Artcoholic

Ameri Ichinose......stunning

noreply@blogger.com (Artcoholic) — Fri, 16 Dec 2011 06:14:00 +0000

what a stunning woman.....gw kayaknya mulai ngefans sama nie bintang bokep JAV....emang mukenye rada2 mirip mei haruka sehh..innocent gtu...kalo ketemu ma cewek kyak gni di angkot langsung gw traktir baso ama cendol dechh :D

after maria ozawa, saori hara, sora aoi, mei haruka, akiho yoshizawa.....nie kayaknya hunting gw selanjutnya :)

Spaghetti Western

noreply@blogger.com (Artcoholic) — Tue, 06 Sep 2011 07:14:00 +0000

Gara2 babeh, aku jadi maniak nonton film koboy..ternyata para koboy sejati seperti Clint Eastwood atau Franco Nero itu sangatlah keren..ga banyak omong bullshit kyak para politikus di sini...mereka penembak tercepat dari dunia barat yang liar dengan para penjahat desperado dan bandidas..

mereka sangat jantan dan gentle memperlakukan para wanitanya...they are legend..

Sheriff atau marshall cuma bisa pasang pamflet wanted tapi mereka terlalu takut untuk menangkap para bandit sadis seperti Jack Palance atau Fernando Sancho dkk..kecuali kalo sherifnya ialah Lee Van Cleef yang brutal.

Walaupun aku ga bisa melupakan para legend seperti Tom Mix, Burt Lancaster ataupun John Wayne sebagai ikon koboy sebelum lahirnya genre spaghetti western..

Film koboy vintage produksi hollywood era 1920 sampai 1950-an berkarakter koboy yang selalu berpakaian bersih rapih dan sopan memanggil wanita dengan panggilan "mam"...di era ini juga masa hidup Ronald Reagen mantan bintang koboy yang menjadi presiden U.S.A lalu...sampai lahirlah film The Good The Bad and The Ugly di tahun 1960-an merubah ikon koboy masa lalu...dengan pakaian kumal, jenggot yang tidak terurus, hidup nomaden, mereka lebih banyak bicara dengan pistol daripada dialog script....itulah era koboy italia atau spaghetti western kritikus film barat menyebutnya

Kenapa disebut spaghetti western karena film ini digarap oleh orang2 italia seperti sutradara, produser, kru film dan lainnya..biaya produksi film tidak semewah hollywood tapi filmnya keren abis..dialog karakter yang sangat kuat dan gestur duel para koboy yang sulit dilupakan..dan yang paling fenomenal ialah besutan sutradara Sergio Corbucci yaitu Django (1966) yang dibintangi Franco Nero koboy pengelana yang tidak pernah naik kuda dan selalu menggusur peti mati berkelana konon film ini melahirkan hampir lebih dari 50 sekuel Django yang berbeda-beda dan menginspirasi film Desperado yang dimainkan Antonio Banderas..

http://www.imdb.com/title/tt0060315/

Blues & Beyond #94: Chick Corea and Hiromi Uehara

noreply@blogger.com (Artcoholic) — Thu, 30 Apr 2009 19:20:00 +0000

From WXPN | Part of the Blues & Beyond series | 00:59:00
Producers: Jonny Meister

Chick Corea and Hiromi Uehara offer sparkling piano duets on a new live album fom Japan

Chick Corea enjoys substantial popularity in Japan. The great pianist was in Japan last year to perform with an exciting young Japanese player, Hiromi Uehara. They did shows at the Blue Note Club in Tokyo in September 2007, and Corea did us the favor of putting out a 2-CD-and-DVD package called "Duet" from those performances. Chick and Hiromi are both great experimenters, and they really click as a duo. We'll hear a couple of the songs from "Duet" in this show. We also have new music from an innovative jazz guitarist from Benin, Lionel Loueke, and from American guitarist Kaki King, and more from Otis Taylor's "Recapturing The Ba...
Read the full description

Source : http://www.prx.org/pieces/25194-blues-beyond-94-chick-corea-and-hiromi-uehara

Chester and Lester Chet Atkins and Les Paul

noreply@blogger.com (Artcoholic) — Mon, 13 Apr 2009 15:39:00 +0000

An Honest-to-Goodness Picking Party

If the effusive volleys of the opening track, "It's Been a Long, Long Time," don't tell all about these sessions, which feature two of the world's most expressive electric guitarists, what comes next will. As country guitarist Chet Atkins (1924–2001) and jazz pioneer Les Paul (born 1915) begin a medley of "Moonglow" and the theme from "Picnic," the two are heard discussing possible introductions. Atkins offers one idea and before anything seems set, Paul starts playing, and the song takes off.

This whole affair is governed by that sense of spontaneity. It isn't a country record, though Atkins's twangy guitar defines the canvas. It's not a jazz record either, despite Paul's liquid tone. Rather, the album is thirty-six minutes of utterly relaxed carousing, a consistently surprising dialogue between masters who enjoy each other's company. They harmonize and fly in formation on "Out of Nowhere." They trade six-string tricks on a spry version of "Caravan" that has both men wrestling with the ghost of Django Reinhardt.

Atkins, who'd done a series of successful instrumental records before this, explains in the liner notes why he was anxious to work with Paul, who invented the solid-body electric guitar and other music-making devices. "He really does know everybody who's playing and what they're doing on the instrument," Atkins said. "Of course, a lot of stuff they're doing now, Les was doing in 1937." And the low-key stuff these two did together here? Guitarists are still trying to figure all of it out.

Source : www.1000recordings.com/ images/artist-a/atkins...

Sergio Abreu & Eduardo Abreu - Os Violoes de Sergio e Eduardo Abreu (1971)

noreply@blogger.com (Artcoholic) — Wed, 25 Mar 2009 20:30:00 +0000

Tuesday, September 16, 2008 by zecalouroTuesday, September 16, 2008 by zecalouro

Hello, good evening! I’m asking myself why I did not make this post earlier. Several friends were asking for this album and I could understand why a couple of weeks ago when I took it for a spin. This duo is really magical, sublime and absolutely outstanding. The brothers Sergio and Eduardo Abreu were active during the 60’s and the early 70’s and they are considered by many the most amazing classical guitar ensemble ever. Just Google and you will understand. Decades were passed and they still have international acknowledgment. My apologies to everybody who asked for a Duo Abreu career album. Let’s see.

This is Sergio Abreu & Eduardo Abreu – Os Violoes de Sergio e Eduardo Abreu (1971), for Columbia. I never heard about a CD reissue of this album or any other Duo Abreu record. In the other hand, the Internet has plenty information about their music and I would like to recommend one of the best resources I found about Duo Abreu and Brazilian violão as well, which is the website owned and maintained by Fabio Zanon, a Brazilian musician that lead an anthological series of 26 radio programs called “A Arte do Violao”, mandatory for musicians and everybody who appreciates this wonderful instrument. I think the brothers Sergio and Eduardo Abreu are auto explanatory, I could stay here writing pages of text about their music, but is better let you with Duo Abreu. Have a good night and a solid start of another week.

Source : http://loronix.blogspot.com/2008/09/sergio-abreu-eduardo-abreu-os-violoes.html

Sergio Abreu & Eduardo Abreu - O& Eduardo Abreu - Os Violoes de Sergio e Eduardo Abreu (1971)

noreply@blogger.com (Artcoholic) — Wed, 25 Mar 2009 20:10:00 +0000

Dai Kimura and I recorded a CD of entirely my music for Sony Japan, called "California Breeze". We did the tracking in Los Angeles at Firehouse Studios, and my friends Tim Timmermans and Larry Steen played percussion and bass.
While in Los Angeles, Sony filmed a music video of us in Malibu. We shot it to the title track, which has a charismatic melody and is a real band piece. For me it was fun to do some single-line improvising, which you just don't get to do in the classical world very often. Here is a link to see the video on youtube: "California Breeze"

Source : http://www.andrewyork.net/blog/Blogpage.html#MagazineBlog

Previously unavailable BBC recordings prove to be a sheer delight

noreply@blogger.com (Artcoholic) — Wed, 25 Mar 2009 19:15:00 +0000

The last time I heard Julian Bream live was in Australia in the late ’80s. Following a break in the programme a member of the audience yelled out, in true ocker fashion, ‘Stairway to Heaven!’ Seemingly offended, Bream said ‘I beg your pardon?’ before breaking into a grin. It’s just this sense of mock-seriousness that makes the spectacularly witty performance (by Bream and his old sparring partner John Williams) of the Duo in A by Schubert (Bream’s transcription of the String Quartet, D173, for two guitars) such a delight and worth the price of this disc alone. As on their previous ‘Together’ albums for RCA, both guitarists manage to reconcile their very different styles to deliver the musical goods in abundance. Not that there aren’t many other reasons for this new collection of previously unavailable BBC recordings to be considered an essential purchase.

Like the 1956 studio recording of a youthful Bream working himself into a frenzy with Turina’s Sonata. Or the first broadcast performance of Tippett’s The Blue Guitar, a piece never commercially recorded by Bream and here receiving a reading notable for the range of hues employed – worthy of both Wallace Stevens and Picasso. Then there’s a 1975 performance of the Bach Chaconne, the architecture beautifully explicated, the delivery replete with rhetorical flourishes albeit lacking the rhythmic subtlety of Bream’s 1994 EMI recording. And the only recording on the disc before a live audience, Fernando Sor’s variations on Mozart’s ‘O cara armonia’, shows Bream at his spontaneous best, exhibiting the same wit and sparkle present in the Schubert. Add to all this a booklet containing a recent interview with Bream wherein he discusses each item in the programme and you have one of Testament’s finest releases to date.

William Yeoman

source: http://www.gramophone.co.uk/gramofilereview.asp?reviewID=200214174&mediaID=216722&issue=Reviewed%3A+Gramophone+8%2F2005

40th anniversary of the passing of Ida Presti

noreply@blogger.com (Artcoholic) — Wed, 25 Mar 2009 17:07:00 +0000

24/4/2007

Wish you were here: Ida Presti

April 24th 2007 marks 40 years from the death of one of the greatest guitarists of the 20th Century, one of my 'guitar heroes', Ida Presti.
Over many years I have felt uncomfortable as I noticed that Alexandre Lagoya hardly ever mentioned Ida Presti. When he did, in most cases he was giving information about concerts they did together, but referring to them as though it had been he alone performing them. It always upsets me whenever I find out that some of my pupils have not even heard of her. So I couldn't wait to read this book that I would like to present to you.

IDA PRESTI
Her Life, Her Art
By Anne Marillia and Elisabeth Presti
Berben, Ancona E.5210 B.
Softback 199 pages

Written by Anne Marillia, a friend as well as a student of Ida Presti with the help of her daughter Elisabeth Presti, this is the first full-length biography of one of the greatest guitarists of the 20th Century, Ida Presti. The book is printed in A4 format and is a pleasure to read. An English translation written by another pupil and friend of Presti's, Alice Artzt, is presented side by side with the original French text.
The beginning is fascinating and one learns things that were not widely known before about her childhood and adulthood. There are comments from people who knew her as well as amusing anecdotes. The well-known photograph taken in the house of Andre Verdier in 1950, which shows Presti's left hand stretch; a 4 note chord of all “E”s, with eight frets in between the first finger and the little finger, never ceases to amaze. I found it amusing that when Presti suggested to her mother that she cut her hair with no results, she tried a radical method and did the job herself while her mother was asleep. Later on, I found funny the story that when in Russia the duo found out that they had to spend their fee in the country so they decided to buy caviar instead.
Returning back home all the family, as well as any students who were there at the time, had to consume about 9 kilos of caviar in the weeks to follow. They even had it for breakfast!
The book is nicely written and there are many photos. We learn about her everyday life and the way she thought. I enjoyed reading about the way she was teaching as well as about her compositions.
Unfortunately very little research has been done for the time period and events that we know so little about. But we are given lots of information on the periods that we do know about because of the extensive documentation saved by her father and by Lagoya. These periods are before 1938 (the death of her father), and of course the period of her duo with Alexandre Lagoya.

This summer, after some concerts in the south of France I visited Allauch, the village she lived with her first husband, Mr. Rigo. Unfortunately he had moved from the village and from the address I had. But I could visualize how it would have been for the great guitarist Ida Presti, living in this charming village not that far from Marseilles. It is natural that one could not expect to find much information about what many people did during the War Years (1939-1945) especially those who, like Presti, didn't move to USA or South America. I felt it would have been essential to have in the book some information given by Mr. Rigo himself. However, we do learn that he was helpful dealing with Presti's correspondence after his workday. We are also told that after the war ended, he was the one who urged the family to go to Paris for the sake of Presti's career. He rightly felt she had no chance otherwise.
We are given some description of her solo career during the period of her return to Paris, but it's all very general! Presti stopped performing as a solo player in 1955. The information we are given about the period –a whole decade– is vague and rather 'thin'. I missed not having exact dates of events such as, for example, the premiere in France by Presti of the Aranjuez Concerto by J. Rodrigo. We are given the year 1947, but no exact date, orchestra, or location. I feel uncomfortable that there is no exact source of information about this and other events that were landmarks in her career.
Biographies that are written by people very close to their subject always have a danger of not being objective. I felt this was the case with this book. I have the strong feeling that this biography was written with a preconceived agenda, and also that it has not been researched enough in a scholarly manner.
The last two chapters of the book, in particular, give the strong impression that the authors wish to portray Presti as a deeply unhappy person. The poverty during her early years was indeed horrible, but during the war years and afterwards, a lot of people suffered similar hardships. This was a universal reality during the war years, when everybody was in difficulties. And it seems to me that Presti also had good friends in high places to help her. We read that, due to her guitar, Presti lived a miserable life, she had no childhood, and later on she suffered having to tour and to perform.
It is in these sections in the book that her religious and spiritual beliefs are described. There is also a hint of hagiography that made me feel uncomfortable – reading about 'her great soul' or about her confiding to the writer A. Marillia that “je n' aime pas la vie” (I don't like life). The writers constantly emphasize that she had such a difficult life. But everyone who met her always speaks about how warm, loving, and joyful she was. I was not convinced by reading this book that, on the contrary, she was so unhappy and was almost forced to tour the world playing her guitar. Many musicians, including myself, when away, want to come back home (sometimes even complaining about it). And how many are the performers who say that they just don't like the traveling part of touring? A lot, I assume. But after being at home for a while, we all want to leave again. Presti is admired for her superb playing. Though I didn't know her personally, I have listened to people who knew her over the years, yet I never had from any of them this impression of Presti as portrayed toward the end of the book. Was this rather the desire of her daughter Elisabeth, to have her mother stay at home playing with herself, her family, and her brother – of her wanting Presti to be with them, rather than the desire of Presti herself?

There have been a lot of 'versions' of Presti's death. We have read that she died from an aneurysm, or after anaesthesia before an operation, or that the doctors 'killed her', and also of her having lung cancer. In the book we read that she began to cough up blood very violently, and that this continued yet more violently during the flight the next day. According to the authors, when Presti was taken to the hospital, the doctors should have put her under observation rather than do a bronchoscopic examination that hurt a 'tiny tumor' and caused a pulmonary haemorrhage. Well, this doesn't make sense either. But of course Presti's death is equally tragic, no matter what the cause was.
Ida Presti, her Life, her Art is a book well worth buying since it is the only book we have on this great guitarist apart from a CD and a video. It is well written and absorbing to read. However, although this is the only book on Presti's life, it should not be taken as the 'authority' for information, even though it was written by her daughter, and her pupil and friend. I would like to emphasize once again that this is not an objective account of her life. I must also say that the price of 68 euros is ridiculous for 100 pages, in paperback yet! In a sense, the price is the No1 enemy of the book and may put off a lot of her aficionados. It certainly wouldn't tempt those that have not even heard of her to buy it. As the author A. Marillia writes: “You may search in vain for the name Ida Presti in a music dictionary; it's not there”.
I thought to also forward an article I wrote years ago for Classical Guitar magazine (UK) entitled “Wish you Were Here” (click here to view).
I am also including some photos from my private collection (click here to view).
I find it’s very important to attach an explanatory article that Alice Artzt wrote. She was with Presti during the last days of her life, and was with Lagoya at the hospital after her death, and what she writes give another light, to my opinion a very convincing one, in explaining Presti's death.

Alice Artzt writes: “The single thing I found most distressing about the book was the inaccurate description of Ida Presti's death. The lack of clear information, and the desire to spread false rumours by some parties for their own reasons, has created piles of unhealthy speculation and lurid discussions throughout the intervening years about her being killed by incompetent doctors, or even being murdered. I would like to finally put these rumours to rest. Here are the facts: She died in the Strong Memorial Hospital (a large, famous, and very well regarded teaching hospital) in Rochester, on the operating table on Monday April 24th 1967 in the early evening. At that point, she had been violently coughing up blood for two days. She and Lagoya were in the middle of a concert tour of the USA, and the day before, because of the apparent seriousness of her condition, she had gone to the hospital in St Louis where the doctors examined her, took X-rays, and cautioned that her condition might be very serious and that she should remain in the hospital. She and Lagoya decided to travel on to Rochester (where their next concert was to be held) anyway. During the trip she continued vomiting blood, spending much of the 4 hour and 37 minute flight (AA 534 with two stops) in the lavatory of the plane, and upon their arrival in Rochester, she was brought to the hospital in a very weakened condition straight from the airport. She died of a massive internal haemorrhage during a prolonged attempt by the doctors to stop the bleeding. I received a phone call from Lagoya that evening, telling me of Presti's death and asking me to come to Rochester as fast as I could to help him with the formalities, which I did. The next morning in Rochester, I spoke at some length to the doctors who had tried so hard to save her, and they explained to me that when someone enters the emergency room in an extremely weakened condition, haemorrhaging violently, with a history of already two days of such haemorrhaging, the only hope is to do an emergency operation as quickly as possible to attempt to get the bleeding stopped.
More recently, I also spoke about her case at great length to a thoracic surgeon in Princeton, and one of the questions I asked him was why the doctors in St Louis had not seen her tumour in their X-rays, and so were not completely sure of the cause of the internal bleeding at that point. He explained to me that since the tumor Presti had would have been located right behind her heart, even a very large tumour would not have shown up at all on the X-rays, since the heart would have obscured any possible view of it. He said that at that time, without the help of a CAT scan (which didn't exist then), the only way of finding out what was going on in such a situation would have been to operate. He told me that the desperate emergency situation faced by the doctors in Rochester was every surgeon's nightmare, since there is so very little hope of saving the patient in such cases, no matter what one does. The idea put forth in the book, that the doctors in Rochester erred in not simply standing by doing nothing and observing Presti as she haemorrhaged yet more blood and weakened further, is totally ridiculous. Presti died tragically too young, but it was her own long-standing disease, and her own death, and probably inevitable by then within a fairly constrained time period. She was not killed by the doctors or by anyone else.
It is still my hope that, despite its flaws, this book will stimulate a renewed interest in this amazing woman, Ida Presti, and that more books, videos, and articles about her will follow. Presti deserves to be much better known by all who love the guitar, and perhaps now, forty years after her death, there will be the beginning of a renaissance of interest in her life and art.”

Eleftheria Kotzia
(April 2007)
eleftheriak@tiscali.co.uk

Source : www.tar-radio.com/myapp/ categories/view

Sérgio & Odair Assad

noreply@blogger.com (Artcoholic) — Sun, 22 Mar 2009 05:07:00 +0000

The Washington Post once called the Assad brothers "the best two-guitar team in existence, maybe in history."

The New York Times once wrote that there is "a kind of wizardry that lives within the playing of Sergio and Odair Assad."

The Los Angeles Times described their work as “…so precise, so perfectly synchronized that it reaches far beyond musical partnership into a kind of creative symbiosis.”

The Assad brothers' artistry and unique ensemble playing have set new performance standards in the world of contemporary music for guitar duos. They have recorded with such famed artists as cellist Yo-Yo Ma , violinist Nadja Salerno Sonnenberg, clarinetist and 6 time Grammy winner Paquito D'Rivera and Latvian violinist Gidon Kremer.

They have a diverse repertoire, from original pieces written by Sergio Assad to transcriptions of great pieces written by Bach and Couperin, as well as adaptations of works by Gershwin. Their concerts always provide a fine blend of styles, of time periods and of cultures.

Their 2001 CD, entitled "Sergio and Odair Assad Play Piazzolla," was awarded a Latin Grammy. Their 1998 CD with Yo-Yo Ma produced a regular Grammy that year, and they just finished recording a new CD with Yo-Yo Ma that is scheduled for release in early 2005.

Hudson Reporter

Source : http://www.kevincallahan.org/assad.htm

Depapepe - Profile -

noreply@blogger.com (Artcoholic) — Sat, 21 Mar 2009 08:12:00 +0000

In November 2002, Tokuoka Yoshinari and Miura Takuya (both are from Kobe) formed Depapepe.The band's name was cobbled together by combining the Japanese word for 'overbite', 'deppa', because of Miura's overbite, and the name of Tokuoka's previous band 'Derupepe'.

They both shared the dream of creating songs which can convey their emotions, whether sad or happy feelings. From their native Kobe to Osaka to Kyoto, they gather a circle of people wherever they perform on the street. With only two acoustic guitars, they articulate imagined sceneries and emotions; their heartfilling, swinging sound and yearning melody provide a comfortable, enjoyable and highly compassionate atmosphere. Buoyed by the rapidly expanding instrumental music market, Tokuoka gives full play to his talent as melody maker, while Miura sensitively yet boldly embodies his emotions with help of his guitar.

With catchy melodies, great strumming rythmns and energetic style, Depapepe’s songs are seemingly popular across all genders, ages and languages. With their quick interchanges, skilfully smooth and melodic solos and synergistic accompaniment so brilliant that even without vocals, the song feels complete even for instrumental newbies. Depapepe has a very well-rounded range of guitar techniques and sometimes, they apply very basic stuff such as harmonics, tremelo etc aptly to augment the song. Their songs aren’t technically difficult but the two guys just do it very well.

Since their first CD release, they have been enjoying massive exposure on TV, radio, live events, all of which enhancing their talent and humanity.

They released three indies before their major debut, which collectively reached sales figures of about 100,000 copies

source : http://depapepemania.com/profile