{"id":46541,"date":"2025-03-21T10:37:57","date_gmt":"2025-03-21T09:37:57","guid":{"rendered":"https:\/\/polifonia.blog.polityka.pl\/?p=46541"},"modified":"2025-03-21T16:12:57","modified_gmt":"2025-03-21T15:12:57","slug":"triumf-piaskowego-dziadka","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2025\/03\/21\/triumf-piaskowego-dziadka\/","title":{"rendered":"Triumf piaskowego dziadka"},"content":{"rendered":"<p>U2, R.E.M., Taylor Swift, Snow Patrol czy The Killers. To wykonawcy, na kt\u00f3rych Jacknife Lee zbiera\u0142 przez lata do\u015bwiadczenia, by zaj\u0105\u0107 si\u0119 tym, co najwa\u017cniejsze: produkcj\u0105 album\u00f3w Lonniego Holleya. Starszego pana z Alabamy, prowincjonalnego artysty z wielkim \u017cyciorysem (opisywanym na Polifonii do\u015b\u0107 dok\u0142adnie<a href=\"https:\/\/polifonia.blog.polityka.pl\/2013\/11\/21\/piaskowy-dziadek\/\"> lata temu<\/a>), kt\u00f3ry m\u00f3g\u0142by si\u0119 sta\u0107 bohaterem piosenek powy\u017cszych artyst\u00f3w, ale w wieku emerytalnym zacz\u0105\u0142 pisa\u0107 w\u0142asne. I tak sta\u0142o si\u0119 to, co zwykle wydaje si\u0119 niemo\u017cliwe: po debiucie opublikowanym w wieku 62 lat Lonnie Bradley Holley (pseudonim The Sand Man), znany wcze\u015bniej jako p\u00f3\u017any debiutant w sztuce asambla\u017cu, sta\u0142 si\u0119 w ci\u0105gu paru lat pierwszoplanowym artyst\u0105 ameryka\u0144skiej sceny muzycznej. Wykorzystuje fakt, \u017ce o \u017cyciu wie nieco wi\u0119cej ni\u017c jego showbizowa konkurencja. A znajomo\u015b\u0107 z Jacknife&#8217;em Lee przydaje si\u0119 do tego, by na ostatnie p\u0142yty &#8211;<em> Oh Me Oh My<\/em> i t\u0119 najnowsz\u0105, opublikowan\u0105 dzi\u015b <em>Tonky<\/em> &#8211; \u015bci\u0105ga\u0107 najwi\u0119ksze gwiazdy i najbardziej ekscytuj\u0105ce postacie \u015bwiata muzyki, od Michaela Stipe&#8217;a i Sharon Van Etten po Moor Mother, Alabastra DePlume czy Angel Bat Dawid.\u00a0 \u00a0 \u00a0<\/p>\n\n\n<!--more-->\n\n\n<p>Na <em>Tonky<\/em> wychodzi to nawet lepiej i naturalniej ni\u017c na poprzednim albumie. Lee wydaje si\u0119 te\u017c jako wsp\u00f3\u0142tw\u00f3rca strony mniej spi\u0119ty ch\u0119ci\u0105 przedstawienia wybitnego opowiadacza z Alabamy szerokiej publice. Billy Woods, Angel Bat Dawid czy Alabaster DePlume brzmi\u0105 jak idealni, wr\u0119cz stworzeni dla Holleya partnerzy. Atrakcji i r\u00f3\u017cnorodno\u015bci nie brakuje &#8211; podobnie jak potencjalnych przeboj\u00f3w; ja w\u015br\u00f3d tych pozasinglowych wypatrzy\u0142em od razu <em>Kings In The Jungle, Slaves In The Field<\/em>. Cho\u0107 zarazem wszystko jest mocno osadzone w bluesie i gospel, a ta pr\u00f3ba wyj\u015bcia na pierwszy plan dzisiejszego 75-latka zupe\u0142nie nie narusza jego autorskiego stylu. Co najwa\u017cniejsze natomiast, poetycka narracja bohatera tej p\u0142yty &#8211; cho\u0107 zaczyna on swoj\u0105 opowie\u015b\u0107 w momencie, gdy budzi si\u0119 w Ameryce, kt\u00f3ra upad\u0142a na g\u0142ow\u0119 (trudno powiedzie\u0107, czy to dopisane w ostatniej chwili, czy rzucone wcze\u015bniej w proroczym widzie) &#8211; prowadzi nas w stron\u0119 nadziei i zdaje si\u0119 pozostawia\u0107, jak to z uniwersaln\u0105 sztuk\u0105 bywa, lepszymi ni\u017c byli\u015bmy.\u00a0<\/p>\n<p><strong>LONNIE HOLLEY <em>Tonky<\/em><\/strong>, Jagjaguwar 2025<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=911974237\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/lonnieholley.bandcamp.com\/album\/tonky\">Tonky by Lonnie Holley<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>15.03 <strong>Happy Family<\/strong> &#8222;4037&#8221;, Cuneiform <br \/>19.03<strong> Shepherrd Of Cats &amp; VJ Pietrushka<\/strong> Live at Bemma Bar, Antenna Non Grata <br \/>19.03 <strong>Weatherday<\/strong> Hornet Disaster, Topshelf <br \/>20.03 <strong>Florence Cats<\/strong> Shell I, Edioces CN <br \/>20.03 <strong>Hiroshi Yoshimura<\/strong> Flora, Temporal Drift <br \/>21.03<strong> Antoine Bellanger &amp; Sammy Stein<\/strong> Depuis les cimes, Unjenesaisquoi <br \/>21.03 <strong>Arvo P\u00e4rt<\/strong> Silentium, Mississippi <br \/>21.03 <strong>Benefits<\/strong> Constant Noise, Invada <br \/>21.03 <strong>Bloodywood<\/strong> Nu Delhi, Fearless <br \/>21.03 <strong>Bluszcz<\/strong> Hobby <br \/>21.03 <strong>Celer<\/strong> Gems IV, Room40 <br \/>21.03 <strong>Chaos Magick<\/strong> Through the Looking Glass, Tzadik <br \/>21.03 <strong>Clikatat Ikatowi<\/strong> The Trials And Tribulations Of&#8230;, Numero Group <br \/>21.03 <strong>Cradle Of Filth<\/strong> The Screaming of the Valkyries, Napalm <br \/>21.03<strong> Cross Record<\/strong> Crush Me,Ba Da Bing <br \/>21.03 <strong>Daniel Brandt<\/strong> Without Us, Erased Tapes <br \/>21.03 <strong>Dutch Interior<\/strong> Moneyball, Fat Possum <br \/>21.03 <strong>Ed Kuepper &amp; Jim White<\/strong> After The Flood <br \/>21.03 <strong>Eliza Niemi<\/strong> Progress Bakery, TAR \/ MM \/ UOH <br \/>21.03<strong> FourColor<\/strong> Moko, TON <br \/>21.03 <strong>Fran\u00e7ois J. Bonnet<\/strong> Banshee, Portraits GRM <br \/>21.03 <strong>Gnod &amp; White Hills<\/strong> Drop Out III, Thrill Jockey <br \/>21.03 <strong>Goya Gumbani<\/strong> Warlord of the Weejuns, Ghostly International <br \/>21.03 <strong>Greentea Peng<\/strong> Tell Dem It&#8217;s Sunny, AWAL <br \/>21.03 <strong>Imperial Triumphant<\/strong> Goldstar, Century Media <br \/>21.03 <strong>Japanese Breakfast<\/strong> For Melancholy Brunettes (&amp; sad women), Dead Ocean <br \/>21.03 <strong>Jefre Cantu-Ledesma<\/strong> Gift Songs, Mexican Summer EP<br \/>21.03 <strong>Kassian<\/strong> Channels, !K7 <br \/>21.03 <strong>Kinlaw<\/strong> Gut Ccheck, Bayonet <br \/>21.03 <strong>Kurt Liedwart<\/strong> Volta, TON <br \/>21.03 <strong>Lee Ranaldo &amp; Michael Vallera<\/strong> Early New York Silver, Amish <br \/>21.03 <strong>Lil Bean<\/strong> Ghetto Children, Empire <br \/>21.03<strong> Lonnie Holley<\/strong> Tonky, Jagjaguwar <br \/>21.03 <strong>Loradeniz<\/strong> Sun Shone, Music From Memory <br \/>21.03 <strong>Lucy Liyou<\/strong> Every Video Without Your Face, Every Sound Without Your Name, Orange Milk Records <br \/>21.03 <strong>Macie Stewart<\/strong> When The Distance Is Blue, International Anthem <br \/>21.03 <strong>More Eaze &amp; Claire Rousay<\/strong> No Floor, Thrill Jockey <br \/>21.03 <strong>My Morning Jacket<\/strong> Is, ATO <br \/>21.03 <strong>Nat Birchall<\/strong> Drums in Dub <br \/>21.03 <strong>Ora The Molecule<\/strong> Dance Therapy, Mute <br \/>21.03 <strong>Oran\u017cada<\/strong> Salto, Audio Cave <br \/>21.03 <strong>Paal Nilssen-Love Circus with The Ex Guitars<\/strong> Turn Thy Loose, PNL <br \/>21.03 <strong>Phil Cook<\/strong> Appalachia Borealis, Psychic Hotline <br \/>21.03 <strong>Placebo<\/strong> <strong>Domingo<\/strong> First Crash<br \/>21.03 <strong>Ple\u0144<\/strong> Rondo straconego czasu, Studio Widnokr\u0105g<br \/>21.03 <strong>PremRock<\/strong> Did You Enjoy Your Time Here\u2026?, Backwoodz <br \/>21.03<strong> Rivet aka Grovskopa<\/strong> Peck Glamour, Editions Mego <br \/>21.03 <strong>Rush<\/strong> Rush 50, Mercury arch<br \/>21.03 <strong>Sarah Davachi<\/strong> Basse Brevis, Portraits GRM <br \/>21.03 <strong>Schatterau<\/strong> \u00dcbers Jahr, Hands in the Dark <br \/>21.03 <strong>Selena Gomez &amp; Benny Blanco<\/strong> I Said I Love You First, Interscope <br \/>21.03 <strong>Soundwalk Collective with Patti Smith<\/strong> Correspondences vol. 2, Bella Union <br \/>21.03 <strong>The Horrors<\/strong> Night Life, Fiction <br \/>21.03 <strong>The Intuition Orchestra<\/strong> Jazz, MTJ <br \/>21.03 <strong>The Orchestra of Futurist Noise Intoners<\/strong> The Orchestra of Futurist Noise Intoners directed by Luciano Chessa plays music by Mariam Gviniashvili, Aleksandra S\u0142y\u017c, Gerard Lebik, Luigi Russolo, John Hegre, Sanatorium of Sound <br \/>21.03 <strong>Utena Kobayashi &amp; Motion Graphics<\/strong> Glossolalia, Domino EP<br \/>21.03 <strong>VA<\/strong> Emerald: New Sounds from Moon Glyph Records, Moon Glyph <br \/>21.03 <strong>Vijay Iyer &amp; Wadada Leo Smith<\/strong> Defiant Life, ECM <br \/>21.03 <strong>Wiktoria Zwoli\u0144ska<\/strong> Przeb\u0142yski, Magic Records <br \/>21.03 <strong>YHWH<\/strong> Nailgun 45 Pounds, AD 93<br \/>21.03 <strong>Yoko Ono \/ The Great Learning Orchestra<\/strong> Selected Recordings From Grapefruit, Karlrecords <br \/>21.03 <strong>Young Widows<\/strong> Power Sucker, Temporary Residence Ltd.<\/p>","protected":false},"excerpt":{"rendered":"<p>U2, R.E.M., Taylor Swift, Snow Patrol czy The Killers. To wykonawcy, na kt\u00f3rych Jacknife Lee zbiera\u0142 przez lata do\u015bwiadczenia, by zaj\u0105\u0107 si\u0119 tym, co najwa\u017cniejsze: produkcj\u0105 album\u00f3w Lonniego Holleya. Starszego pana z Alabamy, prowincjonalnego artysty z wielkim \u017cyciorysem (opisywanym na Polifonii do\u015b\u0107 dok\u0142adnie lata temu), kt\u00f3ry m\u00f3g\u0142by si\u0119 sta\u0107 bohaterem piosenek powy\u017cszych artyst\u00f3w, ale w [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":46544,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,444,3309,5878,106],"tags":[1553],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/46541"}],"collection":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/comments?post=46541"}],"version-history":[{"count":5,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/46541\/revisions"}],"predecessor-version":[{"id":46547,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/46541\/revisions\/46547"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/46544"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=46541"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=46541"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=46541"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}