Didier Lockwood Live in Montreux (Remastered) Didier Lockwood with John Blake & Krzesimir Debski

Album Info

Album Veröffentlichung:
1980

HRA-Veröffentlichung:
08.04.2015

Das Album enthält Albumcover

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Formate & Preise

Format Preis Im Warenkorb Kaufen
FLAC 88.2 $ 13,20
  • 1 Fast Travel 07:15
  • 2 Flyin' Kitten 07:43
  • 3 Ballade De Fees 05:01
  • 4 Zebulon Dance 03:58
  • 5 Adgc 06:00
  • 6 Four Strings Bitch 03:47
  • 7 Turtle Shuffle 08:37
  • Total Runtime 42:21

Info zu Didier Lockwood Live in Montreux (Remastered)

The 1980 Live in Montreux presents Didier Lockwood at his fusion best. He has multi-Grammy winner Jan Hammer (Mahavishnu Orchestra, music for Miami Vice) along for the ride, as well as the intense, soulful American saxophonist Bob Malach. On Fast Travel, the group performs up-tempo musical legerdemain as first Malach, then Hammer, and finally Lockwood pull out their bag of tricks. Flyin’ Kitten radiates a bouncy melodic rock-inflected ambiance, while Ballade des Fees portrays a haunting, wispy fairytale. With its infectiously gamboling 2-beat feel, there’s a folkish quality to Zebulon Dance; Lockwood’s plucked violin and Hammer’s guitar-like synth explorations are highlights. Four Strings Bitch shows off the violin’s willful eccentricities in a virtuoso one-man performance that ventures from classic and bluesy acoustic play on through to electronic experimentation.

Didier Lockwood, violin
Marc Perru, guitar
Jan Hammer, synthesizer
Bob Malach, tenor saxophone
Bo Stief, bass
Gerry Brown, drums

Recorded live at the Montreux Festival (Casino Montreux) July 16, 1980
Produced by Joachim E. Berendt

Digitally remastered


Didier Lockwood
“After Stephane Grappelli and Jean-Luc Ponty, France now has a third great violin player, His name is Didier Lockwood.” (Liberation, Paris). Besides Grapelli and Ponty, Lockwood’s influences include Polish violinist Zbigniew Seifert, John Coltrane, and Frank Zappa. Born in 1956, Lockwood was classically trained, but moved on to rock-inspired jazz at an early age. He followed in Ponty’s fusion footsteps with the use of the electric violin, taking it one step further by experimenting in extending the sounds of the violin.

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