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Dogon a.d. Edición limitada

5 de un máximo de 5 estrellas
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5 de un máximo de 5 estrellas 19 opiniones de clientes

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CD de audio , Edición limitada, 18 oct 2011
"Vuelva a intentarlo"
EUR 178,11

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Amazon.com: 5.0 de un máximo de 5 estrellas 19 opiniones
1 de 1 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas AN ESSENTIAL ALBUM --INTELLIGENT, MUSICALLY CHALLENGING BUT EMINENTLY LISTENABLE 2 de diciembre de 2013
Por David Keymer - Publicado en Amazon.com
Formato: CD de audio Compra verificada
JH, alto sx, flt; Baikida E. J. Carroll, tpt; Abdul Wadud, cello; Phillip Wilson, dr; Hamiett Bluiett, bari sx (on “The Hard Blues”)

Dogon is one of the classic early seventies modernist albums I’ve heard about for ages but never got to listen to. Now Arista has released it again. It’s not cheap but it’s not in the collectibles price range, so I bought it.

It’s as good as I was told it was. Hemphill was the principal composer and arranger for the World Saxophone Quartet until his illness and early death and on this album, as in the WSQ recordings, he shows a gift for inventive melody and unexpected harmonies. He was a very good saxophonist and one of the few truly good flute players in modern jazz –listen to him on “The Painter,” the third cut on this album. Both in tone and ideas, his solo work is a pleasure to listen to. This is essentially a quartet album, although baritonist Bluiett is added for color in the ensemble parts (but no solo) of the last piece, “The Hard Blues.” The other horn is trumpeter Baikida Carroll, an intelligent player who adds color in the ensembles, trades fours and twos with Hemphill on one cut (“Rites”) and delivers first-rate solos on the other three. The drummer is Philip Wilson, best known for his work with the Art Ensemble of Chicago and the Paul Butterfield Blues Band. Wilson never played a bad lick in his life: he could drum both modern and standard post-bop, and his drumming always had a kick to it, a bit like Hamid Drake among a younger generation. The fourth player in the quartet is cellist Abdul Wadud, who recorded any number of modernist legends in the 70s and 80s –among them, Leroy Jenkins, Frank Lowe, Muhal Richard Abrams, James Newton, Arthur Blythe, and Anthony Davis. Wadud doesn’t solo on this album but his contributions in support of Hemphill and Carroll are intelligent and subtle as he bows, plucks and strums his way through these four compositions.

This session came along at a time when many young musicians were jumping on the funk bandwagon. Energy and volume were valued more than dialogue and musical intelligence. But although this is avant garde music, the emphasis, rather than on sheer energy, is on the logic that ties the soloists’ improvisations to the initial musical structure of the composition.

(If I can find it, I have to buy Coon Bid’ness, Hemphill’s 1975 followup album with the same people plus a few others [including Arthur Blythe]).
5.0 de un máximo de 5 estrellas A stunning recording 19 de abril de 2017
Por suheil e. atallah - Publicado en Amazon.com
Formato: Disco de vinilo Compra verificada
This fabulous recording maybe wil not be for everyone taste, but for me this jamming sessions is marvelous !!!!
1 de 2 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas A Modern Jazz-Blues Classic, Finally on CD 24 de diciembre de 2011
Por RADIO FREE CHIP - Publicado en Amazon.com
Formato: CD de audio Compra verificada
As if Robert Johnson and Charlie Parker hooked up for a night on the town in Helena. Delta Blues meets Chamber Jazz, as west african griots hold their coats.

One of the most singular, cinematic, impassioned examples of modern and jazz and blues in the history of American music. Hemphill's solos on "Dogon A.D" and "The Hard Blues" are so powerful, so personal, you'll find yourself hollering in support as he keeps upping the emotional ante. And his writing is even better. Also, the forays into freer, less groove-oriented music, in both ballad and pressure-cooker forms, are equally powerful. Julius was a dear friend of mine and I miss him every day I'm alive. There is much to admire in his small recorded catalog, such as his Nonesuch Big Band featuring the likes of Bill Frisell, his work as a driving force behind the World Saxophone Quartet, and the superb Sextet recordings for a saxophone ensemble, such as FAT MAN AND THE HARD BLUES.

But there is a purity of purpose and vision to these 1972 recordings, encompassing as they do the multi-cultural influences, the fusion of theater and poetry and painting and dance and all of the visual arts of the Black Artist Group in St. Louis, and the border-less, searching quality that distinguished all of Julius Hempjhill's music.

Hell, I pre-ordered two copies--one for me and one for my friend Julius. Long may he wave. A great alto sax improviser, and a great composer. And a great character. God bless him.
5.0 de un máximo de 5 estrellas Put it on shelf with Miles, Ornette, Mingus & Trane 13 de noviembre de 2013
Por S. Johnson - Publicado en Amazon.com
Formato: CD de audio Compra verificada
It really speaks to me. The resonances connect my journey with our human universe. Opens a new dimension. My favorite album.
0 de 1 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Exciting album, worth the time 31 de enero de 2016
Por SerenePDX - Publicado en Amazon.com
Formato: CD de audio Compra verificada
Relentlessly driving, the title track keeps the rhythm running while the sax roams wildly. The second track gets more abstract. If you like avant-garde jazz, this is a great album. Occasional sounds of a guitar dropped into the mix turn out to be the cello. Interesting album. Here's a recent review from NPR http://www.npr.org/2011/11/04/142017187/julius-hemphills-dogon-a-d-still-a-revelation-40-years-on


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