The Hilltop 10-4-1974
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Automatic Recognition of Samples in Musical Audio
Automatic Recognition of Samples in Musical Audio Jan Van Balen MASTER THESIS UPF / 2011 Master in Sound and Music Computing. Supervisors: PhD Joan Serr`a,MSc. Martin Haro Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona Acknowledgement I wish to thank my supervisors Joan Serr`aand Martin Haro for their priceless guidance, time and expertise. I would also like to thank Perfecto Herrera for his very helpful feedback, my family and classmates for their support and insightful remarks, and the many friends who were there to provide me with an excessive collection of sampled music. Finally I would like to thank Xavier Serra and the Music Technology Group for making all this possible by accepting me to the master. Abstract Sampling can be described as the reuse of a fragment of another artist's recording in a new musical work. This project aims at developing an algorithm that, given a database of candidate recordings, can detect samples of these in a given query. The problem of sample identification as a music information retrieval task has not been addressed before, it is therefore first defined and situated in the broader context of sampling as a musical phenomenon. The most relevant research to date is brought together and critically reviewed in terms of the requirements that a sample recognition system must meet. The assembly of a ground truth database for evaluation was also part of the work and restricted to hip hop songs, the first and most famous genre to be built on samples. Techniques from audio fingerprinting, remix recognition and cover detection, amongst other research, were used to build a number of systems investigating different strategies for sample recognition. -
Flanagan's Running Club – Issue 36
Flanagan's Running Club – Issue 36 Introduction The first rule of Flanagan's Running Club is everyone should be telling everyone they know about Flanagan's Running Club! After all, sharing is caring. Details of how to sign up is in the epilogue. There is no need to panic, there is no actual running involved, it is not a running club in that sense. The title is made up from extending the title of my favourite book – Flanagan’s Run by Tom McNab. So enjoy the read. On This Day – 10th July 1212 - The most severe of several early fires of London burns most of the city to the ground. 1553 - Lady Jane Grey takes the throne of England. 1913 - The temperature in Death Valley, California, hits 134 -F (57 -C), the highest temperature ever to be recorded on Earth. 1962 - Telstar, the world's first communications satellite, is launched into orbit. 1985 - The Greenpeace vessel Rainbow Warrior is bombed and sunk in Auckland harbour by French DGSE agents, killing Fernando Pereira. It’s Nikola Tesla Day Statehood Day (Wyoming) 365 Reasons To Be Proud To Be A Londoner - Magical Moments in London's History Telstar, the first satellite to supply a live transatlantic television feed, and the first privately sponsored space launch, was blasted into orbit today in 1962. Although launched by NASA, it was actually co-designed by the General Post Office and internationally co-ordinated from the BBC Television Centre in London. It also successfully relayed through space the first telephone calls and fax images. Chuck D Presents This Day In Rap And Hip-Hop History N.W.A. -
Malone & Barnes and Spontaneous Simplicity
MALONE & BARNES AND SPONTANEOUS SIMPLICITY - FREEDOM SERENADE STREET DATE: 2/20/2007 Singer and songwriter Johnny Malone met The album features the nucleus of the Malone & Barnes and Spontaneous Simplicity group and some well-known saxophonist and flutist Allan Barnes while they local guests. Johnny Malone was on lead vocal, piano, were students at Howard University in Washington clavinet, and synthesizer, Allan Barnes on “afro horns,” DC in the 1960's. In addition to being under the clarinet and flutes, Tom Newman on guitar, John Bebbs on drums, Siggie Dillard on bass, Andre Richardson on tutelage of Donald Byrd who was head of Jazz congas, timbales, percussion and Delbert Taylor playing Studies, they were classmates with future stars trumpet, vocals and piano. Guests included Brian like Donny Hathaway, Leroy Hutson, and Angela Jackson, of Gil Scott Heron fame, and Curtis Pope, music Winbush. Barnes was already a member of the director for Wilson Pickett, on trumpet amongst others. hugely popular soul jazz pioneers The Blackbyrds. Malone & Barnes' writing and playing skills also surfaced on other artists' work. They co-wrote several tunes putting When the two friends formed Malone & Barnes and Spontaneous A Taste of Honey on the map with "Boogie Oogie Oogie" Simplicity (named after the tune by Sun-Ra, whose band Barnes and "Disco Dancin'". They released a follow-up album in regularly appeared with when in Washington, DC) the 1984 called The Caretaker which featured Fred Wesley on collaboration yielded Freedom Serenade, an album of super trombone and Larry Fonce and Rod Mizell on production. spacey and spiritual jazz funk. -
SOUL KITCHEN Records, Apprenticeship Bakery Wages Allowing
Newsletter No. 14 February 2002 An Editor is only as good as his editorial team (which makes Keith really, really good) you liked, you could normally catch up on past SOUL KITCHEN records, apprenticeship bakery wages allowing. It was there I remember buying my first Tams Forty Five, 'What Kind Of Fool (Do You Think I Am)' on HMV and was immediately captured by Joseph Pope's distinctive ragged hoarse lead vocals, and the group’s rough, but tight harmonies. The original members, Joseph Pope, Charles Pope, Robert Lee Smith, and Horace Kay got together in 1952 whilst still at high school in their hometown of Atlanta, Georgia. Their formative years as The Four Dots were spent gigging around the local club/dances/high school circuit. In the late fifties Floyd 'Little Floyd' Ashton was Hello and welcome once added to the line-up. It was again to my steaming Soul around this time that the Kitchen. group changed its name to The Tams, apparently the Well, dreary January's out of name being derived from the way. There's lots of live music around the them wearing multicoloured corner, so I guess it's time to get the soulmobile tam o'shanter hats, (a high out, and get grooving. The remaining half of Sam entry to our soul hat top ten and Dave, Sam Moore. The Delicious Jean chart), for performances. Carne. The dangerously big soul sound of Tower Of Power. The legend Ike Turner. The urban 1961 saw one release on the Heritage label sound of New York blues, Michael Hill's Blues 'Vacation time'/'If Love Were Like Rivers' which Mob. -
Brief Resume ROBERT STEWART ALLISON EDUCATIONAL
Brief Resume ROBERT STEWART ALLISON EDUCATIONAL BACKGROUND Cass Technical High School 1970-1974 Music Performance University of Cincinnati 1974-1978 Music Education PROFESSIONAL QUALIFICATIONS Percussionist - Mallett Percussion Specialist, Including MIDI-KAT, Jazz Vibraphone, Marimba and Ghanian Balaphone. A Master of Mallett-Triggered Digital Interfaces Arts Administrator, Percussion and Music Educator, Arts Consultant DISCOGRAPHY "Because He Lives" With Wayne Dunn, Majestic Records 1980 "The Motherland" With Allan Barnes & Larry Williams 1981 "Montreux Jams I" With Pepper Adams & Roland Hanna 1982 "Bigger" With Kamau Kenyatta, Omni Arts Rec. 1985 "Now To Then" With Ron English, Hot Doc Records 1987 PROFESSIONAL EXPERIENCE ADMINISTRATIVE The Storytellers, Inc., Administrative Director 1983-2016 Works directly with educators, curators and performing arts presenters in the Great Lakes Region in developing and implementing educational presentations. Performs all daily, on- going clerical and administrative management, serves as the liaison for artists-educators, board, presenters and consultants. Other responsibilities are; tour and artist residency planning, proposal development, marketing of programs, preparing-submitting reports to governing board, sponsors, state and local governments. Artists' Manager and Consultant 1991-2007 Assisted five Detroit performing artists obtain professional photographs, prepare promo brochures and prepare grants - which were awarded. Served as panelist for MCACA and served on the board of ArtServe Michigan. EDUCATIONAL Schoolhouse Symphony, Inc., Music Educator and Clinician, 1978-1979 Taught general music and percussion at Covington Catholic High School in Covington, Kentucky. Adjudicated regional (Kentucky, Ohio and Indiana) high school band instru- mentalists contests for the M.E.N.C. and the Ohio Music Educators' Association. Cincinnati Commission on the Arts, Artist-In-Residence, 1978-1980 Presented lecture-demonstrations in the Cincinnati Public School District. -
MARY STALLINGS ANGELICA SANCHEZ PAUL Mccandless
SEPTEMBER 2016—ISSUE 173 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM STEVE COLEMAN elemental MARY ANGELICA PAUL LAURIE STALLINGS SANCHEZ McCANDLESS FRINK Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East SEPTEMBER 2016—ISSUE 173 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Mary Stallings 6 by suzanne lorge [email protected] Andrey Henkin: [email protected] Artist Feature : Angelica Sanchez 7 by ken waxman General Inquiries: [email protected] On The Cover : Steve Coleman 8 by russ musto Advertising: [email protected] Encore : Paul McCandless by john pietaro Calendar: 10 [email protected] VOXNews: Lest We Forget : Laurie Frink 10 by eric wendell [email protected] LAbel Spotlight : WhyPlayJazz by ken waxman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Miscellany 33 Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 34 Andrew Vélez, Ken Waxman Contributing Writers Tyran Grillo, Matthew Kassel, Eric Wendell, Scott Yanow 60 is the new 40, which is the new black, which is the...you get the idea. -
Marcus Belgrave 2009 Kresge Eminent Artist 2009 Kresge Eminent Artist 1
Belgrave 2009 Marcus Kresge Eminent Artist Eminent Kresge Marcus Belgrave 2009 Kresge Eminent Artist 2009 Kresge Eminent Artist 1 Contents FOREWORD 3 Rip Rapson President and CEO, The Kresge Foundation PORTRAIT OF AN ARTIST 7 A Syncopated Journey by Claudia Capos 10 The Life and Be-Bop Times of Marcus Belgrave: A Timeline MASTER OF THE MUSIC 19 The Early Years: On the Road with Ray by W. Kim Heron “I want to see the music 20 Jazzin’ Up Motown by Sue Levytsky 22 Key Change: Evolution into the Avant-Garde by W. Kim Heron 24 Back to Big Time, Good Time, Old Time Jazz by Sue Levytsky of America continue. 27 Selected Belgrave Discography We have so much to give. Our music PASSING ON THE TRADITION 32 Marcus – The Master Teacher by Herb Boyd keeps coming, bubbling up 37 The Lesson Plan by W. Kim Heron 38 The Belgrave Method: Students Take Note from a reservoir. I’m happy to have been 39 A Letter in Tribute from Anne Parsons and The Detroit Symphony Orchestra a vital part of an era, 40 Teach Your Children Well 44 Belgrave as Educator and I want to see it endure.” 46 Selected Achievements, Awards, and Recognitions – Marcus Belgrave KRESGE ARTS IN DETROIT 48 The Kresge Eminent Artist Award 48 Charles McGee: 2008 Kresge Eminent Artist 49 A Letter of Thanks from Richard L. Rogers and Michelle Perron College for Creative Studies 50 Kresge Arts in Detroit – Advisory Council 51 About The Kresge Foundation 51 The Kresge Foundation Board of Trustees 52 Acknowledgements LISTEN TO ”Marcus Belgrave: Master of the Music” THE ACCOMPANYING CD INSERTED INTO THE BACK COVER. -
2018 Kresge Eminent Artist
2018 KRESGE EMINENT ARTIST THE KRESGE EMINENT ARTIST HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PERFORMING OR LITERARY ARTS for lifelong professional achievements and contributions to metropolitan detroit’s cultural community. wendell harrison is the 2018 kresge eminent artist. this monograph commemorates his life and work. A sampling of the multitude of recordings in which Wendell Harrison has played a major role as lead artist, guest artist, producer and/ Photo taken by Julie Pincus at Tennant & Associates, or distributor in his more than 50 year career the Michigan Design Center. Troy, Michigan. as a jazz artist and entrepreneur. """""""""" Contents 5 Foreword By Rip Rapson, President and CEO, The Kresge Foundation 6 Artist’s Statement LIFE 10 The Sound and Vision of Wendell Harrison By Sue Levytsky MUSIC 26 Six Degrees of Wendell Harrison: A Constellation of Jazz Connections 28 All that Jazz 36 The Axe and the Licking Stick LEGACY 40 Made in Detroit: Jazz from the Motor City On Taking Control and Tribe By Mark Stryker 48 Tribe, The Magazine 52 After Tribe: Rebirth and Revision By Larry Gabriel 54 The Teachings of Wendell Harrison By Susan Whitall 58 Other Voices 62 Biography KRESGE ARTS IN DETROIT 72 Our Congratulations Christina deRoos, Director, Kresge Arts in Detroit Richard L. Rogers, President, College for Creative Studies 74 The Kresge Eminent Artist Award and Winners 74 2016-2017 Advisory Council 76 Credits & Acknowledgements Photos by Julie Pincus """""""" """""""" """""""" Foreword We often invoke as a figure of speech the phrase, “Art moves us.” wendell harrison takes us beyond metaphor. he comes to us from the aesthetic of jazz, and he exemplifies the special relationship jazz has always enjoyed with motion. -
Over 1000 Breakbeat List
Over 1000 Breakbeat List 1. Stop - Wake Up 2. Superman Ivy - Yes Yes Ya'll 3. Superman Ivy - Yes Yes Ya'll (Remix) 4. Superman Ivy - Yes Yes Ya'll (Acapella) 5. Superman Ivy - Yes Yes Ya'll (Instrumental) 6. Tha Alkaholiks - Make Room 7. Thalia - The Mexican (Disco Circus Remix) 8. The 45 King - The 900 Number 9. The Beginning Of The End - Funky Nassau 10. The Meters - Same Old Thing 11. The Poets Of The Rhythm - North Carolina 12. The Ying Yang Technique - LUDI 13. Black Eyed Peas - They Don't Want Music 14. Third World Lover - Kid Koala 15. Ultramagnetic MC'S - One To Grow On 16. Visionaries - Crop Circles 17. Watch Out Now - Beatnuts 18. Yellow Sunshine 19. Yoshida Brothers - Storm 20. Da Boogie Crew - You Boys (Remix) 21. Zion-I & The Grouch - Trains & Planes 22. RJD2 - The Horror 23. Rob Dougan - Clubbed To Death 24. RUN DMC - It's Tricky 25. Safri Duo - Rise (Remix) 26. Sapo - Been Had 27. Scooter - Bboys/Bgirls Rock Tha House 28. Skrip Breaks - Enemy Crush 29. Sorea - Soul In Panic 30. Souls Of Mischief - 93 Till Infinity 31. Southside Rockers - Jump 32. Stetsasonic - Talkin' All That Jazz 33. Stetsasonic - The Hip Hop Band 34. Superman Ivy - Rivers Crew Theme 35. Superman Ivy - Rivers Crew Theme (Instrumental) 36. Superman Ivy - Rivers Crew Theme (Acapella) 37. Superman Ivy - Seoul Futureshock 38. Superman Ivy - The Freshest Ivy 39. Superman Ivy - The Freshest Ivy (Acapella) 40. Superman Ivy - The Freshest Ivy (Instrumental) 41. Mark Ronson Feat. Ghostface Killah, Nate Dogg, Trife - Ooh Wee 42. -
Byrd Uows 'Hot Horn' by TOM GORMAN and Apparently, Outstanding Were Rhythmically Cohesive and Staffwriter Students
REVIEW Byrd Uows 'hot horn' By TOM GORMAN and apparently, outstanding were rhythmically cohesive and StaffWriter students. provided a consistent Afro- Variegated jazz in Byrd chose to limit his own tempo throughout the set. terpretations by Donald Byrd, solos to allow his prize pupil, Charles Lloyd performed in Charles Lloyd and Gabor Szabo Alan Barnes,(tenor saz, soprano an unrestrained, exploratory, was the subject of the latest sax and flute) to demonstrate avante garde manner. On the presentation of Super Season. his style, which was quite few occasions that Lloyd did The performance was marked progressive at times. Byrd was give his "iron" lungs a rest, the by often whimsical ex very attentive to his students' back-up guitar bass and drums perimentation by the groups. efforts and acted as a father- would double the decibel level. Before a fairly large crowd, moderator. They took a confusingly the three reknowned jazz Hot horn divergent course into Jimi groups performed in the gym at The opening number was a Hendrix-land, only to return to CSUN Saturday night. It's bop tune which primed the their more passive duties with unfortunate that the gym has audience for the group's tight, Lloyd's atonal and rythmically such poor acoustical qualities, hour-long performance. Byrd complex wanderings. because this factor undoubtedly played "Fancy Free," which Lloyd's youthful co-members had a negative effect on the featured some of his own hard performed with a rock- efforts of the musicians "cookin"." orientation, in contrast to throughout the night, Byrd has definitely evolved Lloyd's directions into "new" Donald Byrd and his band, into a superb horn player. -
Groove Theory: a Vamp on the Epistemology of Funk
Groove Theory 9 Groove Theory: A Vamp on the Epistemology of Funk Tony Bolden When asked to define funk, George Clinton once said, “If it makes you shake your rump, it’s the funk.”1 At the most basic level, the term “funk” signifies honesty and beauty of expression at the depths of human emotion. As such, funk comprises the secular counterpart of “the spirit”—what Albert Murray calls “paroxysms of ecstasy”—in black church worship. Writing about James Brown, the musicologist Teresa L. Reed makes an observation that is applicable to funk music generally. She states that the music “captures the soulful spontaneity of the Sanctified church and the animated exhortation of the Sanctified preacher. [The music] also emulates and incites an emotional intensity parallel to the Holy Spirit possession that is a trademark of the Sanctified worship service.”2 Teddy Pendergrass makes a similar point in his memoir Truly Blessed. Recall- ing his childhood experiences in what he described as a “rock-‘em, sock-‘em, sanctified, feel-the-Spirit church,” Pendergrass said, “We talk today about the innovations in rhythm made by great jazz musicians and pioneers like James Brown, but the truth is, they had nothing on a congregation going full force in praise of the Lord.”3 The musicologist Guthrie P. Ramsey, Jr. echoes Pendergrass’s statement in his recollection of his experiences as a member of the Sanctified Band in Chicago. According to Ramsey, “Funky was the watchword . God liked funky. Funky ministered to the people.”4 Of course, black churches have always functioned as training repositories for black musicians, but the frenzy and kinetic expression associated with holiness churches played a disproportionate 0026-3079/2013/5204-009$2.50/0 American Studies, 52:4 (2013): 9-34 9 10 Tony Bolden role in funk music.