It is a black American sound. Above all it is danceable and that brings joy. Back in the seventies, it received a measure of grief from both sides of the spectrum. Jazz purists complained that It was not cerebral enough or too reliant on electric instruments while some in the broader music press complained that it was too much like mainstream Jazz.
A man whose legacy is incalculable. His last great project, the CTI label captured a moment in Jazz history, bringing with it those warm funk-infused albums and for a time, a wider audience. McNicoll is a musician who puts in the hard yards and he captured the CTI vibe perfectly. While featuring a gig of covers is not a CJC thing, this was much more than that. Yes, CTI covers were aired, but only in the context of an over-arching project.
It was great to see these numbers aired as they are often left languishing in the shadows. The tunes were infectious and they soon brought people to their feet and on a chilly winters night, what could be better? They were tunes redolent of an era and they were happy tunes. For those in the audience around during the seventies, they brought back fond memories, for the rest, the joy of discovery.
This is the music that you can hear in the New Orleans clubs. A unique sound that rides a groove to the moon and back. I would also like to acknowledge McNicoll for his tireless work on behalf of the Auckland Jazz scene. He is a prime example of how a not-for-profit organisation remains functional.
I clearly recall the first time I heard Steve Barry. It was around eleven years ago at the He was not long back from Australia, bringing with him bass player Alex Boneham and drummer Tim Firth. At that time the Creative Jazz Club was located in a dark atmospheric basement; an ill-lit venue bordering on gloomy and perfect for a Jazz club. You would grab a drink, sink into a well-worn leather armchair with broken webbing and wait for the band to begin.
The music that night was unforgettable. Somewhat denser than I was accustomed to at the time, but never-the-less fully engaging and exciting. When the second tune was announced I pushed record on my iPhone because I knew that I was hearing a piece of music that merited further attention.
It was a tune that he was working on and it would appear on his first album a short time later. I listened to that phone clip an awful lot over the following months and I could hear the future. Each time Barry has appeared in New Zealand he has showcased fresh ideas. Although born in New Zealand, Australia claimed him long ago. He is popular there, has obtained a doctorate and awards there and teaches at the Sydney Con. As expected, he brought us new compositions this visit, but as I listened I was also reminded of that first gig.
While he moves on constantly and is not composing or playing in the way he did back then, there is still a hint of that younger player. Of past learnings gathered and picked through as he builds fresh iterations, crafted in part from the bones. I am not surprised that he studied with Craig Taborn. His compositions are no doubt demanding and require good responsive players. He had assembled just such a crew for his CJC Anthology gig.
Local musicians of the highest quality. Passels has a gorgeous tone, but what sets him apart is his ability to push at the boundaries. His best work occurs when playing compositions that afford him certain freedoms and these compositions worked well for him.
At times he would run over the lines which contrasted nicely with his tight unison playing. The sort of advanced musical thinking I associate with Warne Marsh. Perhaps because this was a quartet, the music also felt more spacious. The density and serialism were still evident but as always with Barry, there were fresh vistas revealed at each turn. When he commits to a project he gives it his all and this project was no exception. Sometime inhe and fellow Auckland musician Roger Manins flew to Germany to record 13 new compositions.
Holland was formerly from Germany but he is now a senior tutor at the University of Auckland Jazz School. When you put good material in front of good improvising musicians you can expect good results, but sometimes, that little bit extra is extracted and then the magic. This is a marvellous album and deserving of acclaim. It traverses a range of moods without ever detracting from the overarching mellow vibe. This is a recording you will want to play over and over, and each listening will yield fresh gold.
Holland is known for his throwaway verbal lines on stage and this bleeds through into his writing. Good musicianship and good banter are happy bedfellows in my experience. There is nothing bombastic about this tune which is reflective, spacious and beautiful. Following that is Morse Code, a tune true to name, dancing over compelling rhythmic patterns with an insistent ostinato bass line. An achingly beautiful ballad and wonderfully realised by the musicians.
This is a cleverly constructed groove piece and it ties the album halves together nicely. Another great solo from Keezer as well. Guitarist Joscho Stephan appears on tracks 16 and 13 and his fluid delivery is tightly focussed, enhancing the vibe. What a treat, and as with all of these pieces, carried on Hollands impeccable bass lines and his gravity-defying compositional architecture.
None of the musicians can be set apart from the whole because all of the musicians stand out, this was truly a meeting of musical minds. Following the recording, Holland made several trips to the northern hemisphere, nurturing the project to completion. The New Zealand gig was well signalled on social media with album teasers and a commitment to donate part of the album proceeds to a marine sanctuary off the coast of Africa.
On top of that Holland generously forwent sales profits above cost. His environmental interests are well known and based on first-hand observations as a diver and a blue water yachtsman he originally sailed to New Zealand from Europe.
I have posted several numbers from the New Zealand gig and they are a small sampling from a superb nights entertainment. Beside Holland was Roger Manins, the only two from the recording band. Filling in for the internationals and killing it, were Dixon Nacey on guitar, Thabani Gapara on alto saxophone, Joe Kaptein on keys and Malachai Samuelu on drums.
More guitar parts were included in the charts and why not with Dixon in the mix. Roger was on top of his game as always and the other three were marvellous. In addition to the Auckland clips, I have included some clips from the album.
Mireya Ramos was an unexpected musical treat because our borders, with very few exceptions, have been long closed to all but Kiwi returnees and most recently Australian tourists. Ramos is from New York. Very few international musicians have managed to cross the border, and only if they obtained an exemption and subjected themselves to a strict quarantine. Within days of arrival, the borders had closed behind her.
For many pre-lockdown international visitors, the border closure proved to be a silver lining as visas were extended and they could avoid the horrors unfolding elsewhere in the world. Mireya Ramos is a multi Grammy-nominated and winning artist and although the rest of her all-female mariachi band members returned home, she and her partner Andy Averbuch did what creatives do best, they got busy.
During the year she has recorded and toured the country and her gigs have attracted enthusiastic audiences everywhere. Her music draws on many genres, but all coloured by a stylistic uniqueness. She is both a vocalist and a violinist and that appealed as well. The violin is not unknown in improvised music, but sadly it is still uncommon. I am fond of the violin in Jazz and Jazz fusion styles and particularly so with Album) music. Listening Jazz audiences are always eager to hear traditional and blended South American music.
Of all the tunes, that appealed to me the most. It is not often that we get to hear the many and varied Latin styles and whenever we do, we are left wanting more.
Guitarist Andy Averbuch and Bass player Alex Griffith had opportunities to stretch out during solos and they made the most of that, but when Dr Mark Baynes and Lance Bentley locked into a Clave, the magic happened. Ramos has been received enthusiastically in New Zealand and after the pandemic recedes, I am sure that she will be encouraged to return.
Drummer led albums often tell stories in different ways and the releases reviewed here exemplify that. On the surface, they are dissimilar, but both convey raw energy and immediacy. These improvisers transcend the ordinary in their search for an ancient to modern language. The first is a newly released album by Myele Manzanza titled Crisis and Opportunity.
As with his previous albums, there is something big-hearted about this work. As you listen, you gain the sense that he is telling a story that transcends time and place. This is realised through some very fine writing and crafted over his warm mesmerising beats.
Manzanza draws on strong roots and influences. He is a Kiwi, a citizen of the world and of African heritage. His father is a Master Congolese drummer and his formative years playing hand drums will have informed his approach to the kit. Among the other influences evident are broken-beat and Jazz electronica. Out of these influences and his own life experiences, alchemy is forged. He is forward-looking and overtly political. He is someone to watch with interest.
I am familiar with trumpet player James Copus, as his impressive Dusk album came to my attention quite recently. The other horn player is George Crowley on tenor saxophone. When the horns are playing in unison it is hard to believe that the horn line is not much bigger. On piano is Ashley Henry and on bass Benjamin Muralt.
Both chasing those hypnotic dancing beats to good effect. And with de Clive-Lowe adding his deft brush strokes, a magnificent Album is realised. If you go to his Bandcamp label you can purchase a digital copy or order vinyl. The other drummer led album that caught my attention is a free-jazz album released by Alex Louloudis.
It arrived as a digital review copy with very little attached information, so I embarked on some research. In reality, the music speaks for itself and the biographical details are of less importance. It is propulsive and joyous and I fell for it immediately. This is free music that can move inside or outside with extraordinary ease. Nothing is quite what it seems and the river of sound flows over a cushion of compelling beats. There is often an ostinato bass line as in The Magic of 3. The melodic lines avoid the obvious and there is almost no repetition of phrases.
In the right musical hands, following such principles opens up huge possibilities. This is a killing band and it is unmistakably a drummers band. Was / Not / Was - Billy Cobham - Nordic (CD completing his studies in New York, Louloudis has moved among like-minded improvisers and attracted favourable attention.
Although the artist was previously unknown to me my badhe has certainly come to the notice of important musicians and commentators Gary Bartz, Billy Harper, Reggie Workman, Oliver Lake, Jeff Ballard, to mention just a few. Opening to soft brush beats, it morphs into a dreamy slow-moving rendition of Over the Rainbow, which in turn introduces the reflectively cutting poem, recited by Rosdeli Marte.
In this post, I have deviated from my usual practice of reviewing only albums from Aotearoa, New Zealand or those offshore who maintain connections to our rohe. Many writers were unable to engage, and in my country, we had freedoms others did not.
No rule is worth having if it cannot be broken for a good cause. The genesis of DOG goes back a long way as I first reviewed them in Over that period they have gained various accolades and awards. They are Dr Lonnie Smith in reverse because the group began their journey as Dr DOG but then ditched the title to better accord with their egalitarian street-dog ethos.
Their reputation extends well beyond New Zealand shores and their second album was recorded with guest Australian guitarist James Muller. They have two albums out on Rattle and both are exceptional. Their first album featured the core group, and each of them contributed compositions: Roger Manins, Kevin Field, Oli Holland and Ron Samsom, The second album followed the same pattern, but with James Muller contributing as well.
These are all exceptional players and the albums have allowed them to place a deeper focus on their writing skills. When musicians of this ability come together they are better able to push past arbitrary limits. Ten years on there is a new guest in the lineup and as always there are new compositions from everyone.
I hope that this recent gig is the prelude to a third album because together this iteration is crackling hot. With guitarist Keith Price on board, they moved into fresh territory and alongside the burners, there were touches of big-vista Americana.
No wonder the gig was billed as the New Extra Strength Dog. At times it was Industrial strength. Although the group is co-led, Roger Manins is the compare. Any gig that he fronts will have X-factor and this was no exception. The first set opened with a tune by Price and it was blistering. From the front row, it was like being in a jet-stream but it was not just bluster. Price is a terrific composer and this tune rode a freight train of tension and breathtaking harmonic shifts.
That set the pace. With one exception the encorethese were all new tunes and each complemented the other. This was a feast of good writing, tunes played and written by musicians at the top of their game. In spite of their long association, it is obvious that these guys enjoy playing together. The respect and warmth shine through the music. They are in sync because they respect the music and each other.
The large club audience picked up on that, thus completing the virtuous circle. I have posted the first and last gig tunes as YouTube clips. Both of the DOG albums remain popular and they are available from stores or directly from Rattle and on Bandcamp. We are lucky to have artists of this calibre in Auckland and if we show our support, more albums will surely follow. One was Ben Lerner, a saxophonist who had utilised his time in lockdown to write some new music. While he played only one set, it was satisfying and complete in itself.
Lerner left New Zealand a while ago and his time in Sydney has seen him further mature as an artist. His sojourn there has been productive as he has performed alongside some well-known musicians such as Mike Nock and Steve Barry. His sound is distinctive, even and beautiful, and can convey a variety of moods with his carefully controlled modulation.
Perhaps this is a thing that alto players focus on more than tenor players? The approach served his compositions well, for his ability as a musician extends beyond performance. I have posted part four of that suite in a YouTube clip. All are superb readers and each contributed something of themselves to the project. A recent graduate of the UoA Jazz School and at present completing his postgraduate studies there.
It is unusual to see such a polished performance in an emerging artists gig. He plays well, very well, and he writes well also; but perhaps the most surprising thing to witness is how comfortable he looks while performing. A first-time leaders gig before a large discriminating Jazz audience must be daunting.
I have seen students perform who have an abundance of good ideas and the ability to carry them out but they sometimes lack the confidence to commit to them fully. I suspect that is the norm. Pipes gig was the counterfactual. They were melodic and engaging. Certain phrases reminded me of middle-eastern rhythms and whether intentional or not, enterprising. Improvisation like poetry is the fine art of appropriation and above all, it is stealing from and modifying your own best ideas.
And to do this and not sound derivative is laudable. Exciting to hear. The other ingredient, a solid and sympathetic line-up. Like Pipes, he is relaxed and confident on stage. On one gig he will play fusion, on another, straight ahead, or he will dial it down as an accompanist. Upfront, alongside Pipes, was saxophonist Daniel McKenzie. An emerging player and a strong improviser. The flow of his ideas revealing a narrative quality. Bass player Wil Goodinson has appeared many times at the club.
He has a solid reputation and he never disappoints. Lastly was drummer Rhohil Kishore. While the older drum styles are implicit, he always reaches for a fresh modern sound.
The two art forms have complemented each other since the early twentieth century. Even before the talkies, a pianist would sit watching a flickering screen while he or she would churn out improvised music. It is not always obvious that a Jazz musician has composed a movie soundtrack but a surprising number of films can lay claim to this connection.
We have Jazz musicians in our own community who often appear in the credits Crayford, Langabeer etc. In the case of Ennio Morricone, the reverse is true. He was never a Jazz pianist but his compositions have become jazz standards. Price has turned the concept on its head and created something vital and new, and in this case, drawing on the film images to blaze a new trail.
Here, the images are subordinate or equal to the music and there is no incidental music to enhance the segments of dialogue. And because there is no spoken narrative something extraordinary occurs. We feel the music and absorb the images in new ways. It comes to us through many senses, through ears, body and eyes. This is a through-composed work, but with space and opportunity for the musicians to react to the images and to each other. It features group improvisation, but there is nothing aimless about the work.
Each segment is built on what proceeds it with the charts guiding the ensemble forwards as they interact. The ensemble was a double quartet and this doubling up of instruments required skilful playing and very good writing. Luckily we got both, and although the gig was loud, the intensity never tumbled into chaos. Each musician took on agreed roles, resulting in a heady, textural mix. There were two keyboards piano and Album)two drummers, two basses one upright, the other electrica tenor saxophone and a guitar.
Price was on guitar and guiding the music with prompts. An unexpected plus for me was having the cinematography of Sergio Leone untethered from the screenplay. A new piece of music to a timeless movie. He was a towering genius of the cinema and it was nice to be reminded of that as we appreciated the preternatural framing of each shot.
Leone drew on Samurai tales for his Dollar Trilogy and in doing so he reached beyond genre. The function of archetypes is to live on through reinterpretation and thanks to Keith Price, this story lives on. It was a quartet devoid of chordal instruments. It was Coleman, not Mulligan. It was original music and an example of Coleman induced Lockdown creativity.
He drums musically and tells stories at every turn. His tune titles, his solos and his announcements are tales from a true raconteur. He is a storyteller with an open vocabulary. I am always enthusiastic about a Lockett gig and with Lucien Johnson in the line-up, it was a sinch. Like Lockett, he is adventurous and his musical fearlessness was an asset here.
While Lockett composed the tunes excepting two Monk tunesJohnson was the principal arranger. The resulting gig was a tribute to freedom. Colman never abandoned the rules, he just invented new ones. I think that he would have enjoyed this gig as he never wanted followers. What he wanted, was fellow travellers and he found that with this band. Everyone took solos and the notes they blew added something worthwhile.
Behind them and pounding out meaty basslines was Umar Zakaria. We saw Zakaria recently when he fronted his own gig. Here, he was at his best, a Mingus like figure powering the music to greater heights.
He was just the right anchor and the others benefitted from his solid earthy cushion. There had been much anticipation as the band is popular, and when the gig finally happened, everyone was excited.
The Martyniuk Trio whether playing alongside Kiwi or Polish musiciansalways manages to capture a piece of that northern Album) for us. I have previously reviewed Martyniuk gigs and they never disappoint. I like them because they are uplifting.
I like them for their melodic and harmonic richness. Martyniuk is a gifted pianist, but his compositions and arrangements are real standouts.
His tunes feel like modern standards and I never tire of hearing them interpreted afresh. A case in question was a soulful tribute to Lyle Mays For Lyle. A reflective ballad, celebrating a creative giant now lost to us.
The tune, captured the essence of Mays the musician while evoking sadness at his untimely passing. When tours stopped I recall wondering; when will I ever hear live music again? I listened to both Metheny and Martyniuk over the turbulent months that followed and recaptured the joy of those events.
We are lucky to have live music again, and especially when so many others are deprived of it. Another obvious reason for adding Metheny tunes to a programme of originals was the inclusion of Dixon Nacey in the band. During recent gigs, he has introduced many of these into his repertoire and to much acclaim.
He was very much on form last week and his soaring smooth as silk delivery filled the room. His warm sound also complimented the richness of the Martyniuk compositions. Videoing this gig proved extremely difficult, as the room was dark and the sightlines impossible.
It was also a packed house and so capturing the sound from a suitable location was compromised Those who want to hear more of the group should buy an album or go see them live. While he remains here, do check his band out. First off, was that wonderfully evocative title and accompanying postersuggesting a balm to ease our way through troubled times. For a lover of forests and explorative sounds, it was irresistible. During that time he has been associated with some diverse and interesting bands.
This was his second CJC gig as a leader and the proof was to be in the pudding. The gig title suggested an elemental offering and in many ways it was. While it referenced many ideas and styles, all were distilled to their essence. Out of this, Gianan had forged a clear vision. It was a surprisingly mature offering and his strength as a leader became apparent as the sets progressed. He knew exactly what he wanted from the musicians and he signalled his intentions as the tunes progressed.
The compositions, while structured, did not confine the musicians. They were pieces written with the ensemble in mind. It was particularly evident in the head arrangements, which were anchors for the developments which arose from them.
Brief exchanges between guitar and saxophone, momentarily broke free of the structure, and this contrasted with the steady bass lines and drum pulses. There were burners and ballads, and every twist and tune seemed to balance what had preceded it. His comping is supportive while the flurry of exchanges with the other musicians are to the point.
His alto lines tight in the heads, and stretching during exchanges. His lines are often elided and I like that, he can say a lot with what he leaves out. Knowing when to leave space is important and again this says something about the quality of the compositions. Completing the line up were two experienced musicians, Bass player Mostyn Cole and drummer Ron Samsom. There were fragments of vibrato-tinged melody, played in unison; at other times a pumping groove.
He was a late addition to the lineup and a good choice. We expect much from Samsom and we are never disappointed. He seemed to relish playing alongside his former pupil. He was on fire. Unfortunately, the battery on my Rode mic gave out, so the filming relied on the camera mic. It is not ideal, but the music shines through. The tune titles were intriguing and added something to the vibe.
Enigmatic titles can add value and these felt like they belonged to the tunes. It is noticeable when a gig flows naturally. Afterwards, something remains with you, an essence, not just a tune, but a sense of what the musician is communicating. At times, this gig evoked a wistful feel, but it mostly suggested what could be.
I for one will wait for what comes next with interest. The author is a professional member of the Jazz Journalists Association. Some of these posts appear on other sites by arrangement.
Happenstance is the midwife to surprise and in the musical universe, random events occur often. They appear unheralded, bringing chaos or joy and for seasoned improvisers, they are welcome visitors. So it was with Hot Foot, a band cobbled together in haste; a sonic singularity, a concentration of energy.
The advertised gig was an organ trio, but at the last minute, that event was rescheduled, so with hours to spare, Roger Manins revived Hot Foot and how fortuitous that turned out to be. There is provenance to Hot Foot, but the details remain sketchy. Leader Manins hinted that they had once played at a village market but a long time ago.
He introduced the trio with a story about a Sydney band of similar configuration. For him, that had been a formative experience, a chance to play without the safety net of a chordal instrument. A chance to cut his musical teeth alongside more experienced players and to road test the Sonny Rollins Way Out West trio thing. On Wednesday, the spirit of Rollins hung over the proceedings, the way Manins gnawed away at a tune and tugged at its fabric without losing the form.
We were treated to long intros where a familiar melody was hinted at, then abandoned to a flurry of arpeggios. It was riveting to watch and to hear. There were clear signals and subtle hints as the intros unfolded; sometimes accompanied by verbal exclamations or questions directed at the audience or to Jazz School students.
The solos were extracted from the tunes by paring them back and then exposing the naked ideas; sometimes stopping at the brink of freedom. If this sounds chaotic it was not.
It was a masterclass for Jazz lovers and it was realised in a spirit of joy and levity. A saxophone trio reveals the melodic lines unadorned, but in doing so there are specific responses required from a bass player and a drummer. In this instrumental configuration, it is important that a bass player holds the form, and McArthur did so admirably.
This not only gave the saxophonist the room he needed but opened up opportunities for the drummer. Drummer Ron Samsom made the most of his space and his musical intelligence came to the fore. His was a modulated voice as there was nothing that intruded or jarred, there was a pulse but it was mainly implied.
He explored the kits melodic possibilities and added flashes of colour. Improvisers function best in a high trust environment and that was what we saw last week.
It is here where experience counts and where a band manifests personality. The gig also unleashed Manins alter ego, Comedian Roger. There are often flashes of humour in his musical performances and it is especially evident when he introduces tunes. He never takes himself too seriously and this balances his serious commitment to his art form. His humour is unplanned and you never know what is coming next.
The CJC audiences love to see this side of him. This is a favourite of mine and judging by the whoops of delight when the coda morphed into the tune, it is an audience favourite also. Ask Me Now is a question I am happy to answer. Yes, this was a very good night.
For those unfamiliar with its history, the club was set up over a decade ago, as a place to bring original improvised music to discriminating listening audiences. A secondary function was to ensure that emerging artists were given a shot on select gig nights. Frater is an undergraduate at the UoA Jazz School and for an emerging performer, his drum-work shows surprising maturity.
In common with many up-and-coming performers, his approach is not confined to any particular style and this openness has informed his approach. The gig was billed as swing influenced, but leaning towards fusion, and the descriptor was accurate.
Frater is a compelling drummer and he will further enrich the local scene. The leader enrolled former and current students for this gig and in consequence, a shared vision was evident. CJC audiences are by now quite familiar with guitarist Michael Gianan and with keyboard wiz Joe Kaptein; both have featured often during the last year.
The other band members were Jimmy Olsen on electric bass, Andrew Isdale on tenor saxophone and Jack Thirtle on trumpet. Olson was a powerhouse with those urgent pumping bass-lines; the sounds of Jazz-fusion deserve slippery grooves like that. And Kaptein impressed as he always does, his calm demeanour belying what was flowing from his fingertips. He backed into the pieces like a pro and established grooves on top of grooves; then he reached underneath the bonnet and messed with the sound in a good way.
The groove tunes took a bold step in the direction of Was / Not / Was - Billy Cobham - Nordic (CD Jazz electronica; the direction of Eivind Aaset in particular. I hope that Frater takes us further down that road. It has until now been a Nordic sound and it is extremely popular in the northern regions. This band gave it a Kiwi flavour, and I for one am ready for more.
Clarke had assembled some formidable firepower. Clarke is a recent graduate from the UoA Jazz Programme and I first heard her when she was called on at short notice to replace Caitlin Smith at a live gig, just days before the first lockdown. Many of the tunes were sung in Portuguese. Again, it is a credit to the Auckland University Jazz School that they nurture such diversity within their programme structure. Out of this diversity, an Auckland sound is being forged. It can be daunting to find yourself in front of a large discriminating Jazz audience, but Clarke demonstrated her ability to win an audience over.
She has a fine voice and she mastered the rhythmic complexities of her Latin tunes with ease. He described the tour as being long in duration and said: "We haven't made any hard, fast plans, but it becomes obvious that you cannot tour the same way you did when you were It becomes more and more difficult.
People have other things in their lives, which take time. But never say never. Deep Purple are cited as one of the pioneers of hard rock and heavy metal, along with Led Zeppelin and Black Sabbath. My all time favourite [album] is still Made in Japan ". While firmly placed in the hard rock and heavy metal categories, Deep Purple's music frequently incorporated elements of progressive rock and blues rockprompting Canadian journalist Martin Popoff to once call the band "a reference point of a genre in metal without categorisation.
Before OctoberDeep Purple had never been nominated for induction into the Rock and Roll Hall of Fame though they have been eligible sincebut were nominated for induction in and What's the first song every kid learns how to play?
And they're not in the Rock and Roll Hall of Fame? How could you not induct Deep Purple? That's all I have to say: Deep Purple. Seriously, people, Deep Purple.
Two simple words in the English language Did I say that already? It's bullshit. Obviously there's some politics against them from getting in there.
Where I grew up, and in the rest of the world outside of North America, all were equal in status, stature and influence. So in my heart — and I know I speak for many of my fellow musicians and millions of Purple fans when I confess that — I am somewhat bewildered that they are so late in getting in the Rock and Roll Hall of Fame.
In response to these, a Hall of Fame chief executive said, "The definition of 'rock and roll' means different things to different people, but as broad as the classifications may be, they all share a common love of the music. In AprilDeep Purple topped the list in a Rolling Stone readers poll of acts that should be inducted into the Hall of Fame in Prior to the induction ceremony, Ian Gillan announced that he was barring Hughes, Coverdale, Evans and Blackmore from playing with them onstage, as these members are not in the current "living, breathing" version of the band.
Blackmore didn't attend; a posting on his Facebook page claimed he was honoured by the induction and had considered attending, until he received correspondence from Bruce Payne, manager from the current touring version of Deep Purple saying, "No! In an interview later on, Gillan mentioned he invited Blackmore to play "Smoke on the Water" at the ceremony, but Blackmore believes he did not receive that invitation.
Evans, who had disappeared from the music scene more than three decades prior, also didn't appear. Since Lord had died inhis wife Vickie accepted his award on his behalf. The current members of the band played " Highway Star " for the opening performance. After a brief interlude playing the Booker T.
Deep Purple are considered to be one of the hardest touring bands in the world. Inthe band received a special award for selling more thantickets in France, with 40 dates in the country in alone. In Februarythe band made their first-ever appearance at the State Kremlin Palace in MoscowRussia  at the personal request of Dmitry Medvedev who at the time was a chairman of the state owned Gazprom company, which sponsored the concert,  and who was considered a shoo-in for the seat of the Presidency of Russia.
Prior to that, Deep Purple has toured Russia several times starting as early as but has not been considered to have played such a significant venue previously. From Wikipedia, the free encyclopedia. English rock band. This article is about the band. For the song after which they are named, see Deep Purple song. For their third album, see Deep Purple album. For other uses, see Deep Purple disambiguation. Hard rock heavy metal progressive rock psychedelic rock early.
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Luis Colucci "Vigilia". Tuesday, September 21, Krokodil "Another Time". Felipe Andreoli "Resonance". Links : Web page Facebook. Cognos "Cognos". Quiet Observer "Weathering pillars". Viriditas "Green Mars". Poliverso "Sunbound". Mono "Pilgrimage Of The Soul". Links : Web page Facebook Progarchives Proggnosis.
Jay Tausig "Purple View". Wednesday, September 15, Himmellegeme "Variola Vera". Karen Silva - lead vocals as Hope 3additional vocals 2backing vocals 2, 3, 7Hope's voice 7.
Deezer Deep into the void Links : Facebook.
Papa Paulo III (Re-Edit) - Retro Stefson - Montaña (CD, Album), Sensuuri - Hellää Terroria Korville (CD), Trio Für Klavier Und Violoncello Nr. 1 H-dur Op. 8 - Johannes Brahms / Georg Donderer - Eduard Drolc, Untitled - DJ Shushukin* - MP3 Stereo (CD), Bossa Groove - Various - Rio Breaks OST (CD), Have You Seen My Baby - Moby - MP3 Collection (CDr), Jesus Jesus Jesus - Donna Hightower - Here I Am (Vinyl, LP, Album), Cool Air Purveyor - Umin - Cool Air Purveyor (File, MP3), Metatron (Radiocut) - Various - Bass Beat Syndicate Musicproductions POP-KOMM.2000 (CD), Dearest - Buddy Holly - Hits And Other Favorites (CD), No Tragedy - Various - Classic Eighties (CD), El Hijo Desobediente, Falsafah Cinta, Mystic Force* - A Step Beyond (CD, Album)