Re: Autour de Kelly Joe Phelps

[kjp]

De plus, les 3 morceaux de l'émission "Mezzo" sont maintenant sur Youtube :

https://www.youtube.com/watch?v=79igpTOGcpA
https://www.youtube.com/watch?v=tl0_y6R48WI
https://www.youtube.com/watch?v=WMdXm9wOF90

Même si le son est un peu "métallique", leursqualités musicales valent le détour pour les amateurs de Kelly Joe.
J'adore le 2ème titre, "Not SO Far To Go".

[kjp]

...Kelly Joe rejoindra Martha Scanlan en Finlande et en Suède en Janvier et Norvège.

Les dates pour la Finlande :

Les 23, 24, 26 et 27 Janvier 2009.
http://www.marthascanlan.com/tour/tour.htm

[jipes]

Vivement la France KJP on se retrouvera sûrement pour partager notre passion

[kjp]

Et oui Jipes, on partagera davantage notre passion et peut-être côte à côte . Maintenant, tu ne peux plus fuir

[jipes]

Maintenant, tu ne peux plus fuir

Ah Non Au secours

[kjp]

http://peppermint-blues-forum.aceboard.fr/256262-8517-4688-0-Kelly-Phelps.htm

[Ayler]

John MAYER joue et chante aussi dans le même style...

De quoi débuter un bêtisier de la mort !


Désolé Christian !

[kjp]

Oui, c'est surprenant et c'est ce qui m'a surpris. J'ai hésité, très brièvement à m'inscrire, mais juste pour un post, je n'est pas voulu faire partie des membres furtifs. J'aimerais que Christian et Benoit nous lisent. Et pas pour me moquer, vous commencer à me connaitre mais simplement pour échanger et donner mon point de vue qui rejoint, semble t-il celui d'Ayler, car en effet entre John Mayer (que je connais très mal mais quand même) et Kelly Joe, il me parait y avoir un gouffre, un monde...

[kjp]

John MAYER joue et chante aussi dans le même style...

De quoi débuter un bêtisier de la mort !


Désolé Christian !

Pour en revenir à ce sujet, je me demande, comment une telle confusion est possible. C'est fou, le lien entre eux J. MAYER et Kelly Joe me parait tellement impossible. J'aurai tellement voulu savoir ce qu'il lui a fait penser cela, et pouvoir en discuter.

Christian, si tu me lis, rejoins-nous pour qu'on en discute.

[kjp]

En anglais.
INTERVIEW :

http://www.independent.com/news/2008/dec/04/kelly-joe-phelps-waxes-lyrical/

Kelly Joe Phelps Waxes Lyrical

Acclaimed Blues Guitarist Headlines Latest Tales from the Tavern Concert


Thursday, December 4, 2008
By Brett Leigh Dicks



For a songwriter who embraces such an intricate, delicate, and flowing vocabulary, it is hard to imagine Kelly Joe Phelps ever being caught short of words. But such was the inspiration behind the Portland-based songwriter’s forthcoming instrumental undertaking. As the album will no doubt reaffirm, Phelps’s picturesque prose is not the only captivating element in his musical arsenal. His genre-straddling guitar style has flavored the seven albums he has released while influencing the works of Townes Van Zandt, Bo Ramsey, Greg Brown, Jay Farrar, and Paul Curreri. But rest assured, when Phelps plays Tales from the Tavern at the Maverick next Wednesday night, he will be armed with both his slide guitar and his book of lyrics, and will surely present a night of musical soul bearing.


You began your career as a country and folk artist, but now your sound tends to lean more toward Southern jazz and blues. What forces have influenced this musical evolution?

I guess that just comes down to the constant search for some kind of inspiration or idea. Sometimes that comes from recorded music and certain styles, sometimes it comes from the life that I’ve led, and sometimes it comes from people I meet. So it’s never really concrete. I have been playing guitar for a very long time, but every now and then I find myself being fascinated by or attracted to something that I wasn’t prior to that.


What attracts you to a certain style or sound?

I start to listen to it more and it starts to seep into what I do. I often find particular musicians within a genre who I like and just keep putting the pieces together little by little like that, and [then I] try to make sense out of it as to how it will apply to my own creative direction.


While you’re renowned for your guitar work, another aspect of your music that tends to stand out is lyrical content. At what point did you discover the weight of words?

I think that started taking shape back in 1999. I started paying a lot more attention to writers and poets and how they were using words to create textures and feelings. I started thinking that I ought to try writing lyrics not as a songwriter necessarily, but more as a word-writer and see if I could figure out a way to unify them, and that started a process that I’m still on. I feel like it’s going to be a lifelong thing. It’s one of those things, like playing the guitar, where you never really stop learning how to be more effective.


Lyrically speaking, what is the one greatest lesson you’ve learned?

That sometimes it’s more about which words you leave out.


Are you more comfortable writing from the point of view of an observer or from firsthand experience?

More often it has to do with something I’m experiencing. Sometimes I write songs about things I am witnessing, but more accurately it’s kind of like creating an out-of-body approach, where I’m trying to stand outside of myself to watch what is happening within my own life.


Considering both your guitar style and your lyrics are so assertive, how does the songwriting process typically start?

It starts with the words. That’s my entry into a song and the only one that seems to work for me. It’s always a long process, because in order to do that I don’t think about music. I just try to write in more of a poetry form and that way I can run with ideas and let the words play out and let them go in the way they want to. And once I get all that stuff on paper, it may or may not become a song—most of them don’t. But the ones that do tend to start from there.


Your last album, Tunesmith Retrofit, came out in 2006. What do you have in store for us next?

Well, oddly enough, especially in relation to the conversation we are currently having, I ended up recording an instrumental album this summer. [Laughs.] And that’s coming out in March. I have never done that before, and I didn’t expect to do it either. I just started recording stuff that I was enjoying and that followed into a record that was quite surprising to me.


Given the degree of emphasis you put on lyrics, what led you down the instrumental path?

I haven’t been writing much in the way of lyrics during the last couple of years. I’ve been writing a lot of poetry, but I haven’t found the usual inspiration in terms of lyrics. It felt like I was hitting at it too hard, so I have left it alone for a while, but I missed the act of creativity in relation to music. When I was learning to play, I just loved sitting in a room and playing for hour after hour. So, late last spring, I just decided to sit in the chair and play the guitar and not think about anything else. And I followed that all the way through.

[eddie]

Merci pour cette interview!
Ca va être dur de patienter jusqu'en mars...

Sinon, ben oui John Mayer "joue et chante dans le même style" que Kelly Joe: il joue sur une guitare à 6 cordes, et chante avec une voix masculine. Des chansons. Alors qu'il aurait pu jouer dans un style différent, par exemple avec un ukulele un gong ou une cornemuse, et faire des airs d'opéra ou des chants grégoriens...

[kjp]

Sinon, ben oui John Mayer "joue et chante dans le même style" que Kelly Joe: il joue sur une guitare à 6 cordes, et chante avec une voix masculine. Des chansons. Alors qu'il aurait pu jouer dans un style différent, par exemple avec un ukulele un gong ou une cornemuse, et faire des airs d'opéra ou des chants grégoriens...

[kjp]

NEWS :

KELLY JOE TO APPEAR ON MISSISSIPPI SHEIKS TRIBUTE ALBUM :


On a recent holiday, Steve Dawson—guitar maestro and founder of local label Black Hen Music—had the bright idea of putting together a tribute album to one of his favourite bands, the Mississippi Sheiks. Other than the blues classic “Sitting on Top of the World”, the Sheiks’ songs are largely unknown to today’s music fans, despite having been revered by Americana-influenced musicians since the ’30s. In those days, the trio was one of the hottest—and sauciest—acts around, and it influenced such legends as Memphis Minnie, Robert Johnson, and Big Bill Broonzy. “Much of their stuff remains obscure,” Dawson told the Straight. “They disbanded in 1935, but were one of the first bands to generate crossover interest from both black and white communities. What’s going to make this different from the regular tribute album is that, for the most part, there’s going to be a house band and the musicians are coming here to record over a three-day period.” The artists appearing on the album—which is scheduled to be out in March 2009—include Madeleine Peyroux, Bill Frisell, Bruce Cockburn, John Hammond, the Carolina Chocolate Drops, Bob Brozman, Kelly Joe Phelps, Geoff Muldaur, Van Dyke Parks, and Dawson’s recording buddies Jim Byrnes and the Sojourners. “Ry Cooder has also agreed to do it, much to the chagrin of his lawyer. We don’t know how it’s going to shake down, but he would be recording in L.A.,” Dawson said. - By Tony Montague, Vancouver's Free Press

Des news concernant cet enregistrement "MISSISSIPPI SHEIKS TRIBUTE" :

http://stevedawson.wordpress.com/2008/11/17/mississippi-sheiks-tribute-album-the-big-session-part-1/
http://stevedawson.wordpress.com/2008/11/17/mississippi-sheiks-tribute-album-the-big-session-part-1/p1000569/
http://stevedawson.wordpress.com/2008/11/17/mississippi-sheiks-tribute-album-the-big-session-part-1/p1000566/

[kjp]

Confirmation officielle avec la newletter de novembre 2008 :

NEW ALBUM: WESTERN BELL
Coming out March 24th, 2009 on the label Black Hen will be 'Western Bell,' the first all-solo instrumental album including 6 string and 12 string guitars as well as a return to lap-slide on three pieces. 'Western Bell,' is primarily improvisational music thematically based on the scenes of The Great And Still Wild Western U.S.

Précision :

La sortie de "Western Bell" le nouvel opus de Kelly Joe sortira pour les USA 1 semaine plus tôt soit le 17 Mars. Le 24 Mars, c'est pour le Canada.
http://www.blackhenmusic.com/news

[kjp]

WESTERN BELL :

[kjp]

2 news dans la même soirée

Vidéo de "Ruby Sally" (c'est Sally Ruby pour être exact)

http://blip.tv/file/1592540/

Comme d'habitude Kelly Joe improvise mais l'équilibre instrumental/vocal n'est pas des plus réussi je trouve. Il faut dire qu'elle est particulièrement difficile de ce point de vue là. Et puis connaissant à connaitre un peu le personnage, je crois qu'il a besoin d'une atmosphère particulière pour l'interpréter et que la nuit lui ai sans doute mieux réussie. En revanche, je ne crois pas avoir vu encore Kelly Joe Phelps faire autant de vibrato sur un seul et même titre.

[kjp]

At some point, the rearview mirror gets too fat. So crowded, so saturated with the recorded miles and miles of what's back there, it just falls off the windshield. Then you turn and go home.

After a decade and a half of traveling the world – occasionally with a band, but usually alone with a guitar – Kelly Joe Phelps’ rearview might've fallen off the windshield. Western Bell, his eighth full-length album, could be the soundtrack to his first mirror-cleaning sit-down in a long while. Some stuff winds up on the mantle (the photo of the Montana ranch where he helped herd cattle); some stuff winds up tattooed on his arms (a whole lot of names, or the pirate that says, "Be Kind").
Long-hailed for his virtuosic and courageous playing, these eleven instrumentals for solo guitar feel different somehow. It’s as though the audience has been removed from the equation – not momentarily ignored, but removed entirely –- leaving the compelling sensation of peering through a keyhole. "Where's the slide?" they used to yell – really yell – at the guy up there playing some of the most unstraightest straight guitar ever set down. "Play the slide! Shine-eyed!" Well, after a four-record slide hiatus, a few cuts ("Blowing Dust 40 Miles," the vast "The Jenny Spin," and "Little Family") feature Phelps laying it down horizontally again, but lawd knows not for those folks. More sonically investigative than ever, and simply wrought with emotion, the results are spellbinding.

Technically speaking, the vast majority of the numbers are improvised on the spot, some in tunings so backasswards that only the most basic elements of a "guitar piece" remain – vibrato, the occasional alternating thumb, the clack of a bar on a steel string. In these instances, Phelps seems to deconstruct the very engine that's carried him around the world, lay the guts on the floor, and set to rebuilding a machine precisely in tune with the necessaries. No drag.

And herein we find the shining black center of Western Bell, of Phelps himself perhaps, sifting through the engrained muscle memory of years of playing, the record collection, the poems, women, other on-ramps. Incredibly personal, these ruminations reflect a soul busy coming to terms with its scope and parameters, past & future. Visions of big sky, ant hills in fast-forward, her laugh when she drank.

Others, like the curtain-parting title cut, or the love-drunk stumble of "Hattie's Hat," are compositions so fully formed, so flecked with the ghosts of American Music, you'd swear they've existed for generations. Sinatra could slide into "Murdo," & Gershwin could have written it. Leadbelly, Bill Evans, from stomps to carnivals, and all with mojo – as quick as an allusion is recognized, it's gone again. Beautiful, innovative, and inspired.

There are only a handful of truly seminal solo guitar recordings in circulation, ones that forever transport both audience and genre. Add one more to the list. Here is Kelly Joe Phelps’ Western Bell.

Source : black hen music

[kjp]

2 news dans la même soirée

Vidéo de "Ruby Sally" (c'est Sally Ruby pour être exact)

http://blip.tv/file/1592540/

Comme d'habitude Kelly Joe improvise mais l'équilibre instrumental/vocal n'est pas des plus réussi je trouve. Il faut dire qu'elle est particulièrement difficile de ce point de vue là. Et puis connaissant à connaitre un peu le personnage, je crois qu'il a besoin d'une atmosphère particulière pour l'interpréter et que la nuit lui ai sans doute mieux réussie. En revanche, je ne crois pas avoir vu encore Kelly Joe Phelps faire autant de vibrato sur un seul et même titre.

Vous arrivez à la visionner

[Ayler]

Non.

[kjp]

Fonctionne de nouveau

[kjp]

Tournée japonaise annoncée mi-Avril.

[kjp]

Nouvelle vidéo.


Fortworth Blues de Steve Earle avec Kelly Joe à la Lap Steel :

https://www.youtube.com/watch?v=LMknbUBLu5E

[kjp]

http://fr.youtube.com/watch?v=plKO0q9zcv0

Piece by Piece, morceau via une vidéo du net qu'on a pu voir, vient d'être "postée" dans une version qualitativement (image et son) supérieur. Elle a été ajoutée il y a quelques jours. Ca vaut le coup de la revoir une fois.

De plus, les trois vidéos extraites de l'émission Mezzo ont été supprimés. Si le responsable qui s'occupe de cela pouvait faire du lobbying concernant Kelly Joe, il serait plus connu, je pense.

[eddie]

Merci pour toutes ces infos et vidéos!

[kjp]

Nouvelle extrait vidéo postée :

Lors de l'émission "La Jungla Sonora" sur Radio Euskadi, une radio espagnole.
La vidéo (le court extrait) fut enregistrer en 2005.

"Hard Time Killin' Floor Blues" :

https://www.youtube.com/watch?v=9-LuTPlcRQI

Bonne écoute.

[kjp]

Les titres en avant première pour le forum



1 Western Bell
2 Sovereign Wyoming
3 Blowing Dust 40 Miles
4 American Exchange Hotel
5 Hometown With Melody
6 Hattie's Hat
7 The Jenny Spin
8 Murdo
9 East To Kansas
10 Blue Daughter Tattoo
11 Little Family

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