#A Jazz de Mar

[diyeipetea]

Alabaix Big Band (A Jazz de Mar, Porto Colom, Mallorca. 2022-07-03) Por José Luis Luna Rocafort [INSTANTZZ AKA Galería fotográfica AKA Fotoblog de jazz, impro… y algo más]

Alabaix Big Band (A Jazz de Mar, Porto Colom, Mallorca. 2022-07-03) Por José Luis Luna Rocafort [INSTANTZZ AKA Galería fotográfica AKA Fotoblog de jazz, impro… y algo más]

A Jazz de Mar Fecha: Domingo, 03 de Julio de 2022. 22:00h. A Jazz de Mar. Lugar:  Porto Colom. Mallorca. Grupo: Alabaix Big Band Toni Vaquer: dirección, arreglos Pep Garau, Maria Antònia Gili: trompeta, fliscorno Jaume Blàzquez, Gabriel Saitto, Félix Rossy: trompeta Tomeu Garcías, Miquel Amengual: trombones Miquel Gayà: trombón bajo Joan Garcías: bombardino, contrabajo Cristina Miguel, Carles…

[my-rose-tinted-glasses]

My memory is terrible so I wanted to do a breakdown of my stuff every once in a while. Might be monthly, might be whenever I feel like it.

QL - Currently Watching

🇹🇭1000 Years Old [10/12] - This is dragging and I am incredibly bored.

🇹🇭23.5 [4/12] - This show is incredibly cute and I'm smiling through the whole thing. Aylin is my favourite and I'm hoping against hope for the teachers to become a couple. Make it happen gmmtv!

🇹🇭Deep Night [6/8] - The long shots are killing me but the story is moving fast. There's a surprising amount of good communication and the throuple is almost inevitable a this point.

🇰🇷Jazz for Two [6/8] - This is the first bl show where I read the source material before the show and I wish I hadn't. The changes that were made just don't make sense to me, because I don't see how it serves the story. But putting that aside, the story feels rushed and the pacing is weird. The second couple doesn't read believable with this time frame. Anyway I might edit this post when I watch the last 2 episodes. [EDIT] Completed. Final thoughts here. 🇯🇵Love is Better The Second Time Around [4/6] - Why must you do this again Japan? 6 episodes for this one? I'm not happy about this. This show is so good. I love how the mains communicate, not to mention they are beautiful to watch.

🇯🇵My Strawberry Film[7/8] - I have no idea what this show is about nor it seems does it. Do I care at this point? Nope, not really. Let it be over.

🇹🇭To Be Continued [6/8] - This is getting into The Promise territory and I'm not amused. Another one that is dragging and I like the second couple but they barely have any screen time. I'll finish it because there are only two episodes left but I'll be sprinting to the finish line.

🇹🇼Unknown [7/12] - It hurts so good. The songs were killing me this episode. I really liked the separation, I think it was necessary for them. Yuan seems more mature and it will be interesting to see how it changes the relationship.

QL - Finished

🇹🇭Cherry Magic Th – What a wonderful surprise this was. Tay and New are beautiful together and their chemistry was on point. I really liked how the source material was used here.

🇯🇵Cherry Magic Anime – It was quite faithful to the manga with only a couple of deviations and of course it didn't cover everything but I really enjoyed watching yet another version of these characters.

🇹🇭Dead Friend Forever – It was quite a ride. I specially enjoyed the communal watching of this one and all the theories as more people tuned in. Didn't love the ending but it was better than I thought. Still not over White though. 🇯🇵Although I Love You, and You? - Started great, the middle was meh, and by the end I wasn't invested enough in the couple so even though it ended happy, it didn't make up for the rest of it. 🇯🇵Perfect Propose - Great all the way through. I loved this characters a lot and still think it's amazing how well the time was used here. 🇯🇵Ossan's Love Returns - It's Japan at it's finest. Love, food, chaos, found family and cherry blossoms. What more can I ask for? 🇯🇵She Loves to Cook, and She Loves to Eat - My heart grew.🖤

🇹🇼Anti Reset - This is one of the most frustrating shows I've watched in a while. This started off strange and most of the show doesn't seem to know what it wanted to say about the AI part of it. It drove crazy on a weekly basis. But I thought their chemistry was really good and they are just an adorable couple. These 4 VBL series [Stay By My Side, You Are Mine, Vip Only] were a mixed bag for me. I think Stay By My Side is my favourite overall.

🇨🇳The Spirealm - First of all, Ruan Lan Zhu is absolutely gorgeous and his outfits are always perfection. The visuals are really good. This was definitely not a cheap production. The sets for all the doors are incredible. Talking only about the game, I gotta say the second door was my favourite. The bromance toes the line, but I'm not surprised this was taken down. I think if they'd kiss it would be less obvious than some of their scenes. I'm not going to spoil the ending but if you're thinking about watching here's your warning. A bit after the halfway point it gets incredibly sad and the ending is just heart-breaking.

Dropped 🇹🇭A Secretly Love [3/10] 🇹🇭Kiseki Chapter 2 [2/6] Also haven't started Two Worlds because I'm waiting to know if I should bother. I'm experiencing a bit of Thai bl fatigue so we'll see.

Rose Watches OJBL

Takumi-kun 1: And The Spring Breeze Whispers (2007) - The editing is choppy as hell and it gets hard to understand the characters motivations. And the acting is not good. Yeah, not a fan of this one. Udagawachou de Matteteyo (2015) - This one is weird. I recently watched Life as a Girl so I admit that the comparison doesn't help this one at all. The idea is interesting but the execution is poor. There's a couple of scenes that are a bit hard to watch. In this particular story I think if we had a bit more insight to the characters motivations it would've helped me connect and feel more invested. In the end, for my particular goal it was fine I guess.

Other - Watched

🩷Tengu's Kitchen (2023) | Fudanshi Bartender no Tashinami (2022) Formula 17 (2004) | Mars: Zero no Kakumei (2024) | 🩷Joshi-teki Seikatsu (2018)

1 Year of Rose-Tinted Glasses

It's been a year of Rose this month. And it's been kinda great. It took me a while to get over my shyness here and I still feel intimidated but it's gotten better. The people in this space have been really kind to me and I appreciate it so much. Thank you so much for the space.

That's it for right now. As usual my ask box is open for gif requests and any other questions. Happy Easter to all who celebrate.

Have a good week💜

[satinea]

“Un jour je parlerai moins Jusqu'au jour où je ne parlerai plus”, chante Alain Bashung dans Résidents de la République, un titre de son dernier album, Bleu Pétrole.

Le chanteur s'est éteint le 14 mars 2009.

*

Alain Bashung au Nice Jazz Festival, en 2008.

Photo : Guillaume Laurent

*

Vous nous manquez Monsieur ! *

[notasfilosoficas]

"Es difícil encontrar la diferencia entre el mar y el cielo, entre el viajero y el mar. Entre la realidad y lo que quiere el corazón" 

Haruki Murakami

Es un escritor y traductor japonés, autor de novelas, relatos y ensayos, nacido en Kioto en enero de 1949.

Sus libros han generado críticas positivas y ha obtenido numerosos premios. Sus obras han sido traducidas a cincuenta idiomas y su estilo, en algunos casos, ha sido criticado por el establishment literario japonés como no japonesa. Su obra esta influida por el surrealismo y la alineación.

Aunque nació en Kioto, vivió la mayor pate de su juventud en Hyogo. Su padre era hijo de un sacerdote budista y su madre de un comerciante de Osaka. Ambos enseñaban literatura japonesa.

Desde su infancia Murakami estuvo muy influido por la cultura occidental, en particular por la música y la literatura, y creció leyendo numerosas obras de autores estadounidenses como Kurt Vonnegur y Richard Brautigan.

Estudio literatura y teatro griegos en la Universidad Waseda, donde conoció a su esposa. Antes de terminar sus estudios, abrió el bar de jazz “Peter Cat” en el cual trabajó junto con su esposa de 1974 a 1981.

En 1986 con el enorme éxito de su novela “Norwegian Woods”, abandonó Japón para vivir en Europa y en los Estados Unidos, regresando a Japón en 1995. 

La ficción de Murakami, es a menudo tachada de literatura pop, es humorística y sureal, aunque al mismo tiempo refleja la soledad y el ansia en el amor en un modo que conmueve a los lectores tanto orientales como occidentales.

Muchas de la novelas de Murakami tienen títulos referidos a canciones como Dance, dance, dance, Norwegian Woods (de los Beatles) y South of the Border (referencia en una canción de Nat King Cole).

Murakami está considerado como una figura importante en la literatura postmoderna y el diario “The Guardian” lo ha posicionado entre los mayores novelistas de la actualidad.

Murakami es capaz de crear mundos que por muy oníricos que resulten, tienen una lógica aplastante, o que  por lo menos tienen una lógica mientras lo estás leyendo.

Según la revista “Esquire” los libros de Murakami pueden leerse en el siguiente orden: “Tokio Blues”, “Kafka en la Orilla”, “Al sur de la frontera, al oeste del sol”, “Crónica del pájaro que da cuerda al mundo”, “La caza del carnero salvaje” y “Escucha la canción del viento y pinball 1973” esta ultima en realidad son dos novelas. Finalmente “De que hablo cuando hablo de correr” y “El elefante desaparece” una antología de historias cortas emotivas, extravagantes y también románticas.

Ha sido considerado al Premio Nobel de Literatura en diferentes ocasiones sin que hasta el momento haya obtenido algún galardón.

Fuente: Wikipedia y esquire.com

[kdo-three]

Manu Dibango - Soul Makossa (1972) Manu Dibango from: "Hymne de la 8e Coupe d'Afrique des Nations" / "Soul Makossa" (Single) "Soul Makossa" (LP)

African | World Music | Makossa | Jazz Funk

JukeHostUK (left click = play) (320kbps)

Personnel: Manu Dibango: Vocals / Saxophone Manu Rodanet: Electric Guitar Pierre Zogo: Acoustic Guitar Georges Arvanitas: Piano Patrice Galas: Piano Freddy Mars: Percussion Manfred Long: Bass Guitar Joby Jobs: Drums

Arranged by Manu Dibango

"Soul Makossa", the most sampled African track of all time.

Recorded: @ The Decca Studios (AKA Studio Sofrason) in Paris, France 1971

Released: 1972 African Records (France) Fiesta Records (France) Atlantic Records (US) London Records (UK/Canada)

[dustedmagazine]

Amaro Freitas — Y’Y (Psychic Hotline)

Photo by Gelder Tavares

Jazz pianist Amaro Freitas laces his fusion-y jazz with sounds of the rain forest in this expansive outing, infusing fluid reveries of keyboard with tropical rhythm and heat and intimating the sounds of water, birds and insect life. A native of Brazil’s northeastern Pernambuco state, he is as steeped in the music of rain forest peoples like the Sateré Mawé indigenous community as in the jazz canon, and he has strong connections to a global jazz scene, as demonstrated by cameos from Brandee Younger, Jeff Parker and Shabaka Hutchins.  The music slips, sometimes, into soft-focus, new age-y mysticism, but at its best conveys clear-eyed wonder at the heritage human beings are in the process of destroying.

Y’Y proceeds smoothly from one cut to another, so that you are not always sure without looking about exactly where you are in its sequence. Indeed, you could think of it as one long track, flowing majestically downstream like the river that inspired it. Nonetheless, there are scenes with in it, the trebly, altered piano notes that weave through knocks and booms and twitterings in the opening “Mainguari (Encantado da Mata”) one of two cuts dedicated to Amazonian spirits. “Uiara,” the second, sets brief agitated flights of piano against the sound of wood groaning; it sounds like bird song in the midst of rain. The piano becomes more insistent as the cut goes on, hammering and pounding and making staccato chords. It pulses with life, evolving, intertwining, competing life, as abundant as the life in the jungle.

The title track is particularly good at balancing traditional, tribal sounds with the fluencies of jazz. It starts in a stretched out chant, the thump of hand-drums, a metallic clash of tonal percussion. The reedist Shabaka Hutchings plays an airy flute over this, a hoarse whisper of melody over spare percussion. The piano enters, first as a single note played again and again, and then more lavishly, with chords. The piece has an open-ended inquiry to it as the musicians explore connections between jazz and ritual music.

Tortoise guitarist Jeff Parker guests on “Mar de Cirandeiras,” dropping smooth elegiac runs into a groove set by Freitas’ playing. It’s maybe the track that sounds the closest to American jazz, but even here, a tropical heat envelops the sound. And finally, the Chicago harpist Brandee Younger takes a hand in “Glorioso,” in graceful runs and flourishes. You could hardly imagine two instruments less suited to the Amazon than piano and harp, but they flourish here, unencumbered by humidity.

Y’Y has its lovely moments, but it wallows sometimes in woo-woo-y mysticism. It’s a bit soft and cushiony, hard edges sanded down to harmless auras. That’s why “Encantados,” late in the album, is such a kick, rushing ahead on running bass and drums, piano and flute bits flying off as it takes the corners on two wheels.  The Amazon may be full of gorgeous tranquility, but how nice, just this once, to hear it lift up its head and roar.

Jennifer Kelly

[juke-box67]

Discographie France Gall 1963-1964

En octobre 1963 , France Gall sort son premier 45 tour EP avec «  Ne sois pas si bête » (PMD: 7,18€) , qui correspond à l’adaptation par Pierre Delanoë de « Stand a little Closer » des américains Jack Wolf et Maurice « Bugs » Bower. Ce vinyle sera vendu à moins de 50000 exemplaires en France . Il sera 24eme au hits parade en Belgique francophone et 34eme en France.

En 1964, c’est grâce aux paroles et à la musique de Serge Gainsbourg qu’elle chante « N’écoute pas les idoles » (PMD: 5,€) et « Laisse tomber les filles » (PMD: 10,00€). «  N’écoute pas les idoles est vendu à 75000 exemplaires alors que « Laisse tomber les filles » atteint les 100000 exemplaires. Ces deux morceaux approchent la 10ème place des hits parade français et belge.

La même année, elle collabore avec Robert Gall (son père) pour les paroles et Alain Goraguer pour la musique, et sort l’EP : « La cloche/Jazz à gogo » (PMD : 8€). C’est une adaptation française de la chanson «  My boyfriend got a beatle haircut », interprétée la même année par Donna Lynn.

Toujours avec son père pour les paroles mais grâce a la musique de Georges Lifeman, elle chante un tube à l’époque «  Sacré Charlemagne » (PMD: 4,00€). C’est son premier vrai succès avec 300000 exemplaires vendus et une 7eme place au hit-parade belge et une troisième au hit-parade français. L’histoire raconte que son papa aurait écrit cette chanson en repensant au jour où il avait grondé sa fille car elle avait écrit « Vive Charlemagne » dans l’ascenseur de leur immeuble. Cette chanson assortie de quelques erreurs historiques ( la barbe bleue de Charlemagne qui est finalement blanche et l’invention de l’école par Charlemagne qui est né bien après la création de celle-ci) ce qui ne l’a cependant pas empêché d’être la musique générique de plusieurs émissions télévisées telles que : « Le pensionnat de Chavagnes », « le pensionnat de Sarlat », « Retour au pensionnat » ou encore plus récemment « le club Dorothée ».

Toujours en 1964, France Gall sort trois albums :

-« N’écoute pas les idoles » premier 33 tours de 25 cm, paru en Mars 1964, reprenant les chansons de ses deux premiers super 45 tours ( « Ne sois pas si bête » et « N’écoute pas les idoles» ).

-« Mes premières vraies vacances » qui est son premier album studio 30 cm qui reprend les chansons de son premier album 25 cm en y ajoutant les morceaux de son troisième EP : « La cloche ». Cet album, sorti en Août 1964, est réalisé avec la participation d’Alain Goraguer et son orchestre.

- « Sacré Charlemagne, qui est un album 25 cm, reprenant des chansons déjà sortie sur EP ou 45 tours . Elle réalise de nouveau cette album avec l’orchestre d’Alain Goraguer. Les paroliers sont soit son père (Robert Gall), soit Serge Gainsbourg. Maurice Tézé rédige les paroles de « Nounours » et Maurice Vidalin celles de « Christiansen ».

En 1964, France Gall participe à l’album de Serge Gainsbourg dénommé « Gainsbourg percussions » dont le titre est « Pauvre Lola » . France Gall interprète le rire de Lola.

(PMD = Prix Moyen Discogs)

[justforbooks]

The musician Ryuichi Sakamoto, who has died aged 71 of cancer, spent his life as a restless traveller, both personally and musically. “I was born in Japan but I don’t think I’m Japanese,” he said in 1988, two years before he moved to New York. “To be a stranger – I like that attitude. I don’t like nationalities and borders.”

A founder member of Tokyo’s pioneering computer-pop trio Yellow Magic Orchestra, whose work between 1978 and 1984 has proved a lasting influence on hip-hop and electronica, Sakamoto was able to combine his skills as an academically trained musician with an aptitude for electronic music and an ear for countless musical styles. He sustained a lengthy partnership with the British musician David Sylvian after first working with his band Japan on the track Taking Islands in Africa from the album Gentlemen Take Polaroids (1980), following which the duo collaborated on the double A-side Bamboo Houses/Bamboo Music (1982).

In 1983, Sakamoto achieved a peak of commercial visibility by not only writing the soundtrack for Nagisa Oshima’s film Merry Christmas, Mr Lawrence, but also co-starring in it (as Captain Yonoi) with David Bowie. The soundtrack, which won him a Bafta for best film music, contained the Sakamoto/Sylvian composition Forbidden Colours, a vocal version of the film’s main theme, which was a Top 20 hit in Britain.

Soundtrack work became one of the main planks of Sakamoto’s career. He won an Academy Award (along with his fellow composers David Byrne and Cong Su) for his soundtrack to Bernardo Bertolucci’s The Last Emperor (1987), in which he also had an acting role, and worked with the director again on The Sheltering Sky (1990) and Little Buddha (1993).

Sakamoto scored the 1990 film version of The Handmaid’s Tale, Pedro Almodóvar’s Tacones Lejanos (High Heels, 1991), and Brian De Palma’s Snake Eyes (1998) and Femme Fatale (2002). Oliver Stone hired him for the soundtrack to his TV series Wild Palms (1993). Alejandro González Iñárritu used some existing Sakamoto recordings in his 2006 film Babel, then recruited him to write the score for his multiple Oscar-winner The Revenant (2015). For the opening of the 1992 Barcelona Olympics he provided El Mar Mediterrani.

Sakamoto released solo albums regularly between 1978 and 2017, many of them reaching the Top 30 in Japan but not registering on charts elsewhere, as well as six live albums and a string of compilations. However, Sakamoto’s subtle, exploratory music earned him a charismatic reputation that drew international guest stars to his projects.

On B-2 Unit (1980), he collaborated closely with Andy Partridge from XTC, and the electrofunk track Riot in Lagos proved inspirational for the likes of Mantronix and Afrikaa Bambaataa. Thomas Dolby featured on the pulsating Field Work from Illustrated Musical Encyclopedia (1986), the track accompanied by an ingeniously conceived video, while for Neo Geo (1987) Sakamoto enlisted Iggy Pop, Bill Laswell, Bootsy Collins and Sly Dunbar.

Brian Wilson and Robbie Robertson appeared on Beauty (1989), an album that spanned rock, technopop, flamenco and classical Japanese music. Heartbeat (1991), on which Sakamoto tried rap, funk and jazz, and lyrics in French, Japanese and Russian, numbered Youssou N’Dour, Arto Lindsay, Bill Frisell, Sylvian and John Cage among its contributors. In 1993, Sakamoto co-produced Aztec Camera’s album Dreamland.

Born in Tokyo, Ryuichi was the only child of Keiko (nee Shimomura), a hat designer, and Kazuki Sakomoto, a literary editor. While attending the same progressive primary school that once taught Yoko Ono, he was already writing music for the piano with their encouragement.

The American presence in postwar Japan introduced new western influences to the country, and Sakamoto was enraptured by the Beatles and the Rolling Stones. He attended Tokyo’s University of the Arts to study music composition, and felt a strong affinity for the compositions of Claude Debussy, in which he discerned an Asian influence. However, in addition he soaked up the work of contemporary composers such as Cage, Pierre Boulez, Györgi Ligeti and Stockhausen, as well as jazz musicians including John Coltrane and Ornette Coleman.

His early compositions were in an avant-garde vein, while he also performed with free jazz bands and played keyboards with the folk singer Masato Tomobe. He graduated with BA and MA degrees, having studied classical and assorted world and ethnic music, and taken his first steps in electronic music by working with Moog and ARP synthesizers.

He formed Yellow Magic Orchestra in 1978 with Haruomi “Harry” Hosono and Yukihiro Takahashi, whom he had met when they worked together as session musicians. Combining electropop with stylish graphics and costume design, the trio brought wit and warmth to the use of electronics, which contrasted with the studied alienation of European counterparts such as Kraftwerk or Gary Numan.

YMO released eight studio albums during their original lifespan, all of them climbing high in the Japanese charts, and three of them reaching No 1. The group inspired Beatlemania-like hysteria in their homeland. “We were very big, that’s why I hated it,” Sakamoto said. “We were always followed by paparazzi.”

YMO’s albums made little chart impact outside Japan, but their influence was nonetheless widely felt, not least in their innovative use of electronic sequencers, drum machines and sampling. Firecracker, from their 1978 debut album, was itself sampled in Afrika Bambaataa’s Death Mix. In 1980 they had a Top 20 hit in the UK with Computer Game (Theme from the Invaders), which chimed with the craze for the Space Invaders game. Behind the Mask, first conceived for a Seiko wristwatch commercial and then included on their album Solid State Survivor (1979), became a Top 20 UK hit for Eric Clapton; a version by Michael Jackson appeared on the posthumous album Michael (2010).

YMO paused their activities in 1984, though the trio continued to collaborate on each other’s solo work, and they reformed to make the album Technodon (1993). They subsequently reunited several times for recording and live performances, their last shows being for the No Nukes 2012 festival in Chiba, Japan, and the 2012 World Happiness festival in Tokyo.

In his teens in the late 1960s, Sakamoto had been a hippy with leftwing political beliefs – “not 100% Marxist, but kind of” – but he gradually became disillusioned with the failure of political movements to effect significant change. He decided that his music was not the place for social or political messages, observing that “I’ve changed from an avant-garde person to a pop person,” though he would subsequently support causes he felt strongly about.

He campaigned for changes to music copyright law, which he considered outmoded in the internet era, and founded Commmons, a collaborative platform to assist aspiring musicians. He formed a group of musicians called NML (No More Landmines), which featured Brian Eno, Sylvian, Kraftwerk and the other members of YMO, and in 2001 they released the single Zero Landmine.

In 2006 he launched the Stop Rokkasho movement by releasing the track Rokkasho (by a group of musicians dubbed Team 6), in protest at the building of Japan’s Rokkasho nuclear fuel reprocessing plant, and he campaigned to have the Hamaoka nuclear plant shut down to avoid a repeat of the 2011 tsunami disaster at the Fukushima facility. He and Byrne teamed up to record the single Psychedelic Afternoon to aid tsunami survivors.

His solo work continued to explore a huge variety of styles. In 1982 he had ventured into medieval and Renaissance music on the album The End of Asia, a collaboration with the Japanese early music group Danceries. Smoochy (1995) was a detour into easy listening, while Discord (1998) comprised an hour-long orchestral composition.

The album 1996 was a selection of Sakamoto pieces arranged for piano trio featuring the Brazilian cellist Jaques Morelenbaum, and Sakomoto reunited with him and his wife, Paula, a singer, for two albums in celebration of the bossa nova composer Antônio Carlos Jobim, Casa (2001) and A Day in New York (2003). In 1999, his multimedia opera, Life, was performed in Tokyo and Osaka.

Meanwhile, he struck up a fruitful collaboration with Alva Noto (a pseudonym of Carston Nicolai), which resulted in a string of electronica albums including Vrioon (2002) and Insen (2005), culminating in Glass (2018). With the Austrian guitarist and composer Christian Fennesz he recorded Sala Santa Cecilia (2005), Cendre (2007) and Flumina (2011).

In 2014 he was diagnosed with throat cancer, but by the following year was feeling “much much better”. His recovery from illness inspired the creation of his last solo album, Async, hailed as one of 2017’s finest forays into experimental electronica. Its making was documented by Stephen Nomura Schible in the film Coda (2018).

His final album, 12, was recorded during hospital stays in 2021 and 2022, and released in January. In December, he livestreamed a solo piano concert from Tokyo.

Sakamoto was first married to Natsuko, then to the musician Akiko Yano; both marriages ended in divorce. He is survived by his third wife and manager, Norika Sora, and their two children; and a daughter from his first marriage and another daughter from his second.

🔔 Ryuichi Sakamoto, composer, musician and producer, born 17 January 1952; died 28 March 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[diyeipetea]

Cristina Miguel Quartet (A Jazz de Mar, Porto Colom, Mallorca. 2022-07-02) Por José Luis Luna Rocafort [INSTANTZZ AKA Galería fotográfica AKA Fotoblog de jazz, impro… y algo más]

Cristina Miguel Quartet (A Jazz de Mar, Porto Colom, Mallorca. 2022-07-02) Por José Luis Luna Rocafort [INSTANTZZ AKA Galería fotográfica AKA Fotoblog de jazz, impro… y algo más]

A Jazz de Mar Fecha: Sábado, 02 de Julio de 2022. 23:00h. Lugar:  Porto Colom. Mallorca. Grupo: Cristina Miguel Quartet Cristina Miguel: saxo tenor Toni Pastor: piano David Mengual: contrabajo Oriol Roca: batería Invitado: Joan Mas: saxo alto Tomajazz: © José Luis Luna Rocafort, 2022 Más información sobre Cristina Miguel…

[cryptidfagswag]

can i have some bassoon in heavy metal examples please? that sounds amazing and i’ll like to hear it but i’m admittedly too lazy to look for it myself

YES

I’m sorry it took me so long to get to this lmao, I saw it and then promptly forgot about it

(Really hope these links work and take you to the right song- so sorry if they don’t, let me know and I’ll fix it)

ANYTHING by ORBI, my personal favorites are Orion (a Metallica cover), Cthulhu (a F. M. Maier cover, listen to his stuff, it’s SO GOOD), Fight Fire With Fire (also Metallica), Octavarium (a Dream Theater cover- listen to them, they’re prog rock, SO good), and Uprising (Muse, not technically metal but. It’s good)

Rock E Bassoon has some amazing covers, they have amazing covers of Black Dog/Stairway to Heaven by Led Zeppelin, and Enter Sandman by Metallica. Black Dog isn’t quite metal but it’s rock, so. They also have a bunch of more poppy covers, Uptown Funk by Bruno Mars, Toxic by Britney Spears, that sorta stuff.

Henry Cow, again not metal, an avant-prog band from the 70’s. All of their stuff is pretty fun, but their albums from 74-78 have their bassoonist (Lindsay Cooper). My favorite album is probably Unrest (1974), favorite songs from Unrest are Half Asleep: Half Awake and Linguaphonie. In Praise of Learning (1975) is also really good, Beginning: the Long March is my favorite song from there, but Living in the Heart of the Beast is arguably one of their best songs, in terms of experimentation and solidifying Rock in Opposition (RIO) (a festival that later became the name for this genre of music)

Bram van Sambeek, he’s a bassoonist that does a lot of this kind of stuff, he has the usual classical repertoire that most bassoonists do, but he was the bassoonist in ORBI, and he played in Rope Dance, which I’ll go into a LOT of detail about, but he’s a fantastic performer and I feel like he deserves some recognition here

Rope Dance! I fucking love Rope Dance. It’s not metal, but I feel like it wouldn’t be out of place on a metal album. It’s technically avant-jazz, and I guess you could say that but it’s definitely more along the lines of Henry Cow, or RIO. There are a lot of instruments on this album, Joris Roelofs plays clarinet (he also wrote most of the music, if you’re at all interested in clarinet music, he’s probably my top suggestion), Bram van Sambeek is on bassoon (I really like this guy), Bram de Looze on piano (ridiculously talented, though I can’t say I know much about him), Martijn Vink on percussion (an incredible musician. If you like just listening to drums, please please find some of his stuff, it’s incredible), and Clemens van der Feen on double bass, again not someone I know much about but is incredibly talented.

Ok it’s music time lmao! My favorites from Rope Dance are definitely The Master Can’t Dance, Are Your Feet Light Enough, The Three Metamorphoses, If You Gaze Long Into an Abyss, and The Abyss Will Gaze Back Into You

I could talk about Rope dance for so long, the music and the ideas and everything about it, it’s genuinely unlike anything I’ve ever heard of

That’s all I can think of right now, I’ll add more if I think of/find more!

And this is absolutely not metal but please have this bassoon cover of Party Rock Anthem, the little reed crows make my day every time

[dani-xis]

"Nunca te vi como teus olhos me veem

Ao ver teus dedos em volta de mim

Cala o frio, berra o mar

Nós no cio à beira-mar

Desce um fino e beija mais

Bebi na praia o sumo do suco filtrado

Nu Jazz ao tempo nublado, contemplo Nujabes

Foi Norah Jones e Thievery

Não sei se tu sabes, mas ando pensando tanto em ti

Não sei se tu cabes nessa minha cama de vida só

Que pena que tu partes"

Makalister, Exercício de elogio a mulheres que amei

[jpbjazz]

LÉGENDES DU JAZZ

BILLY HIGGINS, ‘’SMILING BILLY’’

“Billy Higgins’s talent will never be duplicated – not that any style can be – but his mark on jazz history is indelible. Billy Higgins represents four decades of total dedication to his chosen form of American music: jazz.”

- Cedar Walton

Né le 11 octobre 1936 à Los Angeles, en Californie, Billy Higgins était issu d’une famille de musiciens. Élevé dans le ghetto afro-américain de Watts, Higgins avait commencé à jouer de la batterie à l’âge de cinq ans sous l’influence d’un de ses amis batteurs. À l’âge de douze ans, Higgins avait travaillé avec des groupes de rhythm & blues, notamment avec des musiciens comme Amos Milburn et Bo Diddley. Au début de sa carrière, Higgins avait également collaboré avec les chanteurs et chanteuses Brook Benton, Jimmy Witherspoon et Sister Rosetta Tharpe.

Surtout influencé par Kenny Clarke, Higgins avait aussi été marqué par Art Tatum et Charlie Parker. En octobre 2001, le chef d’orchestre John Riley du Vanguard Jazz Orchestra avait résumé ainsi les influences d’Higgins: “Billy dug the melodiousness of Max Roach and Philly Joe Jones, Art Blakey’s groove, Elvin Jones’s comping, Ed Blackwell’s groove orchestration, and Roy Haynes’ individualist approach.” Higgins avait hérité de son surnom de ‘’Smiling Billy’’ en raison du plaisir communicatif qu’il avait de jouer de la batterie.

DÉBUTS DE CARRIÈRE

Higgins, qui s’était rapidement intéressé au jazz, avait commencé sa carrière en se produisant avec différents musiciens locaux comme Dexter Gordon, Carl Perkins, Leroy Vinnegar, Slim Gaillard, Teddy Edwards, Joe Castro et Walter Benton. À l’âge de quatorze ans, Higgins avait rencontré le trompettiste Don Cherry. En 1953, le duo était parti en tournée sur la Côte ouest avec les saxophonistes George Newman et James Clay dans le cadre du groupe  The Jazz Messiahs.

En 1957, Higgins s’était joint au quartet de Red Mitchell qui comprenait également la pianiste Lorraine Geller et le saxophoniste ténor James Clay. Higgins avait d’ailleurs fait ses débuts sur disque avec le groupe de Mitchell dans le cadre d’une collaboration avec les disques Contemporary de Lester Koenig. Higgins avait quitté le groupe de Mitchell peu après pour se joindre à la nouvelle formation d’Ornette Coleman, aux côtés de Don Cherry à la trompette, de Walter Norris au piano, et de Don Payne et de Charlie Haden à la contrebasse. Higgins, qui avait commencé à pratiquer avec Coleman en 1955, avait fait partie du groupe du saxophoniste sur une base permanente de 1958 à 1959, participant notamment à l’enregistrement des albums ‘’Something Else’’ (février-mars 1958), ‘’The Shape of Jazz to Come’’ et ‘’Change of the’’ Century’’, tous deux enregistrés en 1959. Higgins avait également participé aux concerts controversés du groupe au club Five Spot de New York en novembre 1959. Commentant la prestation du groupe, le critique Jon Thurber du Los Angeles Times avait qualifié le concert d’un des événements les plus légendaires de l’époque. Thurber avait ajouté: ‘’The event crowded the room with every available jazz musician and aficionado.”

Higgins s’étant vu interdire l’accès des clubs de New York à la suite d’une altercation avec la police,  Higgins s’était joint au quintet de Thelonious Monk. Il était par la suite allé jouer avec le groupe John Coltrane en 1960.

Le 21 décembre 1960, Higgins avait de nouveau retrouvé Coleman dans le cadre de l’enregistrement de l’album controversé ‘’Free Jazz: A Collective Improvisation’’ mettant en vedette le double quartet de Coleman, composé de Coleman au saxophone alto, de Don Cherry à la trompette et au cornet, de Freddie Hubbard à la trompette, d’Eric Dolphy à la flûte, à la clarinette basse et au saxophone soprano, de Scott LaFaro et Charlie Haden à la contrebasse et de Higgins et Ed Blackwell à la batterie.

Devenu un des batteurs les plus en demande du monde du jazz, Higgins avait participé à plusieurs sessions pour les disques Blue Note dans les années 1960, principalement dans des contextes de hard bop. En 1962-63, Higgins s’était joint au groupe de Sonny Rollins avec qui il avait participé à une tournée en France. À la même époque, Higgins s’était également produit avec Donald Byrd, Dexter Gordon, Hank Mobley, Art Farmer, Jimmy Heath, Steve Lacy, Jackie McLean, Herbie Hancock et Lee Morgan.

Le jeu de Higgins à la batterie avait été particulièrement mis en évidence sur des enregistrements comme “Point of Departure’’ d’Andrew Hill, “Takin' Off’’ d’Herbie Hancock (qui comprenait le classique ‘’Watermelon Man’’), “Freedom Jazz Dance” d’Eddie Harris, ‘’Go !’’ de Dexter Gordon et “The Sidewinder’’ de Lee Morgan.

À partir de 1966, Higgins s’était produit régulièrement avec le pianiste Cedar Walton, avec il a enregistré plusieurs albums pour des compagnies de disques européennes jusqu'au milieu des années 1980.

DERNIÈRES ANNÉES

Après s’être fait désintoxiquer en 1971, Higgins avait formé le groupe Brass Company avec le  saxophoniste ténor Claude Bartee et le trompettiste Bill Hardman. Après s’être installé à Los Angeles en 1978, Higgins avait formé avec Walton et le le saxophoniste George Coleman le groupe Eastern Rebellion. À la fin des années 1970, Higgins avait également enregistré comme leader, faisant paraître des albums comme ‘’Soweto’’ (1979), ’’The Soldier’’ (1979) et ‘’Once More’’ (1980).

Dans les années 1980, Higgins avait également collaboré avec Pat Metheny et Slide Hampton. Tout en participant à des tournées internationales avec les Timeless All Stars et à des réunions avec Ornette Coleman et Don Cherry, Higgins avait eu un petit rôle dans le film de Bertrand Tavernier ‘’Round Midnight’’ aux côtés de Dexter Gordon en 1986. Il avait aussi fait partie du trio de Hank Jones. Toujours en 1986, Higgins avait fait partie du Quartet West de Charlie Haden, aux côtés d’Ernie Wax au saxophone et d’Alan Broadbent au piano. Après avoir connu certains problèmes de santé, Higgins avait été éventuellement remplacé par Larance Marable.

Très impliqué socialement, Higgins avait co-fondé en 1989 avec le poète Kamau Daáood le World Stage, un centre communautaire et culturel qui avait pour but de favoriser le développement de la musique, de la littérature et de l’art afro-américain. Le groupe, qui soutenait également la carrière de jeunes musiciens de jazz, organisait régulièrement des ateliers, des enregisrements et des concerts dans le quartier de Leimert Park à Los Angeles. Tous les lundis soirs, Higgins donnait des cours de batterie aux membres de la communauté. Higgins, qui s’intéressait particulièrement aux enfants, avait déclaré au cours d’une entrevue accordée au magazine LA Weekly en 1999:

"They should bus children in here so they can see all this, so they could be a part of it. Because the stuff that they feed kids now, they'll have a bunch of idiots in the next millennium as far as art and culture is concerned. I play at schools all the time, and I ask, 'Do you know who Art Tatum was?' 'Well, I guess not.' Some of them don't know who John Coltrane was, or Charlie Parker. It's our fault. Those who know never told them. They know who Elvis Presley was, and Tupac, or Scooby-Dooby Scoop Dogg--whatever. Anybody can emulate them, because it's easy, it has nothing to do with individualism. There's so much beautiful music in the world, and kids are getting robbed.’’

Également professeur, Higgins avait enseigné à la faculté de jazz de l’Université de Californie à Los Angeles (UCLA). Il avait aussi été très impliqué dans plusieurs activités en faveur de la conservation et de la promotion du jazz.

Toujours très en demande dans les sessions d’enregistrement, Higgins s’était produit sur une base régulière avec le saxophoniste Charles Lloyd de 1999 à 2001. Il dirigeait aussi ses propres groupes.

Atteint d’une maladie des reins, Higgins avait dû mettre sa carrière sur pause dans les années 1990, mais il avait repris sa carrière après avoir subi avec succès une greffe du foie en mars 1996, se produisant notamment avec Ornette Coleman, Charles Lloyd et Harold Land.

Billy Higgins est mort le 4 mai 2001 au Daniel Freeman Hospital d’Inglewoood, en Californie, des suites d’un cancer du foie. Il était âgé de soixante-quatre ans. Ont survécu à Higgins ses fils Ronald, William Jr., David et Benjamin, ses filles Ricky et Heidi, son frère Ronald, son gendre Joseph (Jody) Walker, son neveu Billy Thetford et sa fiancée Glo Harris. À l’époque, Higgins avait divorcé de sa première épouse Mauricina Altier Higgins.

Peu avant sa mort, Higgins avait joué le rôle d’un batteur de jazz dans le film ‘’Southlander’’ de Steve Hanft et Ross Harris.

Au moment de son décès, Higgins venait d’être hospitalisé pour une pneumonie et attendait une seconde greffe du foie. Dans son dernier numéro publié avant la mort de Higgins, la revue française Jazz Magazine avait lancé une campagne de souscription en faveur de Higgins, le batteur n’ayant pas des revenus suffisants pour couvrir ses frais médicaux. Deux ans avant sa mort, le saxophoniste Charles Lloyd avait témoigné de la santé fragile de Higgins en déclarant: ’’Billy Higgins a une santé précaire, et cette fragilité physique confère à son jeu une délicatesse unique. Jouer avec lui, c'est un peu comme jouer à la maison. Il y a une telle conjonction entre nous. Un seul regard suffit et le disque est enregistré.’’ Comparant Higgins à un maître zen, Lloyd avait ajouté: “everybody who plays with him gets that ecstatic high.” Rendant hommage à Higgins après sa mort, son collaborateur de longue date, le pianiste Cedar Walton, avait ajouté: “Billy Higgins’s talent will never be duplicated – not that any style can be – but his mark on jazz history is indelible. Billy Higgins represents four decades of total dedication to his chosen form of American music: jazz.”

Higgins avait livré sa dernière performance le 22 janvier 2001 dans le cadre d’un concert présenté au club Bones and Blues de Los Angeles. Le concert, qui mettait également en vedette les saxophonistes Charles Lloyd et Harold Land, avait pour but de soutenir la lutte d’Higgins contre le cancer du foie.

Reconnu pour son swing léger mais actif, son jeu subtil et raffiné et sa façon mélodique de jouer de la batterie, Billy Higgins avait collaboré avec les plus grands noms du jazz au cours de sa carrière, de Ornette Coleman à Don Cherry, en passant par Sonny Rollins, Cedar Walton, Herbie Hancock, Abudullah Ibrahim, Bheki Mseleku, Roy Hargrove, Pat Metheny, Charles Lloyd, Donald Byrd, Freddie Hubbard, Eric Dolphy, John Scofield, Thelonious Monk, Scott LaFaro, Cecil Taylor, Charlie Haden, Hank Jones, Dexter Gordon, Hank Mobley, Grant Green, Joe Henderson, Art Farmer, Sam Jones, Dave Williams, Bob Berg, Monty Waters, Clifford Jordan, Ira Sullivan, Sun Ra, Milt Jackson, Jimmy Heath, Joshua Redman, John Coltrane, Eddie Harris, Steve Lacy, David Murray, Art Pepper, Mal Waldron, Jackie McLean et Lee Morgan. Higgins avait également collaboré avec le compositeur La Monte Young.

Higgins a participé à plus de 700 enregistrements au cours de sa carrière, ce qui en faisait un des batteurs les plus enregistrés de l’histoire du jazz. Qualifiant le jeu de Higgins, le critique Ted Panken du magazine Down Beat avait commenté: "To witness him--smiling broadly, eyes aglimmer, dancing with the drum set, navigating the flow with perfect touch, finding the apropos tone for every beat--was a majestic, seductive experience." De son côté, le chef d’orchestre Larry Riley avait précisé: “Billy was a facilitator, not a dominator. He would enhance the direction the music ‘wanted’ to go in rather than impose his own will on the composition. You can hear that Billy was a master at creating a good feeling in the rhythm section. Dynamically, he used the entire spectrum— but with great restraint. His comping and overall flow were very precise but very legato.”

Higgins, qui avait surtout appris son métier en utilisant une approche d’essais-erreurs, avait résumé ainsi sa méthode d’apprentissage:

“That’s where you learn. You learn to be in context with the music and interpret. You make your mistakes and you learn. Most of the drummers that are working are people who know how to make the other instruments get their sound. Kenny Clarke was a master at that. It sounds like he was doing very little, and he was, but what he implied made all the instruments get their sound. Philly Joe, Elvin—as strong as they played, they still bring out the essence of what the other musicians are playing. Roy Haynes, Max, Art Blakey—none of them played the same. You try to add your part, but the idea is to be part of the music and make it one. That’s the whole concept for me.” 

Décrivant la contribution d’Higgins à l’histoire du jazz, le contrebassiste Ron Carter avait ajouté: “Billy Higgins was the drummer of the 20th century who put the music back into the drums. He was fabulous. He always played the form, and he was aware not only of the soloists, but also of his rhythm section mates.” Saluant le professionnalisme et la grande préparation d’Higgins, Carter avait précisé: “He was always on time, with his equipment ready, and he contributed to the general outlook of the group no matter where [we were] or how many people were involved. He made the music feel good.” De son côté, le pianiste Cedar Walton avait commenté: “His style is well-documented, but to see Billy in person at his drums was the ultimate jazz experience.”

Billy Higgins avait été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 1997. En 1988, Higgins avait également remporté un prix Grammy conjointement avec Ron Carter, Herbie Hancock et Wayne Shorter pour la composition “Call Sheet Blues” tirée de la bande sonore du film ‘’Round Midnight.’’ Par la suite, Higgins avait fait partie du Round Midnight Band avec le saxophoniste Dexter Gordon.

Le saxophoniste Charles Lloyd avait rendu un des meilleurs hommages qu’on pouvait rendre à Higgins lorsqu’il avait déclaré: "Jazz is the music of wonder and, and he's the personification of it.’’ Higgins s’était toujours considéré comme un peu privilégié d’avoir pu faire une carrière musicale. Comme il l’avait mentionné peu de temps avant sa mort: "I feel blessed to play music, and it's also an honor to play music. You've got a lot of people's feeling in your hands."

[tecontos]

Realizei ! (14 -12 - 2022)

By. Cris

Me chamo Cris, tenho 24 anos. Em 14/12 eu realizei umas das minhas fantasias, eu estava dando o cu. Essa era a realidade. Desde que comecei a pensar em sexo, minha mente sempre ia além. Sempre ia para outras realidades, outras possibilidades. 

Eu nunca tinha confiado em ninguém para fazer isso. 

Todo mundo me falava que sexo anal doía. Que era dolorido, que machucava, que era algo para se envergonhar. 

Nas rodas de conversas entre amigas, nas noites escuras dos barzinhos da Augusta, eu lembro de todas rindo quando algumas de nós mencionávamos em cu. "Que coisa nojenta", "O buraco é outro", "Ninguém merece". 

Eu bebericava minha cerveja, calada. O aro grosso do meu óculos protegendo minha verdadeira identidade. 

Possibilidades mais picantes. Possibilidades diferentes para uma mulher heterossexual que cresceu estudando em um colégio católico.

E eu sabia que seria julgada. E sabia que não era qualquer cara que iria fazer o que eu queria, como eu queria, sem ser uma péssima experiência. 

No meu último relacionamento longo, caí no erro de falar para o cara que tinha esse sonho. Pronto. Ele só falava disso, só fixava na porra do cu. Perdeu todo o encanto.

Mas, naquela quarta-feira pós expediente, me arrumando para o terceiro (ou quarto) date com o Tom, eu sabia que ele seria o cara perfeito para isso. Na primeira vez que transamos, ele perguntava tudo. Se estava gostoso, se estava doendo, se eu gostava de um jeito ou do outro. Ele não parou até eu gozar. E o melhor: ele era exatamente o meu tipo. 

Moreno, alto, barbudo. Os cabelos longos e lisos, negros e grossos. Com cara de cresceu em uma excelente família, mas no fundo, cheio de desejos reprimidos que não tinha muito como (e onde) realizar. 

Meu número!. 

Marcamos de sair naquela tarde, naquele restaurante charmoso italiano no Mooca. Eu não tinha avisado nada, mas eu sabia que ele iria topar. Tinha comprado 3 tubos de lubrificante e estava levando meu bullet na bolsa.

Exagerada? Talvez.

Mas sempre precavida. 

Ele apareceu com aquele olhar manso que me tomava conta toda vez que nos víamos. Por trás daqueles olhos castanhos tinha uma força e intensidade que era reservada para quatro paredes. 

Pedimos um vinho. Ele escutava o que eu falava atentamente, pescando cada informação sobre mim. Analisando, arquivando cada dado, cada gesto. Ele era um cara que realmente escutava. 

E que realmente sabia das coisas. De Lacan até inteligência artificial, ele devorava conversas como devorava livros. E era com essa mesma intensidade que eu sabia que eu podia contar com ele para realizar meu sonho. 

Em determinado momento, começamos a falar sobre coisas sempre queríamos realizar na vida. 

- Eu queria muito ir nas Maldivas. Aquela coisa bem casal de instagram batido: mergulhar no mar azul, pisar na areia transparente. Pacotão de turista de padrão com um copo de gin na mão e um calção de abacaxi no corpo.

- Quem diria. 

- Pois é. Quem me viu, quem me vê. Qual é o seu?

- Diversificados. Voltar para Londres e morar para sempre por lá. Ter minha própria livraria. Ou um café. Sexo anal. 

Ele deu uma risada. Vi seu olhar mudar entre o divertido e o travesso, com um toque a mais. Aquela intensidade que estava reservada para quatro paredes. 

- Esse último é mais viável de realizar. 

- Sim. Mas só com alguém confio. 

- Na hora que for pra ser, você vai sentir. 

Ele sorriu para mim e não pressionou o assunto. Ali, tive minha confirmação que seria com ele mesmo.

Naquela noite. 

Fomos do restaurante para o meu AP, aqui eu liguei o toca discos da sala (sim! Tenho um toca disco pois amo o som deles). O jazz suave saia do vinil, e ele estava sentando no sofá fazendo carinho no Carlinhos, meu gato. Aproveitei o silêncio para dar a mão para ele e o guiar silenciosamente até o quarto. 

Ele deu um daqueles sorrisos que me arrepia dos pés a cabeça. Nos atiramos com força um para o outro, nossas línguas entrelaçadas, naquele ritmo intenso que sempre - desde a primeira vez - nos tocávamos. 

Ele entendia qual era minha linguagem. 

Naqueles momentos, eu sentia que naquele instante, éramos feitos um para o outro. Se existiu algum mito de alma gêmea, metades da laranja, foram por químicas semelhantes a nossa. 

Naquela combustão de corpos, nos vimos pelados, transando, em um piscar de olhos. Eu não sei se eu sentei em cima do seu pau ou ele veio por cima de mim: apenas encaixamos e transávamos sob a luz baixa do abajur.

O dedo dele no meu clitóris.

Meus dentes no seu pescoço.

A sua mão batendo na minha bunda. 

Eu queria ali. Ali, naquele momento, naquele instante. 

- Come meu cu. 

Ele riu. Me tirou da posição de quatro e me girou, meu torso contra o dele. Sussurrou no meu ouvido:

- Tem certeza? 

- Absoluta. Agora. 

Eu estendi minha mão e puxei da gaveta, desengonçada, mais um tubo de lubrificante.

Ele me deitou de lado. Com as nádegas contra o corpo dele, em uma perfeita conchinha. Senti o geladinho do lubrificante no meu ânus. Ele me comia devagar, sem pressa, enquanto circulava meu clitóris. Eu tentava não gozar ali, na hora. 

Prendia todo meu assoalho pélvico, segurando o gozo, segurando o prazer.

- Relaxa. Temos todo o tempo. Goza, eu sei que você tá chegando lá. 

Soltei o gemido que estava segurando. Gozei, e senti todos os meus músculos relaxando, o quentinho invadindo dentro de mim. 

Nesse mesmo momento, senti um dedo, bem lubrificado, dentro do meu ânus. Devagar, abrindo caminho. Depois outro. A excitação foi voltando, mais forte, mais lenta, abrindo caminho para algo novo. 

A mão no clitóris voltou de novo. Ele me dedilhava por completo, na frente e atrás, me preenchendo, prometendo algo novo. Algo maior, algo grande. 

- Caralho... Me come logo...

- O quanto você quer?

Senti ele mordiscando minha orelha, sua ereção contra minhas nádegas, enquanto seus dedos se ocupavam de me preencher. 

- Come meu cu, Tom. Agora, porra. 

Ele riu. Senti a cabeça do seu pau entrando devagar. Algo grande, diferente, que nunca tinha sentido antes.

- Me avisa de tudo. Se doer, se quiser parar, se quiser parar. Estou aqui. 

Eu assenti com a cabeça. 

Não era exatamente uma dor. Era como algo estranho, algo diferente, algo grande. Algo me alargando. E eu estava subindo pelas paredes de tesão. 

Queria que ele me preenchesse. Só isso. 

Logo senti todo seu pau dentro de mim. Ele imóvel, parado. 

- Tá tudo bem? Doendo?

- Continua...

Ele foi devagarinho. Aos poucos, me preenchendo, me envolvendo. A sua mão sempre na minha frente, circulando meu clitóris. 

 E o crescente começou. De pensar que era ele, dentro do meu cu, me arrombando, desbravando um caminho não conhecido, sentia que queria gritar. Explodir em 10, em uma supernova. 

Ser preenchida por todos os buracos. 

Gozei novamente, estremecendo meu cu no seu pau. Ele não aguentou e bateu na minha bunda, gozando dentro. 

Desencaixamos. Senti aquela sensação deliciosa de ter sido usada. Preenchida. 

Mas em outro lugar. 

Eu beijei seus lábios e olhei para seus olhos curiosos, apreensivos. Mas satisfeitos. 

- Obrigada. 

- Volte sempre. 

Rimos, abraçados. O alvorecer se aproximando 

Que noite maravilhosa, sensações novas e deliciosas para um final de ano, que se repetirá mais e mais e mais vezes !

Enviado ao Te Contos por Cris

[freddieraimbow74]

Freddie lors d'un des trois concerts survoltés au Pavillon de Paris, en fevrier-mars 1979, lors du "Jazz Tour".

🎼❤️❤️🌸🌺🍀

[xolilith]

Marchesi 1824 - Jung Jaehyun

n/a: essa é a continuação - pequena :p - de honeymoon!

Boa leitura!

•

Depois de tê-lo convecido a ir turistar pelas ruas da Itália, você não pôde resistir àquele banho proposto. 

O cheiro aprazível de pêssego preenchia seu olfato, a espuma com uma coloração singular coral cobria seus busto e a água morna envolvia sua pele e músculos como um relaxante. Suspira baixinho, voltando a atenção aos olhos de Jaehyun presos nos seus. 

Sentado do lado oposto da cerâmica, ele tem o cabelo acinzentado molhado que cai pela testa alva, o torso fora da água cintila à meia luz das velas aromáticas e te faz se perguntar como ele poderia ficar ainda mais bonito daquela forma. Às vezes achava que todo aquele amor estava comendo seus neurônios porque sempre se tornava uma boba encantada com o Jeong. Era inacreditável. 

Engole o excesso de saliva e volta a como ele a chamou antes de saírem do hotel. Não era a primeira vez, mas sempre aquecia por dentro quando dito por ele. 

– Sabe, eu gosto quando me chama de senhora Jeong. – Você confessa, desvia o olhar para a espuma de sabão, um pouco retraída, brinca com a textura molhada e macia. 

Jaehyun sorri docemente com as covinhas. Observa seu rosto atencioso, a voz aveludada pronúncia baixo e arrastado: – Minha senhora Jeong. 

Você deita mais o corpo sobre a água, uma parte do queixo submerge. Olha provocativa para ele, os cantos de lábios repuxam num sorriso satisfeito. Seu pé esgueira-se pelo peito do Jung, ele agarra-o entre os dedos, massageia. 

– Vem aqui... – Chama, rouco. 

A excitação em ambos é quase palpável demais. Nem a água a uma temperatura mais amena consegue aplacar a febre vertiginosa que sobe pelo seu corpo e deságua entre suas pernas. E você vai, hipnotizada pelo olhar de Jaehyun. 

Encaixa-se sobre o quadril, bem em cima do membro bem acordado. Jaehyun segura sua cintura e suas mãos pousam sobre o peitoral esguio, sobem ao pescoço vultoso. É difícil prender o sonzinho manhoso e satisfeito que desgarra da sua garganta quando toca a pele igualmente febril, porém mais firme. Não evita inclinar-se para prender os lábios dele com os seus, beija-o preguiçosamente. 

Jaehyun, então, desce um pouquinho, morde suavemente seu pescoço, sobe os lábios úmidos por sua mandíbula, alcança os lábios outra vez envolvendo-a num ósculo mais intenso e urgente. Suspira baixinho quando ele mordisca seu lábio inferior. 

Beijar Jaehyun era sempre tão bom, seja os que eram rápidos e bagunçados ou os de momentos como esse que conseguiam te deixar ainda mais sem fôlego e derretida. A boca do Jeong tem ainda os resquícios do vinho, do gosto agradável e caro de chocolate da Marchesi 1824 e do Jazz de algumas horas antes. 

A sensação vertiginosa soma-se à fome latente entre suas pernas. Seu quadril instintivamente movimenta-se desejoso. O clitóris roça sobre o pau abaixo de você. Desgruda a boca da dele, ofegante. 

– Amor... Jae... 

– Quer dentro de você, hm? – Indaga compassivo, ganha um assentir.

Ele te ajuda a erguer o quadril, alinha-se na sua entrada, dilata a fenda na grossura, os centímetros ganham espaço vagarosamente. A ponta do membro alcança fundo, a buceta pulsa sensível envolta, cheia até a borda. Aperta os olhos firmemente e acredita que poderia chegar ao ápice apenas com aquilo. Não evita rebolar suavemente, quase babando. 

– Tava toda brava com seu jaezinho mais cedo, hm?? – Ele diz zombeteiro. Uma das mãos sobe até o cabelo da sua nuca, puxam devagar. – Cadê sua marra agora, senhora Jeong? 

Você até poderia rebater arisca, mas o mar de prazer que aponta te deixa com o raciocínio lento. Está concentrada no deslizar firme dentro de você, que acaricia as paredes sensíveis e te torna ainda mais molhada que a água que está submersa. Ergue os quadris, pra cima e pra baixo. Desliza sobre o pau como se fosse dependesse daquilo para respirar corretamente. 

Os seios redondinhos captam a atenção de Jaehyun que não perde tempo em mordiscar o biquinho de um deles, envolver com a língua faminta. Depois reveza atenção com o outro. Suas mãos emaranham-se no cabelo sedoso, os quadris trabalham com mais intensidade, lascivos ao extremo. 

O prazer irradia pelos seus músculos da sua coxa, e o nó no seu estômago parece mais apertado. Espreme os dedos nos fios dele, choramingando manhosa quando goza. Jaehyun vem logo após, joga o quadril pra cima com firmeza, a água fica revolta pela agressividade. Até que te enche da gala quente gemendo rouco.

Encosta o rosto sobre o ombro forte, ambos arfantes e saciados, e você não pode deixar de brincar: – Tá vendo? Eu sou uma mulher de palavra. 

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