo, lascia poco spazio a nelle terre americane, fra i del buon senso, ed oppor- Orleans e il southern blues re tra Jump Blues, Funk e interpretazioni fuorvianti: sentieri del Delta e i sapori re, quasi disarmati ma con di Memphis. Registrato a un sano vecchio R’n’R. Le la voce amplificata di uno country folk delle colline, garbo, il richiamo ai diritti Nashville e concepito su sferzate robuste e affilate Steve ammonitore passa in quel blues rovente fat- fondamentali dell’uomo, tutto quello che potreb- della chitarra di Jones arri- attraverso altoparlanti che to di pulsioni e movimen- di ogni uomo. Pur soffren- be girare intorno al “mon- vano puntuali e gagliarde, risuonano contro l’odio e to, tamburi vigorosi e chi- do di mal di mare, Steve do musicale Tennessee”, il mentre un groove inarre- la violenza di un mon- tarre lo-fi, che colorano si imbarca nell’oceano, al disco mantiene un contat- stabile si appropria dello do che non riconosce più le tracce di intense vibra- cospetto di una speranza to costante con ogni vibra- scorrere dei brani. Non c’è compassione e tolleran- zioni: salite, discese e sel- di amore e pace nelle ac- zione vicina alla “chiassosa che dire, è ancora una vol- za. Un ritornello, nella title vagge impennate nei sei que agitate di un mondo roba da strada”. La sua chi- ta la generazione dei set- track, che ripete continua- minuti diChurch Of Me fi- confuso. tarra, concisa ed elegante, tantenni a tenere accese mente “Devi fermare l’o- niscono in un fangoso im- Helga Franzetti 95.
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