Browse Titles - 20 results
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Alexander O'Neal Live at the Hammersmith Apollo, London
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a littl...
Sample
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
Description
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhin...
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhinged. With remarkable energy, he plays the titles that propelled him to the rank of darling of the 80s: he becomes a languid lover again with "If You Were Here Tonight," slips into the skin of the repentant Don Juan of "A Broken Heart Can Mend,” and dons his costume of a transitory lover with “What Is This Thing Called Love.” Tireless, the singer does not allow himself a break, not even between the titles, where he multiplies the strokes of humor and the glances at the public. This live show from 2007 recalls everything that makes the singer so charming. It's up to you to decide if you will fall for his velvety voice, his mischievous attitude, and his slightly roguish air. Léance Kalanzau
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Date Written / Recorded
2006-03-11
Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Alexander O'Neal, 1953-
Contributor
Jon Wells, fl. 1968
Author / Creator
Alexander O'Neal, 1953-
Date Published / Released
2006
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2006 Auditorium
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America's Music Legacy, America's Music Legacy - Blues
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 54 mins
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also partic...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 54 mins
Description
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also particularly interesting for its film archives of the big names who illustrated the different stages of history until their acceptance by the...
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also particularly interesting for its film archives of the big names who illustrated the different stages of history until their acceptance by the general public. For example, it opens with a fabulous goosebump-inducing appearance by Bessie Smith that lasts several minutes and also features footage of performances by Billie Holiday, Mamie Smith, and Jimmy Rushing seducing a young girl at her window with his singing. And to put everything in perspective, the master of ceremonies does not fail to mention the names of Louis Armstrong, WC Handy, Jelly Roll Morton, but also Sonny Terry & Brownie McGhee, Willie Dixon and Memphis Slim, Buddy Guy and Junior Wells in order to hammer home the notion that the blues "is the voice of Black America." And since it is impossible to say who is at the origin of the genre, he illustrates his point with Bukka White's formula: “the blues came from behind a mule's ass.” This black pride is portrayed by a theatrical staging of a club show. Among the artists, the successful performances of BB King, the harsh singing of Linda Hopkins, the classy Joe Williams and his feverish duet with Esther Phillips are the highlights. Gerald Wiggins’ musical direction and arrangements as well as the choruses of the excellent musicians of his orchestra are essential to the success of the project. Philippe Lesage
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Date Written / Recorded
1985
Field of Study
American Music
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1982
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1982 Auditorium
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America's Music Legacy, America's Music Legacy - Soul
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showma...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
Description
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program...
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program dedicated to Soul Music. Hybridization of gospel and rhythm & blues, brought to the end of the 1950’s by Ray Charles, in phase with the spirit of the struggle for civil rights of Martin Luther King, soul music marks the desire for emancipation of the African-American youth, and the bringing to the foreground of black pride and its culture. This music, which both identifies and challenges, is not exempt from contradictions; it oscillates between incisive incantatory singing with James Brown, and sexualized syrupy ballads, as if it had to comply with the demands of entertainment. To produce its own effect with an insane but not kitsch look becomes a scenic imperative: Rufus Thomas' cape, canary yellow suit, and blood red boots are a perfect illustration of this. One forgives this narcissistic childishness as the expressiveness of the voices always reaches an exceptional level; you just have to listen to Carla Thomas, Gladys Knight or the versions of "Spanish Harlem" by Ben E. King or "For Your Precious Love" by Jerry Butler, who was Curtis Mayfield's sidekick in the group The Impressions to be convinced. Philippe Lesage
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Field of Study
Jazz
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1985
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1985 Auditorium
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Bilal
directed by Carine Zuber; produced by Moods Jazz Association; performed by Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield and Joseph Grissett (Paris, Ile-de-France: Qwest TV, 2019), 2 hours 2 mins
Though sometimes associated with the nu soul scene, Bilal is an artist that defies categorization. With ties to hip hop (Guru, Common ... ) and beatmaking, the singer has chosen the path of innovation more often than not, as demonstrated by In Another Life, his surprising 2015 album. Endowed with a proverbial open...
Sample
directed by Carine Zuber; produced by Moods Jazz Association; performed by Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield and Joseph Grissett (Paris, Ile-de-France: Qwest TV, 2019), 2 hours 2 mins
Description
Though sometimes associated with the nu soul scene, Bilal is an artist that defies categorization. With ties to hip hop (Guru, Common ... ) and beatmaking, the singer has chosen the path of innovation more often than not, as demonstrated by In Another Life, his surprising 2015 album. Endowed with a proverbial open mind (he notably covered Radiohead's "High And Dry"), Bilal starts his set on the Moods stage with the impeccable "Sirens II," a haunt...
Though sometimes associated with the nu soul scene, Bilal is an artist that defies categorization. With ties to hip hop (Guru, Common ... ) and beatmaking, the singer has chosen the path of innovation more often than not, as demonstrated by In Another Life, his surprising 2015 album. Endowed with a proverbial open mind (he notably covered Radiohead's "High And Dry"), Bilal starts his set on the Moods stage with the impeccable "Sirens II," a haunting theme that stands at the crossroads between rock and rhythm and blues. The next two hours are a testament to his tried and tested formula. With Randall Runyon on guitar, Tone Whitfield on bass and Joe Blaxx on drums, the band unites over an ambient repertoire. When listening to the jazzy sequences, and more particularly to "Naima," a John Coltrane track that Bilal gives a dazzling interpretation of, it becomes clear how the group acts as a conduit for different styles. Often electric, sometimes psychedelic, the set evokes the performer's beginnings with the legendary Soulquarians, as well as the work of close friend Adrian Younge, the boss of Linear Labs studio and author of the recent Jazz Is Dead sessions. Vincent Caffiaux
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Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield, Joseph Grissett
Contributor
Moods Jazz Association
Author / Creator
Carine Zuber, Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield, Joseph Grissett
Date Published / Released
2019
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2019 Auditorium
×
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Chuck Berry - Rock & Roll Music
directed by D. A. Pennebaker, 1925-2019 and Chris Hegedus, 1952-; produced by Frazer Pennebaker, 1955-; performed by Chuck Berry, 1926-2017 (Paris, Ile-de-France: Qwest TV, 1991), 46 mins
Matrix of rock and roll on an equal footing with the delirious Little Richard, Chuck Berry had an obvious influence on groups like the Rolling Stones or the Beatles who in their beginnings revisited the repertoire of the American guitarist via the phenomenal "Come On" and "Roll Over Beethoven”. These different a...
Sample
directed by D. A. Pennebaker, 1925-2019 and Chris Hegedus, 1952-; produced by Frazer Pennebaker, 1955-; performed by Chuck Berry, 1926-2017 (Paris, Ile-de-France: Qwest TV, 1991), 46 mins
Description
Matrix of rock and roll on an equal footing with the delirious Little Richard, Chuck Berry had an obvious influence on groups like the Rolling Stones or the Beatles who in their beginnings revisited the repertoire of the American guitarist via the phenomenal "Come On" and "Roll Over Beethoven”. These different and significant covers say a lot about the ancestry of Chuck Berry and his imprint on the International music scene. The result of an ex...
Matrix of rock and roll on an equal footing with the delirious Little Richard, Chuck Berry had an obvious influence on groups like the Rolling Stones or the Beatles who in their beginnings revisited the repertoire of the American guitarist via the phenomenal "Come On" and "Roll Over Beethoven”. These different and significant covers say a lot about the ancestry of Chuck Berry and his imprint on the International music scene. The result of an explosive mix of rhythm and blues, jazz and country, the St. Louis native is filmed here in 1969 in Toronto during the famous Rock & Roll Revival festival by Chris Hegedus and the great DA Pennebaker. Faced with an overheated audience, the inventor of the duck walk delivers a breathtaking set where the hits of the last fifteen years collide. Monuments from the popular repertoire such as “Maybellene,” “Carol,” or “Johnny B. Goode” are reviewed. Of course, the blues heir to the Chess years has not been forgotten, as this powerful version of Willie Dixon's "I'm Your Hoochie Coochie Man" proves. And R&B occupies a prominent place with an imperious reading of "In The Wee Wee Hours (Of The Nite)" by James Brown from his Famous Flames period: lets' rock! Vincent Caffiaux
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Date Written / Recorded
1969
Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Chuck Berry, 1926-2017
Contributor
Frazer Pennebaker, 1955-
Author / Creator
D. A. Pennebaker, 1925-2019, Chris Hegedus, 1952-, Chuck Berry, 1926-2017
Date Published / Released
1991
Publisher
Qwest TV
Topic / Theme
Rock & Roll
Copyright Message
Copyright © 1991 Auditorium
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Great Big Story, Queen of the Blues
produced by Great Big Story, in Great Big Story (Atlanta, GA: Cable News Network (CNN), 2016), 3 mins
Beverly Watkins plays a mean blues guitar, and that's putting it mildly. Over six decades of performing, the 77-year-old has opened for Ray Charles, James Brown, BB King and other legendary musicians. She's one of the greatest female blues guitarists, and still plays local gigs in Atlanta. Keep on jamming Beverly...
Sample
produced by Great Big Story, in Great Big Story (Atlanta, GA: Cable News Network (CNN), 2016), 3 mins
Description
Beverly Watkins plays a mean blues guitar, and that's putting it mildly. Over six decades of performing, the 77-year-old has opened for Ray Charles, James Brown, BB King and other legendary musicians. She's one of the greatest female blues guitarists, and still plays local gigs in Atlanta. Keep on jamming Beverly!
This video is from the Human Condition collection of Great Big Story.
Field of Study
American Music
Content Type
News story
Contributor
Great Big Story
Date Published / Released
2016
Publisher
Cable News Network (CNN)
Series
Great Big Story
Person Discussed
Beverly Watkins, 1939-
Topic / Theme
Blues
Copyright Message
Copyright © 2016 CNN Newsource Sales
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James Brown - Mr. Dynamite
(Paris, Ile-de-France: Qwest TV, 2014), 2 hours 5 mins
This Fascinating portrait devoted to James Brown embodies the man who was explicitly nicknamed Soul Brother Number One, The Hardest Working Man In Show Business and of course Mr. Dynamite... Carefully paced, this document addresses the milestones of this figure in African-American culture. The rhythm and blues beg...
Sample
(Paris, Ile-de-France: Qwest TV, 2014), 2 hours 5 mins
Description
This Fascinating portrait devoted to James Brown embodies the man who was explicitly nicknamed Soul Brother Number One, The Hardest Working Man In Show Business and of course Mr. Dynamite... Carefully paced, this document addresses the milestones of this figure in African-American culture. The rhythm and blues beginnings with the Famous Flames ("Please, Please, Please"), the ascent to the funky Himalayas thanks to the JB's ("Sex Machine") and the...
This Fascinating portrait devoted to James Brown embodies the man who was explicitly nicknamed Soul Brother Number One, The Hardest Working Man In Show Business and of course Mr. Dynamite... Carefully paced, this document addresses the milestones of this figure in African-American culture. The rhythm and blues beginnings with the Famous Flames ("Please, Please, Please"), the ascent to the funky Himalayas thanks to the JB's ("Sex Machine") and the impact on urban music or more precisely on rap (“Unity”, in duet with Afrika Bambaataa)… Accompanied by comments from the singer, the first part of this film deals with the family environment in Georgia, the American movement for civil rights and the power exercised by Africa on at-home productions. As such, the images of James Brown's visit to the island of Gorée, a symbolic place of slavery in Senegal, are worth the detour alone. Illustrated by a detailed chronology of his career, the second part of this video brings together the cultural actors of the time, starting with Stevie Wonder, the explosive musical development and its impact on the international scene, and the many historical sets including those high masses at the Apollo Theater in Harlem: get on the good foot… Vincent Caffiaux
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Field of Study
American Music
Content Type
Documentary
Date Published / Released
2014
Publisher
Qwest TV
Person Discussed
James Brown, 1933-2006
Topic / Theme
Biographies, Civil rights, African-Americans, Cultural identity, Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2014 Auditorium
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Judith Hill
produced by Moods Jazz Association; performed by Judith Hill, 1984-, Michiko Hill, fl. 1991, Robert "Pee Wee" Hill, fl. 1978, Greg Moore, fl. 1978 and Donnell Spencer, Jr., fl. 1986 (Paris, Ile-de-France: Qwest TV, 2019), 1 hour 40 mins
The name of this 30-yr old from Los Angeles might not mean much to you. A choir singer in the shadow of Michael Jackson, Elton John or Rod Stewart during her younger years (see the excellent documentary 20 Feet From Stardom), she came closer to the front of the stage in 2015 when “the kid from Minneapolis” too...
Sample
produced by Moods Jazz Association; performed by Judith Hill, 1984-, Michiko Hill, fl. 1991, Robert "Pee Wee" Hill, fl. 1978, Greg Moore, fl. 1978 and Donnell Spencer, Jr., fl. 1986 (Paris, Ile-de-France: Qwest TV, 2019), 1 hour 40 mins
Description
The name of this 30-yr old from Los Angeles might not mean much to you. A choir singer in the shadow of Michael Jackson, Elton John or Rod Stewart during her younger years (see the excellent documentary 20 Feet From Stardom), she came closer to the front of the stage in 2015 when “the kid from Minneapolis” took her under his wing. From yesterday's stadiums to this intimate concert at the Moods in Zurich, we can legitimately say that she did n...
The name of this 30-yr old from Los Angeles might not mean much to you. A choir singer in the shadow of Michael Jackson, Elton John or Rod Stewart during her younger years (see the excellent documentary 20 Feet From Stardom), she came closer to the front of the stage in 2015 when “the kid from Minneapolis” took her under his wing. From yesterday's stadiums to this intimate concert at the Moods in Zurich, we can legitimately say that she did not get lost in the change from an artistic point of view. In fact, you will only need the first 15 minutes to realize the obvious impact of Prince on his music. Who would complain? Millimeter grooves, hip-hop impulses, rock or p.funk escapes, a soul heritage marked by a generous voice that Judith Hill, coupled with the liveliness of her guitar playing and the delicacy of her touch on the piano, imposes naturally. The titles parade by, a tenor saxophone invites itself on stage, the faces are streaming with sweat and just like the audience of the Swiss club, we are taken on board for a journey far from the green hills of the region. If the late Prince was the trigger, by producing and recording his first album at his home in Paisley Park, we must also pay tribute to two individuals very close to the musician: His parents. Robert Hill and Michiko Hill are key figures in the equation and in this clever mix that makes the work of their offspring so special. Dad holds the bass, mom is on keyboards and both of them are far from faking it. Coherence or connivance, family spirit or family affair, between the expressive solos of each musician, the concert has all the elements that make up the richness of the Californian's career. Well-known snippets and choruses (Jackson 5, Sly Stone, Marvin Gaye, Hendrix ...) are grafted onto house compositions. A heritage that seems dear to Judith Hill and probably to her parents, revealing a nice complicit image and emphasizing once again, the importance of transmission. Julien D.
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Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Judith Hill, 1984-, Michiko Hill, fl. 1991, Robert "Pee Wee" Hill, fl. 1978, Greg Moore, fl. 1978, Donnell Spencer, Jr., fl. 1986
Contributor
Moods Jazz Association
Author / Creator
Judith Hill, 1984-, Michiko Hill, fl. 1991, Robert "Pee Wee" Hill, fl. 1978, Greg Moore, fl. 1978, Donnell Spencer, Jr., fl. 1986
Date Published / Released
2019
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2019 Auditorium
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Legends in Concert, The Temptations - Live In Concert: Got It Goin' On
directed by Gary Legon, fl. 1982; produced by Niles Siegel and Gary Legon, fl. 1982, Estate Films; performed by The Temptations, in Legends in Concert (Paris, Ile-de-France: Qwest TV, 1986), 1 hour
Figureheads of the Tamla Motown label, along with the Supremes, Smokey Robinson or Marvin Gaye, the Temptations are the embodiment of American youth from all backgrounds of the 60s. Initially illustrated by the fabulous voices of Eddie Kendricks and David Ruffin, here the soul quintet unfolds an accomplished show...
Sample
directed by Gary Legon, fl. 1982; produced by Niles Siegel and Gary Legon, fl. 1982, Estate Films; performed by The Temptations, in Legends in Concert (Paris, Ile-de-France: Qwest TV, 1986), 1 hour
Description
Figureheads of the Tamla Motown label, along with the Supremes, Smokey Robinson or Marvin Gaye, the Temptations are the embodiment of American youth from all backgrounds of the 60s. Initially illustrated by the fabulous voices of Eddie Kendricks and David Ruffin, here the soul quintet unfolds an accomplished show (enjoy the dance steps and the windmills with the arms), and a myriad of hits or classics. This is the case of early singles like "The...
Figureheads of the Tamla Motown label, along with the Supremes, Smokey Robinson or Marvin Gaye, the Temptations are the embodiment of American youth from all backgrounds of the 60s. Initially illustrated by the fabulous voices of Eddie Kendricks and David Ruffin, here the soul quintet unfolds an accomplished show (enjoy the dance steps and the windmills with the arms), and a myriad of hits or classics. This is the case of early singles like "The Way You Do The Things You Do," "Ain't Too Proud To Beg," and of course "My Girl," whose introduction still thrills us five decades after its publication… More adventurous, even political, the second part of the career of the group from Detroit (a defining city) is not forgotten. Produced in their time by the brilliant Norman Whitfield, the long psychedelic barrel sequences of "Masterpiece,” "Cloud Nine," and above all "Papa Was A Rollin' Stone" have not aged a bit and act here as so many charged testimonies concerning the United States of the Nixon era. Complete and varied, this set covers these different musical periods with great emotion, all in less than an hour: impressive… Vincent Caffiaux
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Date Written / Recorded
1983
Field of Study
Popular Music
Content Type
Performance
Performer / Ensemble
The Temptations
Contributor
Niles Siegel, Gary Legon, fl. 1982, Estate Films
Author / Creator
Gary Legon, fl. 1982, The Temptations
Date Published / Released
1986
Publisher
Qwest TV
Series
Legends in Concert
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1986 Auditorium
×
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Leyla McCalla - The Capitalist Blues
directed by Gilles Le Mao, fl. 2001; produced by La Huit, Fotogram, TV 78 and Théâtre de Saint-Quentin-en-Yvelines; performed by Leyla McCalla, 1987-, Shawn Myers, Pete Olynciw and David Hammer (Paris, Ile-de-France: Qwest TV, 2019), 51 mins
A New Yorker of Haitian origin, Leyla McCalla is an artist of different calibre who first made a name for herself with the Carolina Chocolate Drops, before embarking on a solo career. A banjo player, guitarist and cellist, she sings in French, English and Haitian Creole. To mark the release of her album *The Capit...
Sample
directed by Gilles Le Mao, fl. 2001; produced by La Huit, Fotogram, TV 78 and Théâtre de Saint-Quentin-en-Yvelines; performed by Leyla McCalla, 1987-, Shawn Myers, Pete Olynciw and David Hammer (Paris, Ile-de-France: Qwest TV, 2019), 51 mins
Description
A New Yorker of Haitian origin, Leyla McCalla is an artist of different calibre who first made a name for herself with the Carolina Chocolate Drops, before embarking on a solo career. A banjo player, guitarist and cellist, she sings in French, English and Haitian Creole. To mark the release of her album *The Capitalist Blues*, she performs here with her band composed of Dave Hammer on guitar, Peter Olynciw on electric bass and double bass and Sha...
A New Yorker of Haitian origin, Leyla McCalla is an artist of different calibre who first made a name for herself with the Carolina Chocolate Drops, before embarking on a solo career. A banjo player, guitarist and cellist, she sings in French, English and Haitian Creole. To mark the release of her album *The Capitalist Blues*, she performs here with her band composed of Dave Hammer on guitar, Peter Olynciw on electric bass and double bass and Shawn Myers on drums at the Théâtre de Saint-Quentin-en-Yvelines in France in 2019. The daring record, inspired by the socio-political climate in the United States, reflects an emotional conflict, a duality that Leyla McCalla encounters between what her spirit wishes to achieve and what society forces her to do. A contemporary sense of unease and contradiction rings true in a society where money is king. Influenced by the Cajun music rooted in New Orleans, where she has been living for some years, Leyla manages to infuse traditional melodies with Creole traditions, jazz, folk and blues, as well as a freshness and elegance all her own. Without artifice and with total sincerity, she sings with simplicity that touches our hearts and minds. **Anaïs Christidis Guillemard**
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Date Written / Recorded
2019-10-04
Field of Study
World Music
Content Type
Performance
Performer / Ensemble
Leyla McCalla, 1987-, Shawn Myers, Pete Olynciw, David Hammer
Contributor
La Huit, Fotogram, TV 78, Théâtre de Saint-Quentin-en-Yvelines
Author / Creator
Gilles Le Mao, fl. 2001, Leyla McCalla, 1987-, Shawn Myers, Pete Olynciw, David Hammer
Date Published / Released
2019
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2019 Auditorium
×
