Quand Salomon, fils de David, est appelé à régner, Israël est déchiré par des conflits internes. En quelques années, ce prince du désert unifie Israël et, investi d'une mission divine, s'attelle à la réalisation d'un de ses rêves les plus fous : la construction d'un temple sur le rocher de Jérusalem.
Fasciné par l'Egypte des pharaons, Salomon fait appel au maître d’œuvre Hiram. Cet homme étrange et farouche connaît les secrets de l'art du trait, cette science mystérieuse qui a traversé les âges. Ensemble, ils défieront le peuple et la caste des prêtres pour créer un chef-d’œuvre…
This album might not be taken up well in the work to which Jaco Pastorius is related. However, the content will be able to be taken up as a very high-quality performance in the item of Jazz/Fusion and a series of work of Jaco Pastorius.
Hiram Bullock claimed that he had never done a "jazz" album before this – which is a debatable proposition depending upon how limiting your definition of jazz is. What counts is that he has come up with a beautiful album, drenched in soul-jazz yet touching upon popular music genres as well. Bullock didn't have to change much, utilizing his subdued and rock-tinged guitar styles at will, occasionally bursting out in full rock regalia and making tasty use of electronic additives.
Former Late Night with David Letterman guitarist Hiram Bullock turns in one impressive session on this jazzy ten-track collection. As always, Bullock's guitar alternately sings gently and squalls with an almost rock-like intensity. The big surprise is that Hiram spices up his consummate picking with surprising vocal turns on "What You Won't Do for Love," "We're Gonna Get It Right," "Montevideo," the humorous "Bean Burrito," Stevie Wonder's "Don't You Worry 'Bout a Thing" and the title track. Bullock's impressive guitar chops are well to the fore throughout, even on the vocal numbers with bluesy and jazzy showcases on "Amazonas" and "And the Melody Lingers On (A Night In Tunisia)." With strong Latin percussion and a distinct salsa bent to the background framing Bullock's strong guitar work, this is a delightful album without a weak cut in the batch.
A longtime fixture of the New York City session circuit, guitarist Hiram Bullock proved himself equally adept in spheres spanning from rock & roll to jazz to the avant-garde. He also cut a series of solo LPs exploring funk and fusion, but perhaps remains best remembered as a founding member of the original Late Night with David Letterman house band.
Hiram Bullock's Warner Bros. debut as a leader is a mixed bag. Bullock was, upon arrival, already an expert session guitarist and producer when he cut this set. (One of the jewels in his crown is Mike Stern's first album as a leader, the almighty Neesh, which was released only in Japan and has never seen the light of day on American shores.) This self-produced set includes eight Bullock originals plus a nice reading of Don Grolnick's "Cactus." The band features many of the same musicians Bullock still works with: drummer Charley Drayton, bassist Will Lee, and Cliff Carter on keyboards, as well as some stellar guest appearances by the late Kenny Kirkland and saxophonist David Sanborn.
On his Atlantic Records debut, producer, bandleader, and guitarist Hiram Bullock comes ripping out of the gate with a prime bit of '80s jazz-rock, "Down the Pipe" with Ricky Peterson on synthesizers, drummer Charlie Drayton, and the Brecker brothers in the horn section; this tune is a screamer. Bullock just tears open the sonic side with his guitar, allowing Randy Brecker to ground the thing with a funky, funky, funky horn chart.
Véritable abus de pouvoir sur le corps de l'enfant et son psychisme, l'inceste représente le tabou d'entre les tabous. Face à ce phénomène particulier et complexe qui apparaît au sein de familles sacrificielles, le présent ouvrage offre une approche théorico-clinique la plus large possible. …
Guitarist Hiram Bullock has always been a study in contrasts. There's Bullock the guitarist, who has graced the recordings and live shows of Carla Bley and Miles Davis with his aplomb and elegance; the Bullock who has let his nimble fingers fly alongside guitarist Mike Stern on some of the more intense and fiery jazz-rock fusion albums of the last decade; and the Bullock who has made some of the worst schlock R&B/fusion albums ever recorded. This set, recorded live at Manny's in New York, features Bullock, bassist Will Lee, and Clint DeGanon on drums.
Over the course of his career – from his mid 70s run with The Brecker Brothers to his various stints as a hired gun for everyone from Gil Evans, Carla Bley and David Sanborn to Michael Franks and Miles Davis – Hiram Bullock earned his reputation as a bona fide guitar hero. But all along, Bullock has also been developing his skills as a songwriter. Too Funky 2 Ignore demonstrates just how accomplished he has become at the craft. I think I've gotten better at it as I ve been doing it, says the charismatic Guitar Man.