Sandy Bull - Inventions for Guitar and Banjo (1964)


W wieku lat kilkunastu starannie kształcony młodzieniaszek z Bostonu (urodzony w NY) wkroczył skromnie na folkową scenę w roli nieśmiałego śpiewaka a la Woody Guthrie, ale już wkrótce miał podążyć zupełnie inną ścieżką, która z perspektywy pół wieku daje podstawy do nazwania go jednym z najoryginalniejszych i najbardziej nowatorskich artystów lat 60-tych. Bull, z braku punktów odniesienia porównywany do Faheya, operował formułą ragi na gitarę klasyczną, łączącą indiańską melodykę i repetycję z zachodnią ekspresją wykonawczą. (...) – Borys Dejnarowicz


Considered to be his finest moment, Bull's second record goes beyond his first, wearing an electric halo while he continues to explore the boundaries of the guitar. "Blend 2", his answer to his first record's opus "Blend", is a must have for all those wh With five different instruments--acoustic and electric guitars, bass, banjo, and oud--and many, many global styles from which to draw influence, Sandy Bull delivers exactly what its title suggests on 1965's INVENTIONS Inventions for Guitar & Banjo music CDs. The album builds on Bull's debut with a wider stylistic embrace and a deeper exploration of electricity Inventions for Guitar & Banjo songs. With his extreme genre wanderlust and gymnastic chops as their only nexus points, each track is entrancing: "Triple Ballade" features an acoustic guitar, oud, and banjo in round; two versions of Bach's "Gavotte II," explore the differences between amplified and acoustic resonance; and "Manha de Carnival" highlights Bull's mastery with overdubbing himself Inventions for Guitar & Banjo album. The album's bookends--the miasmic, raga-fied "Blend II" and a spacious revision of Chuck Berry's "Memphis, Tennessee"--are the jaw-droppers here as each magnifies the drone's place in Western music years before the Velvet Underground or the Incredible String Band. (CD Universe)

1 komentarz:

    Serpent.pl