Dave Cremer | Pear-Shaped Blues

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Charles Mingus Tom Waits Weather Report

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AUSTRALIA - New South Wales

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Jazz: Jazz Fusion Brazilian: Samba Moods: Solo Male Artist
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Pear-Shaped Blues

by Dave Cremer

Jazz, Fusion, Blues, Torch Ballads, a touch of Latin and New Orleans Funk, and a foray into Neo-Classical Electronica at the climax.
Genre: Jazz: Jazz Fusion
Release Date: 

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Tracks

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1. Samba Baroqua
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4:19 $0.99
2. Pear-Shaped Blues
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3:43 $0.99
3. Mumbo Gumbo
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3:25 $0.99
4. You Can't Get There from Here
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4:55 $0.99
5. Joesgiving
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10:17 $0.99
6. The Lost Weekend
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3:18 $0.99
7. Waltz for Erik
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2:58 $0.99
8. Quasimodal Blues
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7:06 $0.99
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ABOUT THIS ALBUM


Album Notes
A track by track breakdown. 'Samba Baroqua' is a samba with baroque overtones, featuring a harpsichord solo. The point where AC Jobim meets JS Bach if you like.
'Pear-Shaped Blues' the title-track is a tribute to Charles Mingus and Eric Dolphy, and is loosely based on the blues format, with some interesting deviations along the way.
'Mumbo Gumbo' is a drunken representation of a New Orleans funk band playing in 13/8 time, complete with cooking B3 solo, courtesy of the producer.
'You Can't Get There From Here' is a ballad about getting lost, and finding a new person along the way, featuring just piano and vocal.
'Joesgiving' is the centre point of the album and a tribute to the late Joe Zawinul. There are references to his musical themes, and a passing reference also to fellow Weather Report player, the late bassist Jaco Pastorius. The piece is itself a three-part suite, with blistering tenor sax solo from Richard Booth.
'The Lost Weekend' is a torch ballad about getting very drunk in a Parisian bar, sung by Rodney Ford against my electric piano accompaniment.
'Waltz For Erik' is a tribute to the French composer Erik Satie, who also inspired the title of this album with his 'Pear-Shaped Preludes' for piano. Richard Booth is playing flute and clarinet against my nylon-string guitar.
'Quasimodal Blues' is a largely improvised piano solo to which Rodney Ford has added multi-layered synthesizers, based upon the blues format but ending up as an exercise in Neo-Classicism.


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