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Die durch das 2011 erschienenen ersten Album "Fatou" bekannt gewordene Sängerin eröffnet das Festival mit ihrer warmen Stimme. Ihr strahlendes Lächeln umhüllt das Publikum, das sie mit der Gitarre in der Hand in die Wassoulou-Tradition, in Blues-Melodien und -Rhythmen, gefärbt mit Jazz-Funk und Folk, mitsichreißt.

Saxophonist Grover Washington, Jr. echoes the world of improvised music while adding a sprinkle of pop and soul melodies. This accessible and genre-defying approach is reminiscent of other jazzmen, particularly Al Jarreau and George Benson, a guitar virtuoso who injected a healthy dose of funk into his compositions, such as the ultra-danceable “Give Me The Night.” A witness to an era, Washington enjoyed a prolific career; the proof is in the hit track “Winelight,” with its lively contributions from none other than Steve Gadd. Recorded in 1981, this concert encapsulates Washington’s musical universe. Accompanied by Richard Tee and Paul Griffin on keyboards, Ralph MacDonald on percussion, Eric Gale on guitar, Anthony Jackson on bass and the loyal Steve Gadd on drums, the fine melodist is briefly captured backstage before the show begins. The opening track rings out like a profession of faith. Synthy keyboards and rhythm section carry a celestial melody, an atmosphere that builds progressively in the following tracks. Sophisticated chords and delicate solos begin on the soprano saxophone and recur throughout the set. But it's “Just The Two Of Us,” a track originally sung by Bill Whiters and covered by Zack Sanders, that stands out above all else: pure sugar... Vincent Caffiaux.

The legendary funk godfather George Clinton leads his big band Parliament Funkadelic collective in a nonstop free-for-all groove party at the Jazz A Vienne festival in 2012. The music booms with polyrhythms and high-flying adventures that in its ‘70s formation was influenced by Sly Stone, Frank Zappa and Jimi Hendrix. Clinton leads the way by dancing in the funk groove and shouting out to his band. With a gruff voice and joyful smile and decked out in a suit and tie, Clinton sets free his outlandish band dressed in flamboyant outfits to join in to improv singing duties, multi drum fever, electric guitar hot licks and scorching solos and even roller skating dancing by short-skirted vocalist Lashondra Clinton. The long-form jams feature such fun tunes as “You and Your Folks, Me and My Folks,” “If Anybody Gets Funked Up,” “Freak of the Week” and one of the band’s greatest hits, “One Nation Under a Groove.” There’s immense exuberance as Clinton basks in the ongoing spirit of the music that started first as a revolutionized r&b and later became fuel for the hip-hop movement. Dan Ouellette.

Der dritte Teil ist Künstlern gewidmet, die an der Ostküste der USA, insbesondere in New York, aufgetreten sind, und bietet erneut Live-Auftritte, die in Clubs, auf Festivals oder während Fernsehsendungen augezeichnet wurden.

Erstaunlich, dass 1965, als die ersten Plätze von den Beatles, den Rolling Stones, den Animals und den Them von Van Morrison und Donovan besetzt waren.

Jamaican music, largely nourished by soul, first garnered wide attention through its splendid vocal trios. Modeled after American groups such as The Impressions or the Four Tops, these ensembles had their moment of glory in the mid-sixties with rocksteady vocal groups such as The Paragons and The Techniques, and then in the following decade with reggae groups such as The Abyssinians and The Wailers. Picked up in their day by dub poet Linton Kwesi Johnson, The Gladiators embody the unique liveliness of the trio format. Bassist and singer Clinton Fearon is the driving force of this brilliant trio, and has since enjoyed a successful solo career. With an impressive discography behind him, Fearon takes to the studio here for a new Analogue session. Backed by a solid line-up of musicians, the Rastafarian creator kicks off this recording with “Where Do We Go.” Anchored by a steely rhythm (the keystone of reggae), the track immediately stands out with its mystical dimension. The equally powerful “Let It Grow” unveils an ethereal composition. This joyful performance is carried by an unstoppable introduction on guitar. And the incredible “Chatty Chatty Mouth,” a classic by The Gladiators, brings the legendary Caribbean contretemps into the modern day – complemented beautifully by an organ with its splendid churchy reminiscences. Let's rock! Vincent Caffiaux Tracks 1. Where Do We Go 2. Let It Grow 3. Chatty Chatty Mouth (The Gladiators)
 Clinton Fearon (lead vocals), Xavier ‘Kubix’ Bègue (guitar), Thomas ‘Mato’ Cirade (bass), Moctar Wurie (keyboards), Simon ‘Saymon’ Coutant (drums), Julien ‘Manjul’ Souletie (percussion and vocals) Keyboards played by Moctar Wurie: Hammond C3, Yamaha CP70 Bass played by Thomas ‘Mato’ Cirade: 1958 Fender Precision Bass Guitar played by Xavier ‘Kubix’ Bègue: 1954 Fender Telecaster An original & exclusive series produced by Qwest TV, taped by Le Claque Studio (Paris, France) March 2024 Thanks to our sponsors: Flyingwave Films & iMusic School.

Im Jahr 1958 unternahm Ellington eine historische Europatournee. Seine Auftritte sind mitreißend, charismatisch und steigern seine Bekanntheit. Die Tonaufnahme ist hervorragend, fast makellos; die Bilder sind klar - eine Zeitkapsel, die uns in den Schwung und die Gangart einer vergangenen Ära transportiert, so wie sich das Publikum damals gefühlt haben muss.

Der, der als "Schüler von Paco de Lucía" bezeichnet wird, bietet hier seine schönsten Kompositionen mit einem traditionellen, mit Jazz gewürzten Gypsy-Flamenco-Repertoire.

Egal, wie sehr die ewig Unzufriedenen den Künstler für seine neurotische Raffinesse kritisieren, ein Bill Evans-Konzert ist immer eine Verzauberung, eine impressionistische Reise. Die Musik erweist sich oft als bissiger, als man meint, und seine elegant subtile Phrasierung, seine reichen und tiefen Harmonien und seine persönliche Interpretation der Melodien schaffen den sofort erkennbaren Diskurs eines hypersensiblen Koloristen.

Angeführt von einem Salsa-Giganten, Oscar Hernandez - ehemaliger musikalischer Leiter von Paul Simon und Ruben Blades, der 6 Jahre lang mit Ray Barretto spielte und die Bühne mit Charlie Parker, Dizzy Gillespie, Tito Puente und Oscar D'Leon teilte - hat das Spanish Harlem Orchestra nicht aufgehört, die Welt mit seinen tollen Vibes und seiner Vorliebe für Salsa zu zu verschönern.

Da Capo feiert den Black History Month aus Johannesburg, Südafrika.

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 her 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.

Für dieses Set beim Peacock Society Festival 2018 bringt Boumendil die Energie mit westafrikanischer Disco, Sahelian Funk und karibischen Rückblicken auf einen Höhepunkt. In vollgepackten 50 Minuten webt sich der französische DJ und Produzent durch eine unerschrocken fröhliche Auswahl an globaler Disco, Funk und House, die von Sonne und Soul durchtränkt ist.

Obwohl Tigran Hamasyan sich im letzten Jahrzehnt vor allem als Klaviersolist hervorgetan hat, leitete er immer auch interessante Bands. Diese international besetzte Gruppe mit ihrem ausgearbeiteten Sound und ihrer amerikanischen Rhythmusgruppe ist absolut in Form.

Bei diesem Konzert 1973 in Paris nimmt der lyrische und intensive Tenorsaxophonist Dexter Gordon sein Quartett mit auf eine kraftvolle Klangreise, die von seiner emblematischen Rolle als Spielers des Bepop geprägt ist, der Legenden wie Sonny Rollins und John Coltrane in ihrer Jugend in den 1950er Jahren beeinflusste.

Black Motion feiert den Black History Month in Johannesburg, Südafrika.

Mit einem Line-up von bis zu 25 Musikern hat sich Snarky Puppy, das seit 18 Jahren für eine grenzüberschreitende musikalische Linie steht, einen unvergleichlichen Weltruf erarbeitet und ist zu einer der begehrtesten Instrumentalgruppen auf internationalen Bühnen geworden.