KAMASI WASHINGTON Orchestra for Their 2006 Album, in Our Even Jazz, the Sleeping Giant of African- Time

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KAMASI WASHINGTON Orchestra for Their 2006 Album, in Our Even Jazz, the Sleeping Giant of African- Time

American jazz saxophonist, composer, and electrify the militant black nationalist producer, and bandleader Kamasi movement”. Washington ventured into big band music when he joined the Gerald Wilson Amid this infusion of political energy, KAMASI WASHINGTON Orchestra for their 2006 album, In Our even jazz, the sleeping giant of African- Time. Washington played saxophone on American culture, shows signs of stirring... Kendrick Lamar's To Pimp A Butterfly. Its resurgence takes a number of forms, His debut solo recording, The Epic, was none more imposing than the majestic released in May 2015 to critical acclaim. - figure of Kamasi Washington. The tenor wikipedia saxophonist, 35, is a key member of a thriving Los Angeles jazz scene that is Ludovic Hunter-Tilney, ft.com (June attracting new crossover audiences to the 2016): music. Last year he released a much praised debut album, The Epic, whose political What has been dubbed “the second orientation is summed up by a track civil rights movement” is unfolding, like eulogising Malcolm X, the controversial the first, against a backdrop of music. black nationalist leader. “The whole Beyoncé hijacked this year’s Super point of playing this music is to convey a Bowl half-time show with the Black message,” Washington says. Power-themed performance of her song “Formation”, inspired by the Black Lives + + + + + Matter campaign against racist violence in the US. Protesters chanted lyrics from Thanks to survivor69 for sharing the show the rapper Kendrick Lamar’s album To at Dime. Pimp a Butterfly after being pepper- sprayed by police last year during a Lineage: Cleveland rally. The reclusive soul singer ITT HiFi4060 Tuner > Audacity 2.0 via Asus D’Angelo emerged from a 14-year silence A7S333 C-Media CMI8738/C3DX soundcard Bologna Jazz Festival in 2014 with Black Messiah, an album > 44100hz/16bit .aup > flac level 8 Locomotiv Club, Bologna, Italy that took its name from J Edgar Hoover’s FM radio broadcast by “Il Cartellone - Radio 1968 directive that the FBI must prevent Tre Suite Jazz”, Radio 3 RAI [third channell November 9, 2015 “the rise of a ‘messiah’ who could unify of Italian national radio] MP3 Version Disc 1 Disc 2 00. radiointro 5:42 01. spoken introductions 3:23 01. intro 3:47 02. drums battle 8:33 Bologna 2015 Washington Kamasi 02. Re Run 13:47 03. The Magnificent Seven 16:13 03. spoken introductions 2:08 04. spoken introductions 0:45 04. Henrietta Our Hero 11:58 05. The Rhythm Changes 18:41 05. spoken introductions 1:38 06. thanks 0:42 06. Giant Feelings 14:52 07. radioutros 0:53 54 mins 50 mins Kamasi Washington - tenor saxophone Rickey Washington - flute and soprano saxophone Patrice Quinn - vocals Ryan Porter - trombone Brandon Coleman - keyboards Miles Mosley - bass Kamasi Washington Bologna 2015 Washington Kamasi Tony Austin, Ronald Bruner - drums Naughty Dog Trade Freely. Naughty Dog Not For Sale..

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Cameron Graves – A.K.A
Cameron Graves – A.K.A. The Planetary Prince – Brings Thrash-Jazz to the Universe with Seven Album Features Special Guest Kamasi Washington Alongside Guitarist Colin Cook, Bassist Max Gerl, and Drummer Mike Mitchell Pianist, composer and vocalist Cameron Graves calls the music he’s architected for his new Artistry Music/Mack Avenue Music Group release thrash-jazz, though that only begins to tell the story. Yes, upon an initial listen, the juggernaut metal force and hardcore precision of Seven can knock you back. After all, Graves grew up in metal-rich Los Angeles, headbanging to Living Colour as a kid and, after immersing himself in jazz and classical studies for years, reigniting his love for hard rock through records by Pantera, Slipknot and his most profound metal influence, Swedish titans Meshuggah. But listen closer to Seven, Graves’ follow-up to 2017’s Planetary Prince (which Pitchfork called a “rousing debut”). “Los Angeles is a melting pot of everything,” Graves points out. His father, Carl Graves, was a great soul singer, and you can hear his imprint along with the likes of Marvin Gaye and Otis Redding, on “Eternal Paradise,” which marks the younger Graves’ vocal debut. Throughout the album, the generation of 1970s jazz-rock fusion pioneers is a source of inspiration. “Our mission is to continue that legacy of advanced music that was started by bands like Mahavishnu Orchestra, Weather Report and Return to Forever,” Graves says. “That was instilled in us by the masters. Stanley Clarke, Chick Corea, Herbie Hancock—these guys sat with us and told us, ‘Look, man, you’ve got to carry this on.’” The “us” that Graves refers to would include the core quartet on Seven, as well as the West Coast Get Down, the now well-known expansive yet fraternal clique of high school friends who became some of the most influential jazz-rooted musicians to emerge in recent decades: saxophonist Kamasi Washington, who guests on two of Graves’ 11 new tracks; bassists Thundercat and Miles Mosley; drummers Ronald Bruner Jr.
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