Sooty Dozen Cheek Confederate - Entombment For A Alternative Other TQMP

  • 12.06.2016, 19:40,
  • Music

The Obscene Dozen Impudence Gang is a New Orleans, Louisiana, impudence gang. The collection was established in 1977 by Benny Jones together with members of the Tornado Impudence Gang. The Obscene Dozen revolutionized the New Orleans impudence gang smartness by incorporating funk and bebop into the ancestral New Orleans smartness.

Sticker: Rykodisc, 2004


1 Just a Closer Waddle With Thee 5:30

2 I Shall Not Be Moved 4:58

3 Please Let Me Reside a Little Longer 3:06

4 What a Comrade We Have in Jesus 3:44

5 Jesus on the Mainline 5:18

6 John the Revelator 4:39

7 I'll Fly Away 3:39

8 Is There Anybody Here That Loves My Jesus? 3:06

9 Down by the Riverside 5:06

10 Extraordinary Kindliness 1:05

Obscene Dozen Impudence Gang:

David Hidalgo — Accordion

Kirk Joseph — Sousaphone

Roger Lewis — Baritone Saxophone

Efrem Borough — Trumpet, Flugelhorn

Julius McKee — Sousaphone

Gregory Michael Davis II — Trumpet

Terence Higgins — Drums

Sammie Williams — Trombone

Davell Singers Crawford — Vocals

On their tenth album, the Demi-Lune City«s Obscene Dozen Impudence Gang achieve it all ago to the cobblestone streets where it began. The Dozens have done it all, from upright New Orleans jazz to rehabilitation funky experimentation, and here they put it all down to the roots of its dawning. Inhumation for a Comrade is just that, a accomplished reenactment of a New Orleans inhumation or «homecoming.» The Dozens played them at the start and take up to. The set is dedicated to the respect of founding colleague Anthony «Tuba Fats» Lacen, who passed away just a few weeks after its finishing-off. The gang performed it in the streets important the horse-pinched postage cortege. Comprised entirely of certainty and psychical songs, it follows the course of a departed one»s entity from delivery to celebrations of her or his rune to cessation and resurrection in the afterlife. The first of the three stages begins with a crawling, sad dirge that emerges as «Just a Closer Waddle With Thee,» as the convention begins at the courthouse and becomes a raucous allegation in «I Shall Not Be Moved,» where the come apart begins to divulge way to the inkling of mastery, that the departed has sporadic out of order the subjection of this life«s community household. The music begins to swell and whirl and gains in stridency and sensation until it actually erupts about five tracks in with «Jesus on the Mainline,» with the gang accompanied by the Davell Crawford Singers. The keep an eye on-blowing aspect is the sound; though this was recorded in a studio, the listener feels like she»s in the midriff of a herd of marchers, surrounded by the gang and the choir. The second acting begins with a astonishing delineation of «John the Revelator» that simulates being played at the gravesite and offers this bluesy inspired review on the entr of the departed into a new law prophesied. It is resolved in «I'll Fly Away,» with Refrain Palmer important the choir in a loud allegation of death«s overthrow. This is followed by an altar telephone in «Is There Anybody Here That Loves My Jesus?» The decisive acting -- leaving the cemetery for household -- is commenced by the funky review of «Down by the Riverside,» and is resolved in the celebratory appreciation for quarter in «Amazing Kindliness.» But this magazine does nothing, truly, to draw the peekaboo power of the transference of sensation that Inhumation for a Comrade does. This is surely the most profound, impartially rendered, and stunningly captured instant of the DDBB»s recording career; it belongs in every household where the commemoration of entity and its modification from the misery of cessation to the immutable afterlife is honored. It is not only a venerable in the brand, but will come to be regarded as a jazz venerable, period.

— Thom Jurek, All Music Counsel -

Since 1977, the Obscene Dozen has extended the New Orleans impudence gang unwritten law, adding a funk time portion and recording with alt-rockers from Elvis Costello to Sensible Mouse. But the gang has rich roots, and they«ve never been more evident than on Inhumation for a Comrade, a dispatch that goes to the very quintessence of jazz and New Orleans melodious entity. Dedicated to one of the band»s founders, the modern Anthony «Tuba Fats» Lacen, it«s a jazz inhumation with hymns played at solemn dirge beat en convey to the cemetery, then pressed to festive up-beat counterpoint on the render. The music here pulses with entity--and with afterlife too--as the raw R&B put the squeeze on someone of drift saxophonist Kevin Harris and baritone saxophonist Roger Lewis energizes ancestral tunes like «Just a Closer Waddle with Thee» and Dull-Witted Willie Johnson»s «John the Revelator.» On «I Shall Not Be Moved» and «Jesus on the Mainline,» the gang pushes bodily to hypnotic, tight, incantatory jams. Inhumation for a Comrade is a recapitulation of the Obscene Dozen's greatest strengths, a historic CD filled with joy and misery and natural temperamental power. — Stuart Broomer -

Obscene Dozen Impudence Gang:

New Orleans music ushered in the 20th century with the wail of a in the seventh heaven blast: collective improvisation, syncopated rhythms, eclectic stylings, and an contagious joie de vivre that was happy. Indeed, thanks to New Orleans musicians such as Sovereign Oliver, Jellyroll Morton, and above all, Louis Armstrong, the 1920s became known as the “jazz age.” Just like initial jazz was an compound of the music of its era, The Obscene Dozen Impudence Band«s melodious coup d» was actually a reintroduction of the prime eclecticism that made jazz the most forceful music of the 20th century. Founded in April of 1977, the display of the Obscene Dozen created a melodious coup d« in New Orleans. For over seventy-five years, the impudence gang unwritten law existed by unchanged until this ahead looking, bebop influenced collection absolutely changed both the smartness and the repertoire of impudence gang music. As trumpeter and bandleader Gregory Davis points out, “The concept of the Obscene Dozen is to de-emphasize delay and policy test with all types of music. We will take a long explanation — and not responsibility about if it is a jazz long explanation or any particular variety of long explanation — we»ll just take a long explanation and see what we can do with it as The Obscene Dozen.” For over three decades the Obscene Dozen has been touring the delighted. They«ve played all the paramount festivals — Newport, New York, New Orleans Jazzfest, Rou, Montreaux — and they have played one-nighters in no name venues in everyday towns you need a particular map to determine. If they didn»t lady-love the music, they couldn«t keep up the compute, but, as their signature long explanation exclaims, they on. Davis believes, “being a New Orleans gang has marquee value. The other side of that think is that people think you to do a humane job. The audience expects something dearest. So our invitation is, every end of day, to cook up d be reconciled sure that you are not only playing some humane music, you have to also put on a humane show.” In a delighted of war, insolvency, ecological disasters, dissent and antagonism in the venereal quintessence of companionship, Marvin Gaye achieve about himself looking to the heavens in 1971 and asking the profound suspicions about “What’s Going On?” And with that Gaye created the unequipped chef-d»oeuvre of his astounding m, an album addressing these questions of an doubtful delighted. In 2006, with the same questions looming even larger, the Obscene Dozen Impudence Gang borrowed on Gaye’s spirit to fashion a crowning attainment in their own m, which spans more than three decades of alteration and administration in New Orleans music and beyond. Mixing vibrant important pieces with simmering, bitter vocal numbers the Obscene Dozen has translated the songs from “What’s Going On,” into its own music argot. The new recordings are infused with the compelling feelings resulting from the band’s own experiences with Cyclone Katrina, the following massy flooding and the devastation of their homes and communities. The August 29, 2006 unloosing of “What’s Going On” remarkable the one-year anniversary of Katrina’s devastation of New Orleans. “Katrina exposed a lot of issues and venereal irregularities that shouldn’t be tolerated in the companionship we persevere in, but appear in our own backyards,” says Towns. “New Orleans will be prevalent, but as far as the venereal gorge, it’s what’s been going on. Gee, it takes a misadventure like Katrina to divulge the whole aspect.” Here we are in Sept. of 2007, and there is still much to be done in the growing Reconstruction of New Orleans. These feelings and more are what cook up d be reconciled this elucidation of “What’s Going On” the Obscene Dozen Impudence Band’s very own.

Brought to you by TQMP. (The Trait Music Layout)

In this layout we, comrade pirates pay out only trait items out of our CD collections in lossless FLAC and embrace covers, especially for those who like to set on fire and copy and put it in a hairy and polished jewelcase. Well, you all know the train :)

Ripped by Compel Audio Transcribe V0.99 from 01-23-2008, encoded to FLAC with 1024kb/s

Get Your Unchain Transcribe of the EAC and FLAC following at:

Please ambience unchain to team up with the TQMP layout!

The «rules» are unpretentious: Rip your CD (no 1980's cassettetapes or vinylrips please!) in lossless plan AND embrace artwork. Embrace cue- and logfiles for the purists and the TQMP searchtag in your title-deed, so it can surely be achieve about. (Yes, on Google as well..)

You can determine all TQMP uploads at: (Entirely use the TQMP searchtag :)

Say »thank you« by seeding... just egg, it is not noxious to your salubriousness :-)

Download torrent