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26 Jun 2017

Howard Wales Faces" recorded 2012 released May 28, 2017 US Prog Jazz Groove Fusion

Howard Wales & Jerry Garcia

Howard Wales  Faces" recorded 2012 released May 28, 2017 US Prog Jazz Groove Fusion


American keyboardist, best known in collaboration with frontman Grateful Dead and his friend Jerry Garcia, with whom he recorded several albums. Throughout his career, since the 1960s, Howard Wales has played and recorded with many musicians, including James Brown, Four Tops, Harvey Mandel. For his long-time scenic activities Howard recorded several solo albums, "Faces" - his new work released in 2017. Recommended for fans of Hammond..........

Howard Wales - Keyboards
Chris Cain - Guitar
Garth Weber - Guitar
Steve Evans - Bass
Tom Donlinger - Drums
Kenny Stavropoulos - Drums
Phil “Levi” Wood - Trumpet & Flugelhorn
Ed Early - Trombone
Carl Green - Tenor Sax
Otto - Percussion
Phil “Levi” Wood - Horn


01. Lift Off 06:28
02. Brain Trust 06:20
03. Propeleon 06:57
04. Stepping Out 07:14
05. Aqua Breeze 08:02
06. Keeping It Tight 08:55
07. The Truth Of Blues A’la Carte 07:33
08. Rockaceous 05:40
09. Hit It 06:11
10. Lumination 04:49

Sputnik "Parallax, Vol. I" 2016 Canada Prog Jazz Rock Fusion

Sputnik  "Parallax, Vol. I"  2016 Canada Prog Jazz Rock Fusion


face book
Music of outer space featuring instruments of Planet Earth. Sputnik was formed in 2009 in Winnipeg, Canada, with objective of playing fusion and rock instrumental covers. The group's first album, Space Junk (2012), featured their take on jazz and funk classics by Herbie Hancock, Billy Cobham, Jeff Beck, Parliament-Funkadelic and others. After a few lineup changes, Sputnik settled into writing the original material that can be found on their new release Parallax Vol. I (2016). Whether they're bringing the Sputnik Space Show (complete with a cosmic video backdrop) to a big stage, or keeping it low-key in a cozy corner of the local bistro, Sputnik is a band that simply must be seen live. The group is currently working on Parallax Vol. II, which is set to be released in late 2016 / early 2017. Sputnik is: Barry G. Player (guitar), Tristan Rivers (guitar), Leigh Fischer (bass), and Doug Northcott (drums)...........

Sputnik is a fusion jazz project which brings the talents of Leigh Fischer (Bass), Doug Northcott (Drums), Barry G. Player (Guitar), and Tristan Rivers (Guitar) together to create sounds that, though often out of this world, are always highly inventive and very fun to listen to.

Upon the release of its debut album "Space Junk" in 2012 Sputnik would find a strong voice that borrows from the Jazz world but is rooted heavily in funk and fusion. The band takes songs such as Billy Cobham's Red Barron, or Herbie Hancock's Watermelon man and plays them with passion and intensity while remaining honest and paying homage to the originals. On the flip side they can also take tunes like Stratus, and The Theme from fletch and send them spinning into sonic cascades that will leaving you reeling for more.

The band is also focused on creating a repertoire of original pieces that really showcase the talent level of these Winnipeg artists. While creating music that creates a very pleasing aura for the audience is key, they clearly also strive to push themselves as players. As amazing to watch in a small club or bistro as on a large stage, Sputnik puts on a show that simply must be seen!

Sputnik's new album, Parallax Vol. I, is comprised of all original material and set to be released Jan 09, 2016.........

Barry G. Player - guitar
Tristan Rivers - guitar
Leigh Fischer - bass
Doug Northcott - drums  

1. Atomic Biscuit 07:42
2. Milky Way 04:17
3. Flat Earth 00:54
4. Rooftop Garden 04:53
5. Extra Terrestrial Technology 08:02
6. Dark Matter 01:28
7. Critical Mass 08:11
8. Mars Atlas 08:05

The Rob Hoeke R&B Group "Celsius 232.8"1968 Holland Psych Blues Rock

Publicity shot from Phonogram Records of the first line-up of the Rob Hoeke R&B Group (L-R Paul Hoeke, John Schuursma, Kees Kuypers, Frans Hoeke, Rob Hoeke)

The Rob Hoeke R&B Group "Celsius 232.8"1968 Holland Psych Blues Rock


Pianist Rob Hoeke started his first band in 1957 with his brother Paul (d) and Ed Heck (upright bass). In 1959, they became the Rob Hoeke Boogie Woogie Quartet, adding guitarist Wim Bitter. By the time they got a recording contract with Phonogram's Philips label, Ed Heck had been replaced by a bass guitarist, Kees Kuypers. In October 1963, they released their first record (an EP), followed in 1964 by an LP, "Boogie Hoogie". Early 1965, the band did a stint in Sweden. Upon their return, they recorded the single, "Down South", which would become Hoeke's signature tune. After a second trip to Sweden and sitting in on the piano with The Rolling Stones, Hoeke switched to R&B, renaming his band Rob Hoeke R&B Group and adding cousin Frans Hoeke (v, g). Late 1965, Wim Bitter was replaced by John Schuursma (later in Brainbox). The band had their first hit with "Margio" in mid-1966, after which they were joined by Willem Schoone (b, v, ex-Marks). Schoone sang lead on the next hit, "When People Talk". Shortly after that, Rob’s brother Paul Hoeke quit and was replaced by drummer Martin Rüdelsheim. This line-up recorded the successful album, "Save Our Souls". The band had two more hits in 1967 and by 1968's "Drinking On My Bed" (the last hit of the R&B Group), Schuursma had been replaced with Will de Meyer (g, ex-Alleycats). Not long afterwards, Frans Hoeke quit to pursue a solo career, which would turn out to be quite unsuccessful. For a while he was not replaced. As the single "Down South" from 1965 was still very popular, Rob was asked to do a new boogie-woogie album. So in mid-1968, two Rob Hoeke albums hit the shops: "Celsius 232.8" by The Rob Hoeke R&B Group (Hoeke, Schoone, Rüdelsheim & de Meyer) and the instrumental "Robby's Saloon" by the revived Rob Hoeke Boogie Woogie Quartet (Rob Hoeke, Paul Hoeke, Will de Meyer and Kees Kuypers). Then some more changes took place: shortly after the release of "Celsius" in late 1968, Jan Vennik (o, s, ex-Motions) came in as a fifth member. In the Spring of 1969, Jaap Jan Schermer became the new drummer. After the success of "Robby's Saloon", Hoeke recorded another boogie-woogie album, "Racing The Boogie", in early 1970 (and Phonogram included the 1965 track "Down South" on it to boost sales). This move didn't do Hoeke's reputation much good as there was confusion over what to expect from him: psychedelic bluesy rock or boogie-woogie. The situation would not be helped by "Down South" being re-released as a single and hitting the charts. It effectively meant the end of the Rob Hoeke R&B Group. In March 1970, Schoone left to be replaced by Guus Willlemse (ex-Truce, later in Solution), but the writing was on the wall, especially since Rob Hoeke didn't even play on the next single, "Next World War" (Vennik played the keyboards). The following single, "Everybody Tries", hit the lower regions of the charts, but after that the R&B Group and the Boogie Woogie Quartet would be interchangeable.

In 1971, Hoeke recorded a piano duo album with old friend Hein van der Gaag, assisted by Ben de Bruin (g), Paul Lagaay (d) and Will de Meijer (b). Pim van der Linden (ex-Het and Pocomania) then came in on bass with de Meyer reverting to guitar. The 1972 album, "Full Speed/Ten Years From Countdown", was recorded with Ben de Bruijn, Paul Lagaay and bassist Herman Deinum (ex-Cuby + Blizzards). Hoeke then started fulfilling his contracts with the returned Martin Rüdelsheim and Martin Schoon (b). In the meantime, he started rehearsing with Eelco Gelling and Harry Muskee of the disbanded Cuby + Blizzards, but the project didn't work out. Hoeke then decided to get back his cousin Frans and guitarist Ben de Bruijn, plus the C+B rhythm section - Herman Deinum (b) and Hans Lafaille (d). This line-up recorded the 1973 album (credited to "Rob Hoeke"), "Rockin' The Boogie". Early 1974, Hoeke's band comprised de Bruijn, the returned Pim van der Linden (b, replaced by Ed Swanenberg, ex-Unit Gloria), Will Baltus (d) and Brenny van Rosmalen (v, g). Then tragedy struck: while trying to fix his car, Hoeke injured his left hand (hit by a fan), losing most of his left pinky and ring finger. The days of playing piano seemed to be over.

Yet in 1975 he managed to record another duo album with Hein van der Gaag, called "Fingerprints". Slowly Hoeke managed to get used to playing with "less hand" than before. Later that year, he started touring again with Ben de Bruijn (replacing Eef Albers), Ab de Jong (d, ex-Mantra Energy), Chiel Pos (ex-Beehive, g, s, v) and Fred Snel (b, ex-Solar). In early 1976, Hoeke reverted back to a trio with Pos (now on bass) and (again) Martin Rüdelsheim (d), and the next year - with John Schuursma (b) and Maarten van de Valk (d). In the Summer of 1977, Hoeke recorded an album with Alan Price. In early 1978, he chose bluesers Railway as his backing band, comprised of Rob Goedkoop (g, v), Jacques Groen (d) and Doewe Munk (b). For the next album, "Boogie Woogie Explosion", Hoeke picked ex-Focus-drummer Pierre van der Linden, plus former members Will de Meijer (g, b), John Schuursma (g, b) and Jan Vennik (s). On the 1981 album, "Home Made", Hoeke kept van der Linden and Vennik, adding former members Willlem Schoone (b) and Ben de Bruijn (g). In 1983, Hoeke started playing with a band again as The Rob Hoeke Group (keeping a label in the middle, whether it was R&B or Boogie Woogie). In the 1980s, Hoeke used a kind of floating line-up with interchangeable drummers (Paul Lagaay, Rini Roukema) and bass players (Fred Snel, Jan de Jong, Gerard Biersteker, Willbert de Gooijer) and alternating between trio and quartet line-ups. From mid-1984 on, old soldier Will de Meyer (g, v) was mainly there when the four-piece played, but many guests and old band members appeared in the line-up from time to time, like John Schuursma and Pierre van der Linden. And from 1987 on, he played under the band name of Rob Hoeke's Boogie & Blues Band, while keeping his flexible line-ups. Highlights were four concerts at the North Sea Jazz festival within the space of 10 years.

In the latter days of his career, Hoeke toured with a remarkably stable line-up comprising Paul Lagaay (d), Chiel (Michiel) Pos (v, g, s) and Toon Segers (b), who'd all played with him before. From 1998 and until the very end, Hoeke (apart from his band gigs) toured Dutch theatres with fellow boogie pianists Jaap Dekker and Rob Agerbeek as The Grand Piano Boogie Train. When it was announced Rob Hoeke was terminally ill, he did a farewell concert in August 1999 with many of his former sidemen and his sons Ruben (leader of his own blues-rock band) and Eric sitting in. Rob Hoeke died in late 1999 at the age of 60..............Alex

A1 Lying In The Grass
A2 Purple Potatoes
A3 Yellow Stone
A4 Six O'Clock Blues
A5 (The Only Thing That Hasn't Changed During The Times Is) The Rain Still Falling From Above
B1 Don't Feel Ashamed
B2 How High We Used To Go
B3 Out Of Town
B4 Fahrenheit 451
B5 Just Make Me A Pallet


1963 EP Swanee River Boogie + 3 Philips PE 433181
1964 LP Boogie Hoogie Philips PL 12930
Screamin' / Tony's Blues Philips JF 327671
Boogie Woogie Stomp / Swanee River Boogie Philips JF 327826
1965 Down South Part 1/ Down South Part 2 Philips JF 327863
1966 Oh, Baby Please / So Blue (Because of You) Philips JF 327964
Margio / Rigmore Philips JF 333514
When People Talk / Rain Snow Misery Philips JF 333 952
1967 What Is Soul / Down Here Philips JF 333833
LP Save our souls Philips XPY 855039
Don't Ask Me What I Say / Baby Don't Go Philips JF 333865
1968 For My Little Gringo / Swinging Clock Boogie Philips JF 334663
LP Robbie's saloon Philips XPY 855084
Manfred Mann Played by Rob Hoeke R&B Group Jolita VR 125
Drinking on My Bed / P-Kick Boogie Philips JF 333956
Try to Realize / It Won't Be Long Philips JF 333990
LP Celsius 232.8 Philips XPY 855 067
Lying in the Grass / Don't Feel Ashamed Philips JF 334.564
1969 Double Cross Woman / Baby I Wanna Leave You Philips JF 336042
1970 Down South Part 1/ Down South Part 2 (re) Philips JF 327863
LP Racing the boogie Philips LCY 861822
Racing the Boogie / Laughin' Boogie Philips 6012 025
Next World War / Working Down the Railroad Philips 6012 017
1971 Smalltalk to My Boy / Cuban Woogie Philips 6012 126
LP Four Hands Up (with Hein van der Gaag) Philips 6413 013
Everybody Tries / Concentration Philips 6012 074
LP P-kick Boogie (re of Save our souls) Philips, 6440062
That's the Boogie / I Feel Free Philips 6012 153
1972 LP Full Speed Ten Years From Countdown Philips 6413032
1973 Gettin' Higher / Mirror Man Blues Philips 6012 328
LP Rockin' The Boogie Philips 6401053
Rock Around the Clock / Back on the Farm Again Philips 6020 349
1975 Fingerprints (with Hein van der Gaag) Philips 6401 090
1977 LP Two Of A Kind (with Alan Price) Polydor 2925064
I Almost Lost My Mind / Leave Me Alone (w. Alan Price) Polydor 2050497
1979 LP Boogie Woogie Explosion Polydor 2925086
1980 Lucky Lucinda / For Little Eva Polydor 2050592
1981 Chimes of Freedom / Fool Side Universe BP 50
LP Free and easy Universe LS 28
Homemade / Fool Side Universe BP 47
Silent night / Silent night part 2 Universe BP 89
1984 LP Jumpin' on the 88 Oldie Blues OL 800
1987 LP The real boogie woogie Down South Records DS 92234
LP Boogie and blues Stiletto RH 9187
1988 LP Rob Hoeke Rhythm & Blues Group (comp.) Philips 822 356-1
LP 25 years Rhythm & blues and boogie woogie CNR 655.290-1
CD 25 years Rhythm & blues and boogie woogie + 3 CNR 655.290-2
1991 2CD The single collection (comp.) Mercury 8423 132
1994 CD Rob Hoeke CNR 2001053
CD Boogie Woogie & Blues: Live Coco Sound CCS 10-1
1997 CD The Grand Piano Boogie Train On the Move Rodero Records RDR 1295 (with Jaap Dekker & Rob Agerbeek)
CD Boogie Woogie & Blues-live 2 (private pressing) RH 9702
CD The Grand Piano Boogie Train Movin' On Rodero Records RDR1297 (with Jaap Dekker & Rob Agerbeek)
1998 CD Margio (comp.) Rotation 56511722004
2001 2CD Down south (comp.) Hunter HM 13032
2004 3CD Singles A's & B's (comp.) Hunter HM 15432

25 Jun 2017

Malc Sayer “One For The Road” 1975 UK Private Psych Folk Rock

Malc Sayer “One For The Road” 1975 very rare  UK Private Psych Folk Rock Deroy 1183 Label


ld records that still are TRULY UNKNOWN seldom comes along. But this is one of those. I have been unable to find any information whatsoever about this british LP from Carnforth, Lancashire.

It was recorded during 1972-1975 and sounds like a mix between "folk psych", folk, country folk and prog. Listen to sections from 7 of the tunes on the LP in the soundclip below. This is a superb LP and the tune "Wild Cat" which is first in the soundclip below is a real lost gem and it has got dancefloor potential as well!

Moonlight “Hoy” 1976 Uruguay Psych Blues Rock

Moonlight “Hoy” 1976 Uruguay Psych Blues Rock


Moonlights were alongside Los Delfines, the band with the most stable programming working in Uruguay during the years when rock was booming. Formed in the late 60's, they played live at the beginning of the next decade. Directed by the brothers Iriarte, and with an excellent musician like Dino, Los Moonlights reached a very important number of followers with its overwhelming sound of guitars and great vocalizations.
After a couple of singles for the Clave label, the group finally signed with the label De La Planta, where they recorded this excellent Long Play titled "Moonlights" (1973), which curiously has never been reedited and is very difficult to obtain for Vinyl collectors. With the military coup of 1973 in Uruguay, Los Moonlights, like so many other groups, suffered under the abrupt and censor change of rules. They tried to survive and keep playing live until the effort proved useless. After the little commercial repercussion of his second album "Moonlight Hoy" in 1976, the band separated and Dino followed his solo career.

"Founded in 1967, the group always turned around the brothers Sergio Iriarte in guitar and voice Osvaldo Iriarte in low and voice, Rodolfo Fuentes comments that the first recording in Spanish was the subject of the simple "El Circo" of 1971. The following year members of two excellent bands Dino (Gastón Ciarlo) of Montevideo Blues and Yamandú Perez de Gánesis. They record their first LP with songs in Castilian among which is another version of Milonga de Pelo Largo. " ................

Sergio Iriarte (guitarra y voz)
Gaston Ciarlo “Dino” (guitarra y voz)
Osvaldo Iriarte (bajo y voz)
Luis Alberto “Beto” Risso (bateria).

A1 Cuna De Mi Muerte
Written By – Gastón Ciarlo
A2 Dime Por Qué? (Tell Me Why)
Written By – Osvaldo Iriarte, Sergio*
A3 Lara Neal
A4 Un Nuevo Día En la Ciudad (A New Day In The City)
A5 El Tema de Sebastián (Sebastian's Song)
A6 Alguien En Quien Creer (Some One You Really Trust)
B1 Vamos Dulce Muchacha (Come On My Sweet Girl)
B2 Lo Puedes Hacer (You Can Do It Now)
B3 Solo Quiero Estar Contigo (I Only Want To Be With You)
B4 Llora
B5 Dame, Dame Amor (Gimme, Gimme Love)
B6 Standard

Luli e Lucina ‎ “Amor De Mulher Yorimatã” 1982 Brazil MPB,Folk,Latin

Lucina embraces Luhli on an island in the Bay of Sepetiba (RJ), 1978 Credit Personal Archive

Luli e Lucina ‎ “Amor De Mulher Yorimatã” 1982 Brazil MPB,Folk,Latin


The decade of the 1970s sounds to this day as one of the most fertile for Brazilian music. And also for the yearnings of freedom that a large part of the population of the country carried in those times of military dictatorship. It was at this moment that two women as fertile as they were eager for liberation met and built together a beautiful love story sewn together by the art of composing, playing and singing. The carioca Luhli (Heloísa Orosco Borges da Fonseca) and the Mato Grosso Lucina (Lúcia Helena Carvalho) already dominated the guitar and made beautiful songs, but it was after the meeting that they created a work worthy of respect, although little Respected at the time. The story of how pressures from the music industry helped the duo Luhli & Lucina to follow an alternative path (and, if well observed, the forerunner of many movements that came to be established 30 years later) is told by Rafael Saar in the sensitive and delicate Film Yorimatã, made (like everything in Brazil) with all the effort that a beginner filmmaker needs to be able to execute a project and distributed in the commercial circuit after a successful crowdfunding. 

Luhli and Lucina yesterdayLuhli and Lucina todayLuhli and Lucina were the first artists to bring drums from the terreiros to the popular music. They were also the first Brazilian women to produce, record and distribute a record - Luli and Lucinha, from 1979 - independently (Antônio Adolfo was the first man to do this in the country). The duo faced everything and everyone to live a three-way relationship with the photographer Luiz Fernando Borges da Fonseca, who recorded in 8mm films the day to day of them and their children (two of each, all of Luiz) both in the quiet place in Filgueiras, in the city of Mangaratiba (RJ), as well as the concerts they performed in the big cities. The hippie style inspired songs recorded on other albums by Luhli & Lucina: Amor de Mulher - Yorimatã, Êta Nóis !; Timbres Spices; And why yes why not. He also inspired those eternalized by Ney Matogrosso (O vira, Luli’s partnership with João Ricardo, River Stone, and Bandolero) and Joyce Moreno (Sweet Sweetness). Ney and Joyce are two of the participations in the documentary, which also includes Gilberto Gil, Zélia Duncan, Itamar Assumpção and the sisters Tetê and Alzira Espíndola…………….. 

Luli and Lucina are composers, singers, percussionists, guitarists and genius violins. Unknown to the public, it was much more important for them than for Carlos Lyra to say “they all sing their songs but they do not know the authors.” 
With more than 800 songs composed in partnership, who most recorded the duo was Ney Matogrosso - those who are careful to, when liking a song, look on the disc who composed it, will notice that virtually all Ney discs have the Less a song by Luli and Lucina. They are of Speech, Bandoleiro, Imprisoned Heart, Êta Nóis, Bandoleiro, Bugre, Me Rói, Rio Stone and O Vira, among many other successes of Ney Matogrosso. 
They were also recorded by Frenéticas, Nana Caymmi, Tetê and Alzira Espíndolla, Joyce, Rolando Boldrim and Wanderléa. 
Luli as well as composer is a painter and a delightful writer, with some stories already published, and a book about earthen elementals, published recently in 2000. Lucina is also the most constant musical partner of Zélia Duncan - and is also launched in solo career. 
When Bossa Nova was born in Rio, it was not only in the south, as all historians claim. It was not just Nara Lion’s house that boiled the movement. In Tijuca, in the house of Luli, also joined the “west wing” of Bossa Nova: Luli, Aldir Blanc, Gonzaguinha and Sá, among others. But this story is told in the song Bossa Velha (see the unpublished link). 
In the ‘70s, when Bossa Nova had already passed, Luli and Lucina moved to a place in Mangaratiba - Rio’ s coast. There they lived the dream of community life, and there they also created a new and clear style of composition, with a variety Musical and literary quality. They revolutionized the social concepts of a time when there was much talk about freedom and free love, but where the pre-established moral concepts were that they really lived on the head of the girl. They were the true revolutionaries of the 70’s - today they are Amor Maduro transmuted into music … 
The pair fell apart in 1998……………………… 

From the 70’s to the 90’s, Luhli & Lucina formed one of MPB’s top performers and lived the dream of free love in a three-way marriage with photographer Luiz Fernando da Fonseca. Fourteen years after the end of the partnership, they meet again at Trip’s request to talk about music, freedom and prejudice.Never. Never again will Luhli & Lucina sing together. It was over for ever that time when Ney Matogrosso scandalized a country steeped in dictatorship, aboard androgyny, Dry & Wet and ultra-feminine songs by Luhli & Lucina 

“Those two wild cats giving leaps on the stage no longer exist. Look at me. I am a lady, I am almost 70 years old, I am old, "says, overflowing with humor, this respectable 66-year-old lady who once was Luhli (or Luli at first) who composed popular hits like” O vira “ (In double with dry & wet João Ricardo): "The black cat crossed the road / passed under the stairs / and there on the blue background, in the night of the forest, / the moon lit the dance, Turn, turn, turn / turn, turn, turn man, turn, turn / turn, become a werewolf. ” 

The sun is beginning to set, and we are there on the blue background, near the forest. Luhli lives in the mountains of Rio de Janeiro, in a chalet by the roadside that leads to Lumiar, a quiet district of Nova Friburgo. We came to visit her and brought Lucina (who was artistically Lucelena and Lucinha), the other half of the pair who formed in 1972 and dissolved in 1997, never to return. Mato Grosso of Cuiabá, now 60 years old, Lucina lives in Tijuca, Rio, composes with Zélia Duncan and releases solo albums. 

As soon as we arrive, Luhli pulls Lucina by the arm, takes her to the front of the computer and shows the lyrics she made, this morning, for a melody sent from the (ex-) partner. Lucina cries - it’s just the first cry of this afternoon and evening. 

The MPB did not mourn the rupture of the duo, because in terms of popularity Luhli & Lucina were never like Leandro & Leonardo, Roberto & Erasmo, not even a Secos & Molhados, a Ney Matogrosso. 

“I used to feel like a tree full of fruit that nobody eats. It made beautiful songs and no one listened, "translates Luhli, who overflows symbols and images with each phrase he formulates. "And what happens to a tree that gives 300 fruits? Let’s say 30 are eaten. The others fall to the ground, rot, the seed sprouts and another tree rises. All the songs that were not consumed were falling to the ground and becoming a forest. When I get sad, I go to this forest of mine, the songs that nobody consumed. It’s my little flower. ” 

In the voice of Ney Matogrosso, we sang Luhli & Lucina, even without knowing who they were, in strong songs such as “Pedra de rio” (1975), “Here and Now” (1976), “Bandolero” (1980), “Heart Trapped” (1980), “Eta Nós” (1984) … 

They sent such songs from a site in Mangaratiba, on the coast of Rio de Janeiro, between the sea and the mountain, where they lived with the photographer Luiz Fernando Borges da Fonseca. He is responsible for the photos of the mythological cover of Water from the Sky - Bird (1975), Ney’s first post-dry & wet album. In them, the singer appears like man of Neanderthal, naked but by tiny thong, indigenous feathers and animal horns. Luhli & Lucina (1979) also has the subtle cover of Luiz. In this, the only silhouettes of two naked women appear in the distance, united by the heads. With Wet & Dry or Soil, Ney exposed to the world an exuberant version of something that Luhli & Lucina & Luiz also lived in, introspectively.Luhli fears a sensationalist treatment, “brown press,” for the marriage to three lived with Luiz and Lucina. Lucina narrates threats of aggression suffered by Luiz after an appearance on Globo years ago. “Do not want me to be an enemy,” Luhli presses me, between a piece of cake, a glass of wine and several caresses. I have a story to tell and I share with you, reader, Luhli’s concerns: we are in the 21st century, are not we? 

Dry & Wet 

Carioca tijucana, Luhli made his musical debut very early. In 1965, at the age of 20, he released an individual album under the strong influence of protest music then advocated by emepebistas lefts. More or less in this same politicized levada, Lucina integrated the Manifesto Group and participated in festivals of the song like Lucelena. “At that time we were imbued with the spirit that we had to save Brazilian music,” she recalls, with the air of those who long ago stopped believing in this chimera. 

In the early 1970s, Luhli was married to Luiz Fernando and decided to move away from music when he met Lucina. The musical affinity was immediate. The duo debuted at the Globo festival in 1972, the same as consecrated Maria Alcina’s androgyny, with Jorge Ben’s “Fio maravha.” It was at this time that Luhli introduced Ney Matogrosso, who had moved to Rio to live in handicrafts, to the Portuguese João Ricardo, who in turn was looking for the voice of the Dry and Wet. 

In Luhli’s first show and Lucina as a duo in 1973, they shared the stage with Ney and the equally androgyny and libertarian group Dzi Croquettes, by Lennie Dale. “We’d sing 'I’d turn around’ with Ney, and the Dzi would come and bite our legs while we sang 'become a werewolf,” Luhli amuses himself. 

The hippy community environment was developing with an epicenter in a mansion in Santa Tereza, Rio. “Ney dated Lucina,” reveals Luhli, in front of the (former) partner’s placid smile. “As a woman, I just dated Ney,” smiles Lucina. “It was the 70s, but it was never promiscuous,” demarcates Luhli. 

At the height of the success of “O vira”, Luhli had the first daughter with Luiz, Júlia (“because of the music of the Beatles”). A year and three months later came the second daughter, Flor. “The pregnancy was difficult, Lucina started to go home to take care of me. She is the mother of my daughters, "she says. 

"First, I met Luhli and the music and fell in love. When I met the couple, I was crazy about them. It was not just music. He had Luiz’s photograph. The meeting was a creative nucleus, a dream. We had a deep friendship. I had the courage, we all had, "says Lucina. In this context, the "trisal” (as defined by Lucina) moved with her two daughters to Mangaratiba. 

Luhli chose to give up, once and for all, his partner and his partner: “It was a great love, a whole thing. Everything happened to everyone, and there was a fourth person called music. A whole generation, hippie, was to try other ways of life, free love. He had no Aids. I did not have this plantation that you have today, of what sex you punish. ” 

The pair (the trio) raved, but worked feverishly. They estimated that they had about 800 songs, of which they considered “only” about 500. We were able to know not much more than 10% of them recorded on seven albums by the pair or by artists like Joyce, Nana Caymmi, Frenéticas, Wanderléa, Tetê Espíndola.The debut LP was one of the first independent albums in the history of Brazilian music. “Trapped heart does not sing, do not sing, love / there is a beast on the loose, on the loose, love, inside me / there, there is a beast on the loose, and my throat, love, narrows and is silent / loneliness is Thus, "they sang the liberation, which double intimate, internal, inner caipira. "There were no parameters. We had to invent our story in detail, from the first person to the one who rises at dawn to meet the baby, "Luhli says. In 1980, Lucina had the twins Antonio and Pedro, children of Luiz, brothers of Júlia and Flor, children of the three. 

The confrontation with families and society was "cruel,” Lucina said. “When we went to the place, we told the families, and then the friends disappeared. Everyone was conniving when the thing was hidden. When it turned, everyone was gone, "recalls Luhli. Prejudices aside, an underground river ran there, and the duo, even unknown to the crowd, snatched a select and fervent group of admirers of their music. 

At the time of the second album, Amor de mulher - Yorimatã (1982), umbanda had already entered the life of the trio. Luiz photographed the ceremonies, and the disc contained themes like Iansã, Oxum Point and Gira das Hervas. In addition to composers, they were percussionists - Luhli still manufactures and sells their homemade drums at home. As if the stigmas were not few, they were women, composers, Umbandists. "It was hard, fucking machismo. Woman percussionist, then, you can not imagine the prejudice, "recalls Luhli. 

In the middle of the 80’s, the career of the pair was truncated by the illness of Luiz, who died of cancer in 1990, under the care of both. The duo persisted for another seven years until they gave in. As usual, Luhli transforms the account into poetry: "We had total control of one another, and that control was killing us. You imagine two plants locked in the same pot. They grow, grow, an hour comes when the roots suffocate, one begins to kill the other. When it breaks the vessel, it seems to be the end, but it is not death. It is liberation. When we are each in your pot and the shadows are intersecting, making a common shadow, that will be all right. ” 

I look at them and see them side by side, the women who say they have broken forever. Separations apart, something seems intact between them. Luhli summarizes: “We were an acinte, because we come to live this story. After Luiz died, we remain an acinte because we continue to be double. Now we continue to be acinte, because we do not hate ourselves, we continue to be partners and friends. ” And no, the duo will never be reunited. Or rather, you can even get together, like you do now and again at concerts in inland cities. “It may be that roll, yes, it can roll. It costs only R $ 400,000. Who pays … ”, delights Lucina, throwing the possibility of a return challenge. 

Owls and Fireflies 

The sun was just gathering in the forest night. One picks up the guitar. Another picks up the viola. One sings one solo song, the other the second song. And vice versa. I begin the boldness: one of Luhli & Lucina, can not it be? They look at each other. They take the drums. They talk like they do not want anything. Batucam. They begin the “Herbal Tour”: “Mother Earth, Mother Earth / Mother tells me that herbs are made to heal.” Luhli calls the orixás, evokes the spirits, the gnomes. Outside it is 8 ºC, and we are all together in the cold room of the cottage - the sacs, the fairies, the dry ones, the wet ones. Before the “Herbal Tour”, I can not - nor do I try - to prevent tears from rolling. I thank you. 

The cry is spread among the very few present - the Trip photographer , the four young filmmakers / musicians who idolize them and prepare a documentary about Luhli & Lucina, directed by Rafael Saar. The two are also thrilled. They interlace their hands, they make confidences, they sigh deeply. 

To the sound of viola, “Eta Nós”, deep Brazilian music, “we get to know each other and become friends / a thousand songs played to our ears”, “but one day came and we were off guard / fell on the ground like two enemy / , Crippling, destroying the built ”,“ and in the miracle of read / love becomes honey ”. The shadows of the two trees intersect. New branches sprout from the ground. Sacis, fairies, fireflies, elves and orixás dance in celebration. Luhli & Lucina have always existed. Ever. 

A1 Amor De Mulher 3:26 
A2 Semente 1:55 
A3 Lua De Noite 0:47 
A4 Terra E Lua 4:48 
A5 Primeira Estrela 2:25 
A6 Sina Cigana 5:53 
B1 Alojá Yin 1:40 
B2 Iansã 3:48 
B3 Ponto De Oxum 1:06 
B4 India Puri 4:04 
B5 Tripa De Peixe 3:27 
B7 Alojá Yang/Gira Das Ervas 4:29 


johnkatsmc5, welcome music..