Antonio breschi irish meet the blues players

Antonio Breschi - Wikipedia

Antoni O' Breskey official website. Composer, pianist, singer, trumpet player, writer and music educator. Bill Whelan developed Breschi's synthesis of Flamenco, jazz and Irish In fact among the many original titles of his albums we find 'Irish Meet The Blues' (his first solo album), 'When Jazz was an Irish Baby', ' On the. Antonio Breschi, also known as Antóni O'Breskey is a composer, pianist and trumpet player, singer, writer, poet and music educator. Oliver Sweeney, in the Irish music magazine Hot Press, wrote of him: “He is a He also developed a new trumpet sound mixing Irish sean-nós and blues, as Harry Long describes in his music. Guitar Songs · Gordon Quinton. 0 0 0 · Ó Riada · Ó Riada* Le Seán Ó Sé Agus Ceoltóirí Chualann. 0 0 0 · Irish Meet The Blues · Antonio Breschi. 0 0 0.

The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli.

The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy.

The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides.

The name Italia originally applied only to a part of what is now Southern Italy — according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, someyears ago, modern Humans arrived about 40, years ago.

Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni.

Antonio Breschi

Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world 3. Music of Ireland — Irish Music is music that has been created in various genres on the island of Ireland. The indigenous music of the island is termed Irish traditional music and it has remained vibrant through the 20th and into the 21st century, despite globalising cultural forces.

It has occasionally been fused with rock and roll, punk and rock, some of these fusion artists have attained mainstream success, at home and abroad. It is still a vibrant genre with many composers and ensembles writing and performing art music in the classical tradition. On a smaller scale, Ireland has also produced many musicians of note. Early Irish poetry and song has been translated into modern Irish and English by notable Irish poets, song collectors and musicians.

Foillan, who was alive in the century, travelled through much of Britain and France, around at the request of St. Gertrude of Brabant 4. Jazz — Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime.

Since the s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music.

Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms.

As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation.

Cool jazz developed in the end of the s, introducing calmer, smoother sounds and long, modal jazz developed in the late s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late s and early s, combining jazz improvisation with rock rhythms, electric instruments. In the early s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented.

It is believed to be related to jasm, a term dating back to meaning pep. The use of the word in a context was documented as early as in the Chicago Daily Tribune.

Its first documented use in a context in New Orleans was in a November 14, Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over years.

Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements 5.

Blues — Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads.

Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation.

Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves.

Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres.

Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the s and s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal.

As time went on, the phrase lost the reference to devils, by the s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print sincein lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times.

Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody 6. Flamenco — Flamenco, in its strictest sense, is a professionalized art-form based on the various folkloric music traditions of Southern Spain.

The genre originated in the music and dance styles of Andalusia, Flamenco has been influenced by and become associated with the Romani people in Spain, however, unlike Romani music in Eastern Europe, its origin and style is uniquely Andalusian. In recent years, flamenco has become popular all over the world and is taught in many countries, especially the United States. There are many suggestions for the origin of the word flamenco as a musical term, the word was not recorded as a musical and dance term until the late 18th century.

The Spanish word flamenco could have been a derivative of fire or flame, the word flamenco may have come to be used for fiery behaviour, which could have come to be applied to the Gitano players and performers. Palos are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form, there are over 50 different palos, some are sung unaccompanied while others have guitar or other accompaniment.

Some forms are danced while others are not, there are many ways to categories Palos but they traditionally fall into three classes, the most serious is known as cante jondo, while lighter, frivolous forms are called cante chico. Forms that do not fit either category are classed as cante intermedio, Cante jondo has clear traces of Arabic and Spanish folk melodies, as well as vestiges of Byzantine, Christian and Jewish religious music.

Flamenco uses the Flamenco mode, in addition to the major and minor scales used in modern Western music. Guitarists tend to use two basic inversions or chord shapes for the tonic chord, the open 1st inversion E. Montoya also created a new palo as a solo for guitar, later guitarists have further extended the repertoire of tonalities, chord positions and scordatura. In general traditional palos in major and minor mode are limited harmonically to two-chord or three-chord progressions, however modern guitarists have introduced chord substitution, transition chords, and even modulation 7.

Celtic music — Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary considerably to include everything from music to a wide range of hybrids. Celtic music means two things mainly, first, it is the music of the peoples identifying themselves as Celts.

Secondly, it refers to whatever qualities may be unique to the musics of the Celtic Nations, many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic musics have much in common.

These common melodic practices may be used widely across Celtic Music, It is common for the line to move up. There are a number of reasons for this, Melodic variation can be easily introduced.

Melodic variation is used in Celtic music, especially by the pipes. The relatively wider tonal intervals in some songs make it possible for stress accents within the line to be more in keeping with the local Celtic accent.

By more than one Celtic language population belonging to different Celtic groups and these two latter usage patterns may simply be remnants of formerly widespread melodic practices. The definition is complicated by the fact that Irish independence has allowed Ireland to promote Celtic music as a specifically Irish product.

However, these are modern geographical references to a people who share a common Celtic ancestry and consequently, additionally, the musics of ethnically Celtic peoples abroad are vibrant, especially in Canada and the United States.

The traditional music of Atlantic Canada is heavily influenced by the Irish, Scottish, in some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Much of the music of this region is Celtic in nature, in Celtic Music, A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage. Ireland, Scotland, Brittany and Wales have living traditions of language and music, and there has been a recent major revival of interest in Celtic heritage in Cornwall, Galicia has a Celtic language revival movement to revive the Q-Celtic Gallaic language used into Roman times.

Most of the Iberian Peninsula had a similar Celtic language in pre-Roman times, a Brythonic language was used in parts of Galicia and Asturias into early Medieval times brought by Britons fleeing the Anglo-Saxon invasions via Brittany. The Romance language currently spoken in Galicia, Galician is closely related to the Portuguese language used mainly in Brazil, Galician music is claimed to be Celtic 8.

Folk music — Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music.

This process and period is called the revival and reached a zenith in the s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms.

Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes.

Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. The group changed face with Velemir: His Balkanic exploits introduced a very exciting and unusual sound. If I had to express a judgment on these first records I should say that it was an international experience the one we lived in Giulia Lorimer's house.

Irish music was hovering on the outside of a circle and seemed to look for the centre but hesitated, taken up by the fascination of all the different musicians that passed through.

The musical production that can be defined as a more mature phase in our group starts with Dies Irae a record published in ' It is the record that marks our turnover. Not so much for its artistic value as for our effort to develop a language that was truly Irish.

Miriana signed an end of an era for our group. Only Giulia, Pietro and I were left of the original musicians and we were joined by the talented Lorenzo Greppi who had been playing with Veronique Chalot, a Norman folk singer.

He had already played with us in the memorable season in '81, substituting Antonio Breschi. The Cardinale Records, a Florentine publisher distributed by Ricordi, gave us the possibility of making a new record.

We had already made Dies Irae with them.

  • Drew, O’Breskey together again

We worked hard, the four of us, trying to dig deeply into the Celtic language and using the important experience we had lived from '79 to '81 when we called many Irish musicians to Italy to play in concerts organized by the City Hall of Florence and the Flog, a centre for popular traditions.

We also had a very important musical partnership with Chris Hamblin, an English violinist who also played in Miriana. We had a splendid time with these friends and many pleasant evenings and we still keep up our friendship. Speaking about Dies Irae I must mention that the definite characteristic of the group starts here: Beside the dulcimer, Lorenzo introduced the Scottish bagpipe and the bodhran into the group.

Pietro the bouzouki and I the harmonium. All this was to widen the outlook we had on Irish music giving it an original touch that would make Ireland into a dwelling for the soul a spiritual crossroads for European peoples who try to be united into a common musical background while searching for their original roots.

So here we presented the 'dies irae' of the Church transformed into a wild dance by the Breton witches to counteract the demand for sacrifice and mortification, imposed in the 15th century by the existing power. Our musical ability and the many instruments played by the group improved more and more until in '86 we published Pooka, the first concept album that presented a season in an Irish forest from May 1 to November 1.

All the characters were fairies, witches, leprechauns, banshees Above everyone there was Pooka a goat figure with hairy skin and hooves which we interpreted as Pan the Greek god to whom he is very alike.

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On this tradition we went on to invent. Meanwhile I had started to play the Celtic harp and Lorenzo the uilleann-pipes. That record was very well received and our work recognized even in the English magazine Folk Roots that described it as one of the six most interesting records of the year.

When we finished Pooka we were ready for an experiment that somehow closed the cycle for us. We wanted to push the language belonging to tradition to the highest point of expression with our instruments. The Dies Irae, our new publisher gave us the chance to make a record and we took the subject in an Irish middle-age legend in prose and verse. The Frenzy of Suibhne seemed the proper story for us.

A king was obliged by his madness, to fly through Ireland in the shape of a bird pushed on by the curse of a monk.

Drew, O'Breskey together again | Arts & Leisure | Irish Echo

That was our theme, the struggle of two cultures: Two completely different worlds and two different languages. The different languages was what most interested us, we wanted to express the spiritual vision of a Celtic king concerning nature, and compare it with the one of a monk who placed all that was sacred within the walls of a church.

When Ronan the monk cursed the king, he proceeded to reduce nature, and all that was outside, into evil. We felt that our instruments had to show the coming clash and the musical language had to be archaic but nevertheless had to show that our sounds could be modernized and elaborated in such a way that new sounds would be created. One of the most beautiful examples is Labyrinth.

Lorenzo's bag-pipe during a pibroc is accompanied by Pietro's electric guitar with a distorter. The Frenzy of Suibhne has been described by Folk Roots as contemporary art music. It is difficult to place it as it is an effort to give life to a Celtic imaginary world. Our subsequent production, White Goddess is different from the other works in many ways.

Lorenzo Greppi was not with us anymore and this meant a change. Gianni Cunich in the last review has emphasized the fact that each record is different The harmonica substituted the bagpipe somewhat, but also Giulia's fiddle competence improved. Pietro studied the technique of the bodhran and added some other string instruments like the ten string Scottish cittern. Here we represented the 13 months and one day of the lunar year dear to the goddess.

There are 14 tracks and they accompany the year in the seasons' turnover. Dana, the mythical goddess of the Thuata de Danaan reveals to the first bard, Amergin, the lunar calendar. We followed Robert Graves's thesis; he thinks that Dana is really the great Danae, mother of life who was brought by Argo to Ireland by the matriarchal peoples who preceded the Achei. We took special care to single out the Mediterranean origins of the ancient Irish culture, the feminine poetic musical inspiration.

We felt it was her, with her sweet smile and strange glance, the inspiration for those who still follow her fascination. The patriarchal Celts got from her their love of nature that gave birth to their music; it is not casual that their rites were conducted in the open air. The Irish poetic heritage is one of the richest in the world.

Just think of William Butler Yeates, one of our inspirations.