Lumia Nights
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RETURN TO THE EAST BROOKLYN RECLRIMS THE BLRCK RRT FORM KNOWN RS JRZZ I' IIlII£I SCIIII£I • B9 BllSIl MCHBII 'What you're about to hear is not jazz, or some other irrelevant term we allow others 10 use in defining our creation, but the sounds thai are about to saturate your being and serlsitize your soul is the continuing process of nationalist consciousness manifesting its message within the conlext of one of our strongest natural resources: Black music. What is represented on these jams is the crystallization of the role of Black music as a functional organ in the struggle for national liberation.. AJkebu-lan is the unfolding of this progress as mu!>ic-meaoing. It is sound-feeling." KwmbI. >PUI<Irc .... -_. on SUN-Uol his lpOkrn.word innoduuion amounl$ 10 :l m:o.ni- Kwasi Konadu'l r«mt book, Trulh Cru.sJKJ It> tIN &nh rrd:o.iming tlK Black nl form known u WiU RiM Api.., is the delining tome on lhe Ezsr.. h details T for uS/: ali :o.libn:aling. II2l1"P"rti..., vdlic:k. '1M do- lhecompln worIrinV ofhow the organiulion flourished for qurnl <kKript ion ofil :oJ :l -funuion,,1 organ- ckserillQ 1M o>'n adead... 1hc wt and iu primary k>c:o.tion at ,00aver mk of$('lUnd wilhin m.- Ezsr. organiu.ion wdl. MllSic Plac:c in Brooklyn WU n(K just a norefrom or musk hall, bul the blood pumping, mako i. as;"r m dig"". and a w::o.yoflifc.lhc Uhunf Food asan or. -
View Geff's Resume
Geffery B. Stewart 1347 Gorsuch Ave Baltimore, Maryland 21218 443.454.1875 [email protected] Summary/Bio My name is Geffery Stewart. I was born in 1985 in Baltimore, MD. I was raised in Pasadena, MD where I attended public school. I am a self taught musician specializing in string instruments, mainly guitar, banjo, violin/fiddle, and mandolin. With the influence of my parents, I came obsessed with music of all kinds at a very young age. In my elementary school years, I discovered I had a keen ear and began singing along with music I heard at home and in church. At age 10, I began teaching myself guitar, with tuning and some chording assistance from my father. I was soon able to tune by ear. I worked hard at my 3 first chords, and played incessantly. More musical influence from my father began to influence my direction, and obsession such as Experimental, Jazz, Punk Rock, Reggae, Folk, Bluegrass, Hip Hop and more, but it was the Blues that grabbed my attention. My life was altered after hearing the Blues/Gospel of Blind Willie Johnson. Country blues and pre-war American music became a full time passion around age 15. The other pivotal musical experience was hearing John Coltrane at some point in Middle School. This opened my ears and mind to the possibilities of improvisation. At this time I was attempting to translate some of these concepts that I was hearing in country blues, punk, and jazz onto electric guitar. I was trying to comprehend using alternate tunings, using a slide, and eventually alternating bass fingerpicking from various American Folk Music. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
JOHN FAHEY Live in Sausalito, September 9, 1973
DESCRIPTION The finger-picking guitarist and blues enthusiast John Fahey enjoyed a long, influential and distinguished career. Born in Washington DC in 1939 and raised in Takoma Park, Maryland, he launched his own Takoma label to issue self- produced work in the late 1950s and then delivered his master's theses on the blues of Charlie Patton at UCLA. Then, while based in the radical town of Berkeley, California in the San Francisco Bay area, began issuing filed recordings of forgotten blues legends, such as Bukka White . With his own work, Fahey began borrowing from eastern elements such as Indonesian gamelan and Tibetan vocal chanting, reflecting his interest in esoteric eastern religion, as well as birdsong, animal calls, and other naturalistic elements. This beautiful 1973 performance, delivered in the sleepy town of Sausalito, California, comprises most of Fahey's Fare Forward Voyagers LP (1973), as well as earlier material, including "Dance Of The Inhabitants Of The Palace Of King Philip XIV Of Spain", from his 1964 release, Death Chants, Breakdowns and Military Waltzes . TRACKLISTING A1. Thus Krishna On The Battlefield A2. Fare Foward Voyagers JOHN FAHEY A3. Dance Of The Inhabitans Of The Palace Of King Philip XIV Of Spain B1. Intro Live In Sausalito, B2. Christ Saints Of God Fantasy September 9, 1973 B3. Stomping Tonight On The B4. Pennsylvania-Alabama Border B5. In Christ There Is No East Or West Label B6. Beverley ALTERNATIVE FOX HIGHLIGHTS • A beautiful 1973 performance by finger-picking guitarist and blues enthusiast Format John Fahey , delivered in the sleepy town of Sausalito, California. -
The History of Rock Music - the 2000S
The History of Rock Music - The 2000s The History of Rock Music: The 2000s History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2006 Piero Scaruffi) Bards and Dreamers (These are excerpts from my book "A History of Rock and Dance Music") Bards of the old world order TM, ®, Copyright © 2008 Piero Scaruffi All rights reserved. Traditionally, the purposefulness and relevance of a singer-songwriter were defined by something unique in their lyrical acumen, vocal skills and/or guitar or piano accompaniment. In the 1990s this paradigm was tested by the trend towards larger orchestrastion and towards electronic orchestration. In the 2000s it became harder and harder to give purpose and meaning to a body of work mostly relying on the message. Many singer-songwriters of the 2000s belonged to "Generation X" but sang and wrote for members of "Generation Y". Since "Generation Y" was inherently different from all the generations that had preceeded it, it was no surprise that the audience for these singer-songwriters declined. Since the members of "Generation X" were generally desperate to talk about themselves, it was not surprising that the number of such singer- songwriters increased. The net result was an odd disconnect between the musician and her or his target audience. The singer-songwriters of the 2000s generally sounded more "adult" because... they were. -
Alvin Queen Frank Lowe
ENCORE Young Queen used to take his radio to bed, was big then—especially in Harlem. “All the clubs in listening to Symphony Sid with the volume turned Harlem had Hammond organs,” Queen recalls. ALVIN low. “You had to really love jazz to do that,” he said. By Queen was a confirmed bebopper, but when he this point, Queen’s family had moved to Mount Vernon, began playing in Europe he had to acquaint himself NY. When he was 10 or 11, the band at a bar his father with some earlier styles. “A lot of the older musicians, was managing lost its drummer and the musicians some of them ex-Duke Ellington, had come to Europe QUEEN wanted to know if they could “use the kid”. A as individual players and I had to fit in with what they delegation was sent to Queen’s house and the little were doing,” he said. He name-checks Jimmy Woode, by jim motavalli prodigy was brought out. “What kind of music do you Harry “Sweets” Edison, Eddie “Cleanhead” Vinson, play?” was the only question he asked. When he Red Holloway, Buddy Tate, Benny Bailey and Clark Drummer Alvin Queen, born in the Bronx 70 years learned it was jazz everything was fine and he went Terry. “I started playing all over Europe, so I asked ago this month, is a great storyteller and so what if and got his best suit for the evening’s session. The myself, ‘Why should I go back to New York?’,” Queen many of his compelling stories are from before he drum pedals had to be adjusted. -
June 2010 Issue
NEW YORK June 2010 | No. 98 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com HERBIE HANCOCKSEVEN DECADES OF IMAGINATION Mark Feldman • David S. Ware • Kadima Collective • Event Calendar NEW YORK Despite the burgeoning reputations of other cities, New York still remains the jazz capital of the world, if only for sheer volume. A night in NYC is a month, if not more, anywhere else - an astonishing amount of music packed in its 305 square miles (Manhattan only 34 of those!). This is normal for the city but this month, there’s even more, seams bursting with amazing concerts. New York@Night Summer is traditionally festival season but never in recent memory have 4 there been so many happening all at once. We welcome back impresario George Interview: Mark Feldman Wein (Megaphone) and his annual celebration after a year’s absence, now (and by Sean Fitzell hopefully for a long time to come) sponsored by CareFusion and featuring the 6 70th Birthday Celebration of Herbie Hancock (On The Cover). Then there’s the Artist Feature: David S. Ware always-compelling Vision Festival, its 15th edition expanded this year to 11 days 7 by Martin Longley at 7 venues, including the groups of saxophonist David S. Ware (Artist Profile), drummer Muhammad Ali (Encore) and roster members of Kadima Collective On The Cover: Herbie Hancock (Label Spotlight). And based on the success of the WinterJazz Fest, a warmer 9 by Andrey Henkin edition, eerily titled the Undead Jazz Festival, invades the West Village for two days with dozens of bands June. -
John 1 Page Bio Epk Revised 2017
Artist Biography: John Stano The trademark of singer/songwriter John Stano’s sound is a distinctive blend of acoustic and slide guitar, harmonica and expressive vocals, developed over many years of performance and study. He sometimes adds a little mandolin, banjo or cigar box guitar to the mix as well. His style could be described as acoustic folk-blues or Americana. Initially self-taught, John went on to study American fingerstyle guitar at the Wisconsin Conservatory of Music and harmonica with national blues legend, Jim Liban. ‘Sing Out’ compared John’s music to early Bob Dylan while ‘Dirty Linen’ was reminded of Country Joe McDonald. John studied English and creative writing at U.W. Madison. A skillful use of language adds an original spark to his lyrics. Besides his own songs, John also performs his own arrangements of urban and country blues classics, instrumentals and contemporary songs, covering music by artists such as; John Prine, Bob Dylan, Greg Brown, Robert Johnson, Mississippi John Hurt, John Fahey, Gillian Welch, Leo Kottke and Tom Waits. John is a flexible and engaging performer who works regularly at a variety of indoor and outdoor venues. He also teaches guitar, harmonica, banjo and other acoustic instruments privately and in the schools. • John was nominated for a 2016 WAMI Folk Artist Award and the 2015 WAMI Singer Songwriter of the Year Award. • John won the Wisconsin Singer Songwriters Series Songwriter of the Year award for 2013. • John represented Wisconsin in the International Blues Challenge in Memphis on historic Beale Street in the solo/duo category after winning the regional competition in 2012 • Two songs from John’s CD Caribou Bar & Grill, ‘Soul Is’ and ’Pontiacs No More’ earned John the title of ‘Big Top Chautauqua Songwriter of the Year Finalist for 2010’ and he performed them along with some of his other songs under the Big Top. -
Sewanee Purple, 1997-1998
. SEWANEE SEWANEE, TENNESSEE September 25, 1997 Vol.CLXXVII No. 2 Party out of Bounds Sewanee police add female force County Sheriff and Dean Pearigcn in roponsc to their unruly behavior. Then he and the other policeman, unable to control the studcniv backed off until Dean Pearigcn arrived with Deputy Chief. Emic Burner. Gilliam said ih.ii ii is customary to call the Dean to help police break up panics, even if they arc off campus, when ihe police cannot deal with them Within an hour, four Sewanee officers, five Franklin County officers, and Pearigcn were on the scene Dean Pcarigen told the students to shut down ihc party, and either get sober drivers or go inside. Gilliam said that many sober students volunteered 10 drive and even make extra trips, but two Peed and Blouni home was the site of confrontation between police and students arrests were made while students started making their way home. One student claimed he was only by Kelly Smith Neighbors were also concerned trying to move his car about twenty The Sewanee police responded to a about student vehicles which were by Vickie Cogan feet, under officer's orders, but was call at 2:07 am on Sunday, Septem- parked illegaly throughout the Now that school has started up again, most everyone is back into charged regardless. Another student ber 1 3. about an off campus party at neighborhood. a regular routine For most Sewanee students, part of that routine was arrested for DUI. and a second the residence of Mike Peed, C'98, Officer Tony Gilliam responded to includes avoiding the flashing lights of the ever vigilant Sewanee passenger was arrested for evasion and Mac Blount, C'98, on Longs the call and estimated that there Police Department. -
The Society for American Music
The Society for American Music Thirty-Fourth Annual Conference 1 RIDERS IN THE SKY 2008 Honorary Members Riders In The Sky are truly exceptional. By definition, empirical data, and critical acclaim, they stand “hats & shoulders” above the rest of the purveyors of C & W – “Comedy & Western!” For thirty years Riders In The Sky have been keepers of the flame passed on by the Sons of the Pioneers, Gene Autry and Roy Rogers, reviving and revitalizing the genre. And while remaining true to the integrity of Western music, they have themselves become modern-day icons by branding the genre with their own legendary wacky humor and way-out Western wit, and all along encouraging buckaroos and buckarettes to live life “The Cowboy Way!” 2 Society for American Music Thirty-Fourth Annual Conference 3 Society for American Music Thirty-Fourth Annual Conference Hosted by Trinity University 27 February - 2 March 2008 San Antonio, Texas 2 Society for American Music Thirty-Fourth Annual Conference 3 4 Society for American Music Thirty-Fourth Annual Conference 5 Welcome to the 34th annual conference of the Society for American Music! This wonderful meeting is a historic watershed for our Society as we explore the musics of our neighbors to the South. Our honorary member this year is the award-winning group, Riders In The Sky, who will join the San Antonio Symphony for an unusual concert of American music (and comedy). We will undoubtedly have many new members attending this conference. I hope you will welcome them and make them feel “at home.” That’s what SAM is about! Many thanks to Kay Norton and her committee for their exceptional program and to Carl Leafstedt and his committee for their meticulous attention to the many challenges of local arrangements. -
James Holden's New Live Touring Incarnation (In Support of Holden's 2013 Album 'The Inheritors')
RocketNumberNine biography In the two years that have elapsed since the 2013 release of their second RocketNumberNine album 'MeYouWeYou', London-born brothers Ben and Tom Page have found themselves much in demand, to the point where their original RocketNumberNine pet project has had to take something of a back seat. A hook up with Smalltown Supersound labelmate and Swedish singing superheroine Neneh Cherry saw the Page siblings drafted in to provide the synth and drum complement to her Kieran Hebden-produced 'Blank Project' album in early 2014, leading on to RocketNumberNine's permanent installation as her backing band on the subsequent Neneh Cherry tour. And not content with one round the world trip, younger brother Tom has somehow also found the time to moonlight as drummer for modular synth maestro James Holden's new live touring incarnation (in support of Holden's 2013 album 'The Inheritors'). But now, as one set of touring cycles near their natural end, and with a crisp new RocketNumberNine 12” poised to emerge on Holden's Border Community label in the Autumn of 2015, the time has come for the brothers to refocus their attention on the symbiotic RocketNumberNine improvisational partnership where it all began. Growing up together in Chingford in the North Eastern outskirts of London, nestled just inside the M25, it was eight years ago that brothers Ben and Tom Page first formalised their musical union as synth-and- drum improv duo RocketNumberNine. But their dedication to one another runs way deeper than most siblings, having also lived together for most of their adult lives, including a spell together in a musical commune near Aberdeen in the North East of Scotland. -
Revised Draft 2020 Mobile Source Strategy
REVISED DRAFT April 23, 2021 Revised Draft 2020 Mobile Source Strategy April 23, 2021 REVISED DRAFT April 23, 2021 This document has been reviewed by the staff of the California Air Resources Board and approved for publication. Approval does not signify that the contents necessarily reflect the views and policies of the California Air Resources Board, nor does the mention of trade names or commercial products constitute endorsement or recommendation for use. Electronic copies of this document are available for download from the California Air Resources Board’s Internet site at: https://ww2.arb.ca.gov/resources/documents/2020- mobile-source-strategy. This report can also be viewed at https://ww2.arb.ca.gov/legislatively-mandated-reports. To order a hard copy of this report, please contact David Ernest García, Ph.D., Legislative Director, at (916) 322-8520 or [email protected]. Additionally, written copies may be obtained from the Public Information Office, California Air Resources Board, 1001 I Street, 1st Floor, Visitors and Environmental Services Center, Sacramento, California 95814. Because of current travel, facility, and staffing restrictions, the California Air Resources Board’s offices may have limited public access. For individuals with sensory disabilities, this document is available in Braille, large print, audiocassette or computer disk. Please contact CARB's Disability Coordinator at (916) 323-4916 by voice or through the California Relay Services at 711, to place your request for disability services. If you are a person with limited English and would like to request interpreter services, please contact CARB's Bilingual Manager at (916) 323-7053.