| | Turnip Greens Carry Me Down The Aisle CD Turnip Greens Discography of CDs
Turnip Greens are four seasoned musicians from Arhus, Denmark. Their music is a unique blend of several musical styles from the southern states of the US. They are influenced by Tom Waits, Dr. John, Delbert McClinton, Elvis, The Meters, B.B. King, Solomon Burke, Daniel Lanois, Ry Cooder, Doyle Bramhall II, Bob Dylan, Taj Mahal, Muddy Waters, The Black Keys and many more. Without a doubt the geographical distance between Denmark and the US is the reason for the fresh and original approach to the music. At the same time you hear exactly where they are coming from and in the music you hear a deep respect for 'the masters' and 'the tradition'. On this disc you'll find eleven great original songs and to me it's some of the best new roots music that I heard in a long while.
Turnip Greens: Mads Mazanti, Henrik B. Bruhn, Peter Skjerning, Sune S.V. Nielsen. One would expect that an album with such a folksy title and a down-home artist name would be a knees-up trad folk workout of old Southern favorites. In fact, the Danish quartet Turnip Greens sound like they take the Old South of Flannery O'Connor's gothic creepouts as their starting point. Musically, Tom Waits is all over this album, specifically his more recent blend of acoustic instrumentation and thick sonic atmospheres; Daniel Lanois' deliberately muddy neo-Louisiana vibe is another important touchstone. Traditional instruments like slide guitar, harmonium, and mandolin are treated with layers of effects that would do a Cocteau Twins album proud, leaving everything in the arrangements so artificially twisted and deliberately misshapen that the intended effect of creepy disorientation is lost in the onslaught of distractingly weird noises. Even the vocals are excessively treated with reverb and slapback echo, a distancing technique that keeps the listener from developing any kind of emotional connection to the mytho-poetic lyrics. Had the band simply dialed everything back (including those overwrought lyrics) by about 50 percent or so, Carry Me Down the Aisle would be a far more effective piece of artsy quasi-Americana. As it is, the album is simply trying way too hard. ~ Stewart Mason
Carry Me Down The Aisle Music Turnip Greens Carry Me Down The Aisle Songs Carry Me Down The Aisle Review
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| | Quarteto Novo CD (1967)
Carry Me Down The Aisle
$13.85 2008 reissue of this Bossa Nova classic from the Blue Note vaults, coinciding with the 50th anniversary of the creation of Bossa Nova by Tom Jobim and Joao Gilberto, Eight tracks. Blue Note.
Little known outside of collectors of Brazilian sounds, 1967's QUARTETO NOVO is the only album by the band of the same name. It originally featured two players whose fame eventually went far beyond the Brazilian scene, in jazz and, later, world music fusion: Airto Moreira, percussion, and Hermeto Pascoal, flute and many instruments. (They both went on to play with Miles Davis, among others). While the inspirations of bossa nova and samba are strong here, NOVO is actually more of a jazz album, juggling various Brazilian styles and motifs, and infusing them with propulsive, bright, slightly irreverent swing. At times, QUARTETO NOVA recalls the early, jazz-influenced music of British progressive rock band Jethro Tull (minus the vocals, of course.) Simply put, this is a gem that's not only for fans of 1960s Brazilian music. The sole album by the legendary Quarteto Novo was released by the Odeon label in 1967 and was accorded various coveted Brazilian artistic prizes, including the Troféu Roquette Pinto and the Troféu Imprensa. The band was made up of four now legendary Brazilian musicians: percussionist Airto Moreira; bassist, guitarist, and violinist Theo de Barros; guitarist, violinist, violist, and sometimes banjo player Heraldo do Monte (these three musicians all being members of the previous Trio Novo); and later arrival Hermeto Pascoal. Coming from the northeastern part of the nation, all of these men were intimately familiar with baiao music, the danceable rhythmic style comprised of a syncopated 2/4 time signature that could be played on the double-skinned zabumba drum and harmonic and melodic structures written around a Lydian flat seventh scale; it is derived from the tuning of the pífano flute, which has a raised fourth and flattened seventh. The chord structure is based on a dominant seventh. And while the style is not well-known outside Brazil, it nonetheless influenced a host of popular songwriters in America, England, and Europe, who scored hits with tunes utilizing the style's elements. (A couple of examples are the Burt Bacharach tune "Do You Know the Way to San Jose?" and "Save the Last Dance for Me," written by Doc Pomus and Mort Schulman and recorded ...
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