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U2 – OCTOBER (Cover by KATHLEEN BLACKWELL)

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A dialog between a voice, a fretless bass, and a church organ made in 1791. In a handful of countries, two churches, and two continents.

 

I have been an avid lover of U2 since day one, especially their Live at Red Rocks: Under a Blood Red Sky concert film.

Here is my live, one-take music video of U2 “October” that I recorded stealth in various parts of the world using an Apogee Duet and Shure KSM32.

We recorded this special song during our travels for Project Eléctrico (a Global Recording Project). We recorded live in Tlacolula, Oaxaca, with a 1791 Restored Church Pipe Organ. We recorded in Selvogur, Iceland, my live Vocals in Strandarkirkja Church. The fabulous Tony Levin is on Fretless Bass which he recorded at his studio in the United States.

video by Diego López

Voice and Organ Kathleen Blackwell

Fretless Bass Tony Levin

produced,

Rubén Luengas Pérez — Oaxaca, Mexico

Builds and plays the Bajo Quinto guitar. An instrument of Baroque heritage that was once common in Tezoatlán de Segura y Luna, Oaxaca. Ruben’s hometown. He’s the conductor of the successful Pasatono Orchestra. A project dedicated to investigating, composing, playing and reviving the music from the Mixteca region of Oaxaca.Rubén and his orchestra have played at the Lincoln Center in New York, Kennedy Center in Washington D.C., National Center for the Arts (CENART) in México City, Getty museum in Los Angeles CA and in several communities around the state of Oaxaca including El Jicaral, Coicoyán de las Flores and Yucuquimi de Ocampo.

Joel Antonio Vásquez González — Tlacolula, Mexico

Classically trained pianist and organist. He holds an administrative position at the “Instituto de Órganos Históricos de Oaxaca.” The non-profit organization in charge of restoring and promoting the outstanding collection of seventy-two baroque pipe organs spread thru out the state of Oaxaca. But Joel is not tied to desk duties, he is the person in charge of teaching the new generations how to play these church organs. “They are being restored so that the public can actually hear them and not simply to be on display like museum pieces. They are used for cultural and ecclesiastical events every week.”