Fascicule S4E5 Mai/Juin 2015 (Pdf, 7095Ko)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Sussex Jazz Magazine
May 2021 EMERGENCE 2021 FESTIVAL GUIDE 04 Jazz News 05 Emergence Programme 08 Interview: Chelsea Carmichael 12 Interview: Dave Wybrow 14 Interview: Jason Yarde 20 Interview: Ill Considered 22 Words… 24 Big Band Scene 26 Interview: Ahnansé, Steam Down 29 Interview: Rosie Frater-Taylor 34 Live Stream Review 36 Album Reviews 41 Listings 42 Jazz Essentials Click on the blue SJM logo to Cover: Ahnansé by Lisa Wormsley return to the contents page This Page: Lioness Jazz News Jazz South The Verdict Live Streaming Jazz South's online festival in April featured Musician and video producer Tristan Banks Olie Brice's Radar Sessions, which was is continuing his curation of live streamed rescheduled from earlier in the year. The music from The Verdict every Friday in session was the debut performance of Olie May. Friday 7th May will be Greg Heath/ Brice's Fire Hills, a new composition for Nick Meier Quartet, Friday 14th May will three free improvisors which included Olie be Paul Booth, Ross Stanley and Tristan Brice on double bass, Jason Yarde on alto Banks, and Friday 21st May is Ahmed/ sax and Nick Malcolm on trumpet. The Darwish/Osborn/Rahman. piece is available to watch on Jazz South's All live streams start at 8:30pm and tickets YouTube channel. are £8. New Generation Jazz Live Gigs in May New Generation Jazz have announced the With indoor hospitality re-opening on 17th return of their Cinematic Live Sessions, a May, venues such as The Brunswick and series of online gigs filmed at Shoreham's Ropetackle Arts Centre are putting on live Ropetackle. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
I'm Gonna Keep Growin'
always bugged off of that like he always [imi tated] two people. I liked the way he freaked that. So on "Gimme The Loot" I really wanted to make people think that it was a different person [rhyming with me]. I just wanted to make a hot joint that sounded like two nig gas-a big nigga and a Iii ' nigga. And I know it worked because niggas asked me like, "Yo , who did you do 'Gimme The Loot' wit'?" So I be like, "Yeah, well, my job is done." I just got it from Slick though. And Redman did it too, but he didn't change his voice. What is the illest line that you ever heard? Damn ... I heard some crazy shit, dog. I would have to pick somethin' from my shit, though. 'Cause I know I done said some of the most illest rhymes, you know what I'm sayin'? But mad niggas said different shit, though. I like that shit [Keith] Murray said [on "Sychosymatic"]: "Yo E, this might be my last album son/'Cause niggas tryin' to play us like crumbs/Nobodys/ I'm a fuck around and murder everybody." I love that line. There's shit that G Rap done said. And Meth [on "Protect Ya Neck"]: "The smoke from the lyrical blunt make me ugh." Shit like that. I look for shit like that in rhymes. Niggas can just come up with that one Iii' piece. Like XXL: You've got the number-one spot on me chang in' the song, we just edited it. -
BLUETONES! O L
The Weekly Arts and Entertainment Supplement to the Daily Nexus Are you worried at all about coming to America to try and find success? SM: I think if you go anywhere, you go open-minded just to see what the people are like. You don’t go with preconceptions. I think we’re just waiting. We’re waiting for when there’s a demand and when people do actually want to go and see us. I’m talking about the fans. _ How would you describe your music to someone from California? EC: It’s rock ’n’ roll, really. The Bluetones are a band from Houndslow, England, which, in case your English SM: Melodic guitar rock. Pop music. We’re influenced by a lot of West Coast Ameri geography is not up to par, is near Heathrow Airport in London. This fine quartet, com can stuff from the ’60s— Crosby, Stills & Nash, Buffet, The Byrds, Buffalo Springfield. prised of singer/lyricist Mark Morriss, bassist Scott Morriss, drummer Eds Chesters Do you see yourself as a primarily English band? and guitarist Adam Devlin, gets my vote for the best new pop band out of Britain. SM: We don’t like flying flags in foreign countries or anything. That’s a load of rub They’ve honed their skills on tour with the likes of Supergrass, while the less talented bish. The thing that’s happening is that they’re trying to promote “Britpop” in America scruffs got all the attention. right now. However, in January, the hounds were released in the form of the Bluetones’ first EC: It’s bollocks. -
(159) [PL5] Sample Some Of
Sample Some Of This, Sample Some Of That (160) [PL6] ✔ INEZ FOXX / Let Me Down Easy [Volt/Stax (LP)] PHFNG / Nie lubię [phfng (LP)] JOHN COLTRANE w/ Duke Ellington / My Little Brown Book [Impulse! (LP)] KAZIK / Na każdy temat [S.P. Records (LP)] JOHN COLTRANE QUARTET / Feelin' Good [UMG (LP)] FISZ / Bla bla bla [Asfalt (LP)] KRZYSZTOF KOMEDA / Niekochana [Power Bros. (LP)] FISZ / Bla bla bla (DJ 600V w autobusie remix) [Asfalt (LP)] DIONNE WARWICK / The Look Of Love [Duchesse (LP)] PEJA - SLUMS ATTACK / WOS [T1-teraz (LP)] BETTYE LAVETTE & HANK BALLARD / Hello, Sunshine [Charly (LP)] LUCJAN & SYMONO f/ Rico / Bądź luksusowy (remix) [Yaneck (LP)] GEORGE BENSON / The Changing World [CTI (LP)] DJ 600V f/ Tede / Świat zwariował w 23 lata (e?!) [RRX (LP)] PHFNG f/ Dwa Sławy / Teściowa (I used to love h.e.r.) (remix) [phfng (LP)] Sample Some Of This, Sample Some Of That (159) [PL5] ✔ VLADIMIR VYSOTSKY / Dom chrustalnyj [Melodija (LP)] KALIBER 44 / Konfrontacje [S.P. Records (LP)] SHARON REDD / Takin' A Chance On Love [Prelude (LP)] DJ 600V f/ Jajo, Grubas, Gano (HaiHaieR) / Nie jestem kurwa biznesmenem [RRX (LP)] JERZY MILIAN TRIO / Rewelacyjny Luciano [Polskie Nagrania (LP)] DJ 600V f/ Jajo, Grubas, Gano (HaiHaieR) / Nie jestem kurwa biznesmenem (remix) [RRX (LP)] NINA SIMONE / Four Women (DJ OBaH's Recycled Funk remix) [Bstrd Boots Nuggets! (7")] FISZ EMADE / Heavi Metal [Asfalt (LP)] BERNARD PURDIE / Lialeh [Light In The Attic (LP)] SINY f/ Roszja / Aleja życia [Blend (LP)] KLEEER / Tonight [Atlantic (LP)] TRZYHA/WARSZAFSKI DESZCZ / Sobota [RRX (LP)] SÈYFU YOHANNÈS / Mèla Mèla [Buda Musique (LP)] POE (PROJEKT OSTRY EMADE) / Nadzieja [Asfalt (LP)] ENNIO MORRICONE / Main Theme ("A Fistful Of Dynamite", O.S.T.) [Decca (LP)] PEJA - SLUMS ATTACK / Mój rap, moja rzeczywistość [T1-teraz (LP)] Sample Some Of This, Sample Some Of That (158) [PL4] ✔ SILNA GRUPA POD WEZWANIEM / Rozprawa o robokach [Polskie Nagrania Muza (LP)] KAZIK / Wewnętrzne sprawy [S.P. -
*5 ¡£ ¡¡¡Bis MCC Lounge 10 P J
mummttmna. p j This Week in Room 1434 Gallery 1434 dishes up yet another serv The small room contains photographs ing for the art-hungry eye. This week’s show and paintings of spaghetti and other types of is titled “Not with my spatula you don’t" and pasta. Two parallel rows o f photographs run features the work of Paco Shima. O f the along the perimeter o f the room. It's a verit Gallery’s two rooms, Shima’s paintings and able photo sh oot fo r noodles w hen shown in photographs are center stage, and each room different sauces and dishes. It seems to play carries a different theme. The large room in off the idea of what my great-grandma used cludes several paintings, each bordered with to say when looking at her prepared meal: different colon of glitter, making them quite “Looks like picture.” It’s an interesting take pretty to look at. It’s this glittery glory that on every student’s staple m eal, and perhaps it catches your eye and forces you take in the will make you think twice before you sit entire piece. That’s when you’ll realize many down to that next plate of noodles. Paco of them also come with their own scents. It’s Shima’s work m il be on view until May 8. a nice touch. The paintings consist mostly of Gallery hours are from 8 a.m. to 3 p.m. organic shapes. They look like tongues and — Tami T . Mnoian liven, or other organs of the body. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Article on Conscious Hip Hop
Article on Conscious Hip Hop Excerpt From De La Soul Article By Sheryl Garret, Sunday Times (London), July 1996 In 1989, De La Soul's debut album Three Feet High And Rising was hailed by New York's Village Voice as "the Sergeant Pepper of hip hop". The 24 short but sweet tracks rapped about everything from dandruff to their so-called Daisy Age philosophy, but the quirky humour and catchy hooks hid a more serious intent that may have got lost in the face of the album's massive commercial success. Along with the Jungle Brothers and A Tribe Called Quest, De La Soul were part of a loose organisation called Native Tongues, a hip hop collective based around zany humour, eclectic samples and, most of all, positive vibes. Hip hop meanwhile became dominated by the West Coast sound known as gangsta rap – a verbal cocktail of violence, sexism, guns, drugs and money. On the phone from the US, De La Soul's main spokesman Pos (Kelvin Mercer) says they're reluctant to be seen as a kind of "hip hop police", but admits they took a back-to-basics approach this time because "there are a lot of messages that we wanted to put across to the people, and if you want to teach something, you can't present eleventh- or twelfth-grade material to ninth-grade students". The problem, [Pos] points out, is that … one man's poetry is another's obscenity. If it were left to politicians, many would favour silencing all rap as an inconvenient articulation of black experience. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s. -
2020 Promo & Rates Pkg (LD)
Contributed to over 30 million albums sold worldwide Contributed to over 6 million singles sold worldwide For over a decade, Dwele has been one of R&B's most Multi Grammy Award Nominee & 1 Participatory Win Reliable Stars. Album after album, he brings nothing 2x Platinum Single Feature, Power w/ Kanye West but great music along with top tier, live performances Worldwide. From critically acclaimed releases and Platinum Single Feature, Flashing Lights w/ Kanye West! collaborations, he has proven to be an intrinsic force in urban pop culture with no signs of slowing down. His sophisticated & affluent fan-base makes him a true winner that will exceed your every expectation. Dwele is…“one of Big R&B’s, Best Kept Secrets” - Wendy Williams The Artistry TM Who is the man that consistently sells out all of the sophisticated & chic venues throughout North America like City Winery and legendary venues all around Europe like The Jazz Café in London for several consecutive nights? Dwele (pronounced dwell-lā ) hails from the legendary music mecca of Detroit, lives a life in song. From stirring melodies composed on piano keys, he writes poignant music, performs with natural grace and captivates with his clear, silky tone. He is a songwriter, producer, multi instrument musician and vocalist carrying on a Motown-inspired tradition instilled in another era. Yet Dwele has cultivated his own spirited road with five critically acclaimed albums “Subject”, “Some Kinda”, “Sketches Of A Man”, “W.ants W.orld W.omen” and “Greater Than One” behind him. His Motor City story in sounds and upbringing resonates with genuine soul and heʼs in full stride of scribing his own musical legacy." " Dwele was brought up in a highly musical family that was tragically pared down to his mother and younger brother, once his father was gunned down outside their home.