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ЛЕНТА НОВОСТЕЙ СТРАНСТВУЮЩИХ УИЛБУРИС
Goldenday: Новости, материалы и факты о том составе, ради которого мы все здесь собрались
AlexYar: Так в чем проблема, друзья!? Махнем на зеленый континент, а!?
Voldar: Может они лучше к нам.А самому Саш,забацать не слабо?
Voldar: Web Exclusive Interview Jim Keltner Jim Keltner needs no introduction to Modern Drummer readers. Jim has played with just about everyone in music royalty, and it's no mystery why: Everyone wants Jim's feel-good vibe on their recordings. And if you ever met the man, you would know instantly that it's not only great playing he brings to the session, it's his warm and giving personality. You just want to hang with Jim. by Billy Amendola Recently we spoke with Jim about the new George Harrison studio album, Brainwashed, as well as the Harrison tribute concert at London's Royal Albert Hall that took place November 29, 2002, a bitter-sweet affair held on the one-year anniversary of George's passing. Jim played and was friends with both George Harrison and John Lennon for many years, so we started our chat on that subject. MD: One of the questions I asked Ringo for Quick Beats was: Who was a better drummer, George or John? And Ringo said "George." Would you agree with that? Jim: [laughs] Good question?. Well, I would have to say yes, because, first of all, John never played the drums in front of me. But George did, and he could play very well. He had such beautiful time. When George played drums he had all the basic language. He knew what to do with his feet and the hands. He cracked me up a few times at the drums. I have a beautiful picture of him behind my set at the house. MD: I saw a film clip of George-which featured you as well-where he was talking about the making of this new record. It brought tears to my eyes as I was watching it. Jim: I know exactly what you mean. MD: It's so nice to hear this new music. His singing and playing is so strong. Jim: That's the thing. He gave it his best shot. He knew he was leaving, he knew he was getting out of here. I had a hard time believing that. But I think he was so prepared, and everything just fell into place the way he wanted it. MD: I know you had a great friendship with George besides just playing music. Jim: Oh, God. He was an inspiration for so many things in my life and my family's life. He was an extraordinary guy. He wasn't like most of your friends. I know it sounds trite, like, "Well, he was a Beatle, so of course he was an extraordinary guy." But it's so much more than that. He had such a down-to-earth quality. He was funny and bright, and loved to share stuff. He was a real people person. He genuinely liked people. And yet, he had a tremendous bullshit meter. He could see through you from a long distance. I saw him do that all the time. My family and I feel very fortunate that we came into his life at such an early time. MD: I guess at that level you get afraid because you don't know what people really want from you. Jim: Exactly. It's the same thing with Charlie [Watts] and The Stones, or any of my other friends with such high profiles. We go so far back, I'm sure that's why our friendships are real solid. We treasure those relationships. MD: George's son Dhani did a very nice job co-producing Brainwashed with Jeff Lynne. He looks so much like his dad too. Jim: And it's not just the looks either. His mannerisms and how he moves his mouth, is just like George. Or he'll say something and he'll back his head off just like George. He'll give you a look, a glance, just like his dad. It messes me up. MD: Let's talk about Brainwashed. Jim: "Any Road" is one of my favorites. Pure George. He use to quote that line all the time, "If You don't Know Where You're Going, Any Road Will Take You There." I love that song so much. The other one that makes me cry every time I hear it, and probably always will, is "Stuck Inside A Cloud." That's one of his older one's that he used to play for me all the time. It had a magical, misty, very English sort of quality to it. We would be sitting in the studio late at night before shutting everything down, and I'd say, "Hey, George, play 'Cloud' for me," and he would put it on and sing along with it. It didn't have drums on it for many years, just these cheesy little keyboard samples from his E2 sampler, but for some reason it just takes me right to Friar Park every time I hear it. MD: Were all your drum tracks completely finished before he passed away? Jim: Yes. I didn't do any more after?. When he called me to come do the drums, it was before the stabbing, and I believe after his throat operation. I never took gear to his place because years ago I had DW send him a real nice drumset with all the hardware and everything, and then Paiste sent a bunch of cymbals and stuff. So he pretty much had everything I - or anybody - would need. So when I would go to his studio at Friar Park later on, I would hardly ever take anything with me, maybe just a certain cymbal and a snare - little things. Now, George had this tremendous living room, which was like three stories high, with a balcony overlooking it. My bedroom was on the third floor - "the loft," they used to call it. It was a beautiful place with a kitchen and den and everything. I used to come down in the morning and stand on this part of the balcony that extends out over the room a little bit. A few times over the years I'd snap my fingers to hear the sound, and I'd say to George, "It would be great to have the drums here," and he'd just laugh, because he had a major studio built in another part of the house; why would he want to put drums there? But when I arrived for this recording, I walked in and the drums were set up right in that space. I was so knocked out. He did that for me. I guess he asked the engineer John Etchells whether the sound would be controllable. So he went out and tested a few things and said, "It would be great." I remember they had a whole bunch of 87's [mic's] out over the room to get the room sound. And I ended up using George's drumset. I didn't even use any of my snares. MD: How about cymbals? JK: I might have used one of my cymbals. The hi-hats were a pair of Arbiters that said "602" on them. So they were early Paistes before they put their company name on their cymbals. They were given to Ringo, and he gave them to George. Ringo always played a beautiful Paiste 602 crash-ride, and his hi-hats are 14" Zildjians that are so old you can barely see any logo. He preferred those, so he left the Arbiter Paiste hats with George. George had them in his studio for years. I used those hi-hats on everything I ever played with George?Cloud Nine - everything. MD: The Traveling Wilburys albums too? Jim: No, both Wilburys recordings were done in California, so it was all my gear. Anyway, on the last day of the sessions for Brainwashed, as I was packing up, I was putting the cymbals back in the box like I'd done for so many years, and I said, "George I'm going to take these hi-hats with me." He said, "Why are you taking me hats?" And I said, "I've been coming here for years, and nobody else ever uses them but me. Year after year, I come here to record, I go to the box they're in, and there they are in the same position I put them in the last time. [laughs] Other people who have recorded here, Ray Cooper or Jim Capaldi, they come by and play, and they never use them. They use the new batch that I had sent, or something else. So it's a shame to just leave them here un-played. They're still yours, though, so I'll bring them back." And he said, "Okay." But I never got a chance to give them back to him. So I'll probably give them back to Dhani. MD: How was this recording arrangement set up? Jim: We'd sit out on the ledge talking until we got around to recording. Then George would sit in the control room with John the engineer and they'd talk to me over the phones while I was out in the big room. They couldn't see me and I couldn't see them. Once we started it was just one song right after the other. MD: Would he direct you to play a certain way? Jim: Oh yeah, George had a lot of set ideas, so he would tell me pretty much what he would want. Basically he would tell me what he didn't want. He didn't want fancy fills and he didn't want too much quirkiness. It was hard to do that sometimes, because he would always talk to me about Ry Cooder and how he loved Ry's records, which I played on. And he loved the quirky side of my playing, which he always got a kick out of. But when it came down to playing on his songs, it wouldn't work for him, so he would always have me kind of straighten out things and play more conventional and basic. Of course I never had any problem with that, because that's the job. I always want to play something appropriate for the song. I don't need to play something that tickles me. That's not what music is about--unless you're doing a clinic or a drum record. MD: Would George ever say to you, "Play this one with a Ringo feel"? Jim: No, he never, ever did that. But I would always do that. Every time I played with George I would think of Ringo. George and John would've had Ringo play on a lot more of their stuff if it hadn't been for the fact that those were supposed to be their "solo" efforts. It wasn't meant to be "having the mates," you know what I mean. MD: I can hear the Ringo influence on "Rising Sun." If anyone can get it to feel like Ringo, it's you. Jim: Well, thank you, but I don't know if anybody can really do Ringo. It's like nobody can ever do Charlie. You just can't do it. It's impossible. MD: Did you hear the songs beforehand? Would George give you demos? Jim: He didn't send me any demos, but he would have ideas on tape. He would call me and ask, "What are you doing in February? Can you come over?" I'd say, "What have you got?" and he'd say, "I've got some new ones and some of the ones you've heard over the years." It was always such a thrill when I'd first hear them. Sometimes he would say, "Um - I don't know about this one," but I'd be like, "God, I love that one, George. Let me put drums on it," and he'd say "okay." So we'd put drums on it, but then I'd never be sure whether he was going to use it. MD: I heard there was a pretty ballad that was left off this record that George wrote with Jim Capaldi. Jim: Yeah. Capaldi is a gifted songwriter and drummer. Jim wrote a lot with Stevie Winwood in the "Traffic" days. We've been friends for many years, so I was happy that they hooked up. MD: So obviously there's more stuff in the can. Jim: Well I hope so, but I don't know for sure - I really liked the song they did but apparently George didn't feel it was quite finished yet. MD: Some of the other tracks you're on are "Pieces Fish," "Never Get Over You"-- what a great feel--and "Vatican Blues." Jim: I hope that song doesn't upset a lot of people. George was pretty outspoken about stuff. But he wasn't mean-spirited. MD: On the song "Brainwashed," you could tell he was mad at the music business. Though, even when he's angry and disgusted, he still sounds peaceful. Jim: He was annoyed at a lot of things during the period when he wrote that song. He went through some pretty heavy stuff man. But you're right, he had a calm and soothing way about him that makes it difficult to actually remember ever seeing him truly angry with anybody or anything. MD: How was George's tribute concert? Jim: It was a very emotional night. People told me it was both powerful and intimate. Eric [Clapton] put together the band based upon people who were close to George and who had a history with him over the years. [Besides Keltner and Clapton, the players included Dhani Harrison, Anoushka Shankar [Ravi's daughter], Tom Scott, Jim Horn, Billy Preston, Jeff Lynne, Joe Brown, Chris Stainton, Albert Lee, Marc Mann, Jools Holland, Klaus Voorman, Gary Brooker, Jim Capaldi, Tom Petty (with Steve Ferrone), Sir Paul McCartney, bass player Dave Bronze, percussionist Ray Cooper, and drummer's Henry Spinetti, and Ringo Starr.] MD: How was it playing with Ringo again? Jim: Oh Man! Playing with Ringo is something everyone should have a chance to do. He's so honest. He just grooves, and when it's time for a fill, he fully commits. I would look over at Henry, and we'd be amazed at what he does to the beat--the way he pulls it back. There's just nobody like Ringo. http://www.moderndrummer.com/web_exclusive/900001122/Jim%20Keltner
Voldar: Сканы с газеты Sunday Express с экслюзивным интервью с Джеффом Линном о новой книге TRAVELING WILBURYS и вообще о жизни. В электронном виде интервью можно прочитать в теме Джеффа,а сканы скачать здесь: http://elodiscovery.com/downloads/Jeff-Lynne-Sunday-Express-interview.rar
Goldenday: Не то слово!
Voldar: Ресурс спиннер тоже разместил статью о книге вилбурис,где есть отрывки из интервью с Джеффом. Traveling Wilburys' Jeff Lynne Discusses New Book, Rules Out Reunion For Jeff Lynne, one of the remaining survivors of '80s supergroup the Traveling Wilburys, releasing some of the band's candid photos publicly in the new limited-edition book, the aptly-titled 'The Traveling Wilburys,' was bittersweet. "The main thing is a sense of loss of George [Harrison] and Roy [Orbison]," Lynne, 62, tells Spinner of looking at the photos. "Those were the two great losses to me personally because they were both great friends of mine, as well as being fantastic musicians and singers." The Traveling Wilburys had arguably the best-known rock lineup in pop music history: Tom Petty, Bob Dylan, Electric Light Orchestra's Lynne, Orbison and Harrison. Fans who want one of the hardcover books should be willing to look around or pay at least £225 (around $340 US) for it: there are only 3,000 of them, and each is signed by Lynne. Encased in a cloth box, the 144-page book has numerous colorful photos of the iconic band recording in a Beverly Hills mansion. Folded in are hand-glued note-like schedules, sketches, hand-written lyric sheets, cover artwork and interviews that shed light on the group's artistic process. "What didn't come across in the music was a sense of awe. I see Roy Oribson across the mic, and I go, 'This is really happening,'" Lynne says. "Hopefully it brings out the diversity and the unity [of the band] all at once," Lynne says of the the book. "Everyone comes from such amazing different places and we all ended up as a unit, which was a very unusual thing." Lynne, a producer who worked on Harrison's final album and co-produced Petty's iconic 1989 LP, 'Full Moon Fever,' is credited with coining the group's name with Harrison, which started with the Beatle saying their instruments "will be buried" in the mix. Lynne added the "Traveling." As for a 2010-era Wilburys reunion, don't count on it. "We have never talked about it," Lynne says. "We look at that piece as a nice historic period, and I think it should stay that way. I love the memory of it. I loved doing it. It was some of the most fun I had in life, I would say. I would like to leave it at that and that book about sums it up." Started over lunch at Dylan's house, the group began with a song that unexpectedly became a single, 'Handle With Care.' That blossomed into 1988's hit 'The Traveling Wilburys Vol. 1,' which sold three million copies and won Best Rock Group Performance Grammy in 1989. Orbison's death in December 1988 -- just months after the first album's release -- shook up the lineup, which released the 'The Traveling Wilburys Vol. 3' (the number is intentionally incorrect) in 1990. The book's pictures, which include the band's only two photo shoots, show the Wilburys clowning around and hard at work. "We had a lot of people who enjoyed taking pictures," Lynne recalls. "Even George himself took a lot of footage and photographs, movies as well. There was a lot of coverage but not from an official source. Just whenever it happened, it happened." Lynne credits the new book to Harrison's widow, Olivia, who he describes as "the keeper of all things Wilbury." Lynne wrote the book's foreword, talking about the group's start and recording process: "Sometimes I like to think about those days. It's the most fun you could have without getting in trouble." In the digital download world 2010, when album artwork may not play a factor in a fan's musical experience, the Traveling Wilburys book is an anachronism, heavy on the handmade artistry feel, conjuring up the album experience of older decades. "No computers, all done by hand," the book's opening page reads. Asked about his new preferences, Lynne says he is a fan of the Killers but didn't mention any other artists. He does reveal he's getting music tips from his daughters, Laura and Stephanie, and that never-ending source of new music, iTunes. "Old music is the same as new music -- it's just a different way of delivering it. There is some that I like and some that I don't really know about yet," Lynne says. "If it's an ordinary song, it's still ordinary, however much [paint] you put on it or wrap around it. It's always been the same, really." http://www.spinner.com/2010/03/31/traveling-wilburys-jeff-lynne-new-book-reunion/
Sergey`M: Voldar пишет: Fans who want one of the hardcover books should be willing to look around or pay at least £225 (around $340 US) for it: there are only 3,000 of them, and each is signed by Lynne. Я не понял, Джефф книги сам распространяет, что-ли?
Voldar: Так и есть Сереж,сидит в киоске на углу Сансета и голивудского бульвара,только покупают что то не очень.
Goldenday: Спасибо, Володь! Вот это мне тоже понравилось: Asked about his new preferences, Lynne says he is a fan of the Killers but didn't mention any other artists. He does reveal he's getting music tips from his daughters, Laura and Stephanie, and that never-ending source of new music, iTunes. "Отвечая на вопрос о своих новых предпочтениях, Линн говорит, что он является поклонником Killers, но не делает больше ни одного упоминания о других артистах. Открытия по музыке он совершает благодаря советам его дочерей, Лауры и Стефани, и неиссякаемому источнику новой музыки ITunes."
Voldar: Насчет убийц Джефф конечно удивил,надо его к нам на форум,а не на iTunes.
Goldenday: Почему-то мне кажется, что называя iTunes неиссякаемым источником новой музыки, он лукавит.
Voldar: С новыми вещами там как раз все нормально,может он наоборот не все старые слышал.
Goldenday: Может. Главное, с какой целью он это слушает: на предмет розыска своих клиентов или для удовольствия. Блэкмор вон, отродясь, кроме классической музыки, в нерабочее время ничего не слушает.
Voldar: Все таки он действующий музыкант и должен быть в курсе,куда она эта музыка движется,он сам так и сказал: "Old music is the same as new music -- it's just a different way of delivering it. There is some that I like and some that I don't really know about yet," Lynne says. "If it's an ordinary song, it's still ordinary, however much [paint] you put on it or wrap around it. It's always been the same, really."
Goldenday: Согласен! Но также верно и то, что альбом 'Zoom' в начале 21 века Линн выпустил, основываясь в первую очередь на периоде музыки 70-х годов, за что честь ему и хвала! Слушает по сторонам, смотрит, а гнёт своё.
Goldenday: Джеффу Линну, одному из оставшихся в живых участников супергруппы 80-х Traveling Wilburys, от вида некоторых искренних, душевных фото группы в публикации нового лимитированного издания с подходящим названием 'The Traveling Wilburys, было горько. "Главное - это чувство утраты Джорджа и Роя,"- говорит Спайнеру шестидесятидвухлетний Линн, глядя на фотографии, - "это были для меня две огромные личные потери, потому что оба были моими большими друзьями, а также являлись фантастическим музыкантами и певцами." Traveling Wilburys была, возможно, самой известной рок-группой в истории поп-музыки с подобным составом участников: Том Петти, Боб Дилан, Джефф Линн, Орбисон, Харрисон. Фаны, которые хотят издание в твердом переплете, должны быть готовы смотреть по сторонам или выложить за него по меньшей мере 225 евро (около 340 долларов США). В свет вышло лишь 3000 экземпляров, и каждый из них подписан Линном. Покрытая тканью коробка, 144-страничная книга содержит многочисленные красочные фотографии знаковых записей группы в одном из особняков Беверли-Хиллз. Вложенные во вручную склееные, сделанные под ноты списки, эскизы, рукописные страницы с лирикой, обложки и интервью, которые проливают свет на творческий процесс группы. "То, что не встречал в музыке, было чувство страха. Я вижу Роя через микрофон и говорю себе: "Это происходит наяву", - рассказывает Линн. "Надеюсь, что она выявит разнообразие и единство группы одним махом," - говорит Линн о книге, - "каждый из нас пришёл в группу из таких удивительных разных мест, и все мы оказались, словно единое целое, это было очень необычно". Линн - продюсер, который работал над последним альбомом Харрисона и был сопродюсером знакового альбома Петти 1989 'Full Moon Fever', в полной мере изобрёл название группы с Харрисоном, который заявил как-то в разговоре, что их инструменты "будут похоронены" (слышится часть будущего названия группы:"will be buried" - "Wilburys", прим.пер.) Линн же добавил слово: "Traveling". Что касается восоединения Вилбурис в 2010-м, не рассчитывайте на это. "Мы никогда не говорили о нём", - рассказывает Линн, - "мы смотрим на то время, как на хороший отрезок истории, и думаю, он и должен таким оставаться. Я люблю память о нем. Мне очень нравилось этим заниматься. Я бы сказал, что это был один из самых забавных периодов в моей жизни. Я хотел бы оставить всё как есть, и эта книга подводит всему итог". Во время ланча в доме Дилана, группа начала работу с песни, которая неожиданно стала синглом "Handle With Care". В 1988-м работа превратилась в хит-альбом 'The Traveling Wilburys Vol. 1 ", который была распродан тремя миллионами копий и получил в 1989-м году Грэмми в номинации за лучшее исполнение среди рок-групп. Смерть Орбисона в декабре 1988 года - всего лишь через несколько месяцев после выхода первого альбома - потрясла состав, который выпустил 'The Traveling Wilburys Vol. 3" (число умышленно искажено) в 1990 году. Книжные фотографии включают в себя только две фотосессии группы, которые показывают Вилбурис дурачащимися на всю катушку и усердно работающими. "У нас было полно людей, которым нравилось фотографировать", - вспоминает Линн, - "даже сам Джордж взял себе много фото и видеоматериала. Тогда существовало множество путей распространения, но не из официальных источников. Ну раз так случилось, значит случилось". Заслугу о выходе новой книги Линн приписывает вдове Харрисона Оливии, которую он называет "хранительницей всех вещей Вилбурис". В предисловии к книге Линн рассказывает о начале деятельности группы и процессе записи: "Временами мне нравится думать о тех днях. Было весело, как никогда, и никаких неприятностей". В современном мире цифровых технологий, где всё скачивается, обложка альбома не вызывает сильных ощущений у музыкальных фанов. И книга Traveling Wilburys является анахронизмом, художественно выполненной, сложной ручной работой, воскрешающей в воображении ощущения альбомов прошлых лет. "Никаких компьютеров, все сделано вручную" гласят слова в начале книги. Отвечая на вопрос о своих новых предпочтениях, Линн говорит, что является поклонником Killers, однако не делает больше никаких упоминаний о других музыкантах. Музыкальные находки он совершает благодаря советам своих дочерей - Лауры и Стефани, и неиссякаемому источнику новой музыки ITunes. "Старая музыка ничем не отличается от новой - лишь другой формой подачи материала. Существует такая, что мне нравится, и такая, о которой я даже не подозреваю," - говорит Линн, - "но если песня обыкновенная, она и останется таковой, сколько бы краски вы ни потратили на её обёртку. В жизни всегда было так".
ТНЮ: Как-то странно у них название родилось. 3000 экз. так мало...... До кого-нибудь из нас точно не дойдёт такая. А теперь помечтаем, как если бы кому-нибудь - Наташе, или Володе или Диме, или Паше, Коту, Максу, Игорю Дз. и т.д.) пришла из Штатов бандеролька! Её содержимого касался наш ЛИНН, ставя свою закорюку!!!!!
Voldar: Imagine all the people....
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