| | Bruce Becvar Magic Of Healing Music CD Bruce Becvar Discography of CDs
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Our Price: $18.65  CDFor Sale Usually ships in 1-2 days
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Personnel: Bruce BecVar (guitar, acoustic guitar, shakti harp, recorder, keyboards, synthesizer); Brian BecVar (keyboards).
Audio Mixer: Bruce BecVar.
Illustrator: Lisa Pelo.
Personnel: Bruce BecVar; Brian BecVar.
Additional personnel: Deepak Chopra.
2-CD
Magic Of Healing Music Music Bruce Becvar Magic Of Healing Music Songs Magic Of Healing Music Review
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UK pressing of Cajun classics. Further details TBA. Trikont. 2005.
This volume was released back in 1995 and featured the mighty Beau Jocque on the cover, the man who, like Clifton Chenier and Boozoo Chavis before him, changed the face of zydeco by taking it to another level. Since that time, Jocque has passed away, leaving us his precious few recordings and the music of his peers who were deeply influenced by his Cajun soul on a roll style of zydeco. Unlike the players that came after him, Jocque and his generation were indebted to and therefore respectful to the Cajun and zydeco traditions they came from. They understood the music of their forbears as a social one; the music they inherited from Chavis, John Delafose, and Chenier was rooted as deeply in the blues and R&B traditions of New Orleans as it was in the Cajun traditions of Evangeline Parish, and therefore played as dance music, party music, music to get drunk to, to laugh to, to do the down and dirty bump to. This did not mean it was empty of musical prowess, far from it, but innovation for Jocque and his contemporaries -- all of whom are still on the scene -- was secondary to feeling and purpose. This volume kicks off with two jumping tunes from Robby Robinson's Zydeco Force and Zydeco, respectively, which are featured on no less than four selections here. In "You Worry Me," the soulful blues of Solomon Burke and Johnnie Taylor are taken into consideration as an intersection point for raw zydeco romp. The result is a song form that holds as much feeling in it as it does movement. Chris Ardoin's "Black Cadillac," one of three offerings on this volume, considers the bravado of Wilson Pickett with an early Cajun reel and moves it up to 100 miles an hour. This is slip and glide music. It's impossible to dance to at the proper tempo so all that's left to do is let your backbone slip and shimmy to the raucous party of sounds and rhythms -- created by a hyper-kinetic washboard and a drum kit -- falling down around your ears. A great example of how the tradition is still held in esteem by Jocque's generation is in Geno Delafose's reading of Cajun music father Iry LeJeune's "Jeunes Filles de la Campagne." The rhythms and tempos are modern, the accordion runs are too, but the melody of the track and its harmonies remain intact, untouched by Delafose. There is no need to reconstruct something so fine, so beautiful as an Iry LeJeune song, but to bring it into one's own time and place it to extend that song's lineage with honor. Another artist from this zydeco generation is the incomparable Rosie Ledet, who, unfortunately, has only one selection here. Here is the sound of zydeco music as it encounters early rock and even the sound of Hank Williams' country music. Her vocals come right from the center of her body, every word is pronounced with depth of feeling whether it's a ballad or, in this case, a tale of lust. Her music is a shuffling zone: where rhythm controls every element that fills it. She sings that way too, never stretching that rhythm but always grooving deeply within it. Her records, kind of hard to find since some of them are out of print, are well worth seeking out. Likewise, the moving Memphis soul-drenched "I'm Comin' Home" by the Sam Bros. Five reveals a little-known but highly individual take on the root music. This cut is the most lonesome zydeco tune this writer has ever heard, and the accordion solo is to die for before the bar-walkin' sax kicks in during the ...
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Tess-1 is a native of Brooklyn, New York who moved to Des Moines at an early age. Born in a musical family and raised with a steady influence of soul music and Gospel. At the age of 15 he began to pen what he deemed poetry, but with a beat became rap, and it was good. Him and a neighboring friend shared a bond when he discovered that they also was into turning poetry into rap over a dope instrumental so they formed a duo and called themselves the \"School Boys.\" Right from the start they were getting props for going around their hood rhyming and performing at local venues, but after a trip back to ...
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