That Persistently Funky Drummer
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James Brown's 'Funky Drummer'
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by edoc Publication server Continuity and Break: James Brown’s ‘Funky Drummer’ Anne Danielsen, University of Oslo Abstract: In groove-oriented music, the basic unit of the song is repeated so many times that our inclination as listeners to organize the musical material into an overall form gradually fades away. Instead of waiting for events to come, we are submerged in what is before us. Dancing, playing, and listening in such a state of being are not characterized by consideration or reflection but rather by a presence in the here and now of the event. It is likely to believe that there is a connection between such an experience and the ways in which a groove is designed. This article investigates how a groove-based tune, more precisely Funky Drummer by James Brown and his band, is given form in time and, moreover, how this form is experienced while being in such a ‘participatory mode’ (Keil). Of importance is also to discuss how the rhythmic design of the groove at a microlevel contributes to this experience. In groove-oriented music, the basic unit of the song is repeated so many times that our inclination as listeners to organize the musical material into an overall form gradually fades away. Instead of waiting for events to come, we are submerged in what is before us. Our focus turns inward, as if our sensibility for details, for timing inflections and tiny timbral nuances, is inversely proportional to musical variation on a larger scale. -
“We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise
Critical Studies in Improvisation / Études critiques en improvisation, Vol 10, No 1 (2014) “We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise Niel Scobie Introduction Outside of academic circles, “noise” often has pejorative connotations in the context of music, but what if it was a preferred aesthetic with respect to music making? In addition, what if the preferred noise aesthetic was a direct result of group improvisation? Caleb Kelly claims that “Subjective noise is the most common understanding of what noise is. Put simply, it is the sound of the complaint from a stereotypical mother screaming to her teenage son to ‘turn that noise off. To the parent, the aggravating noise is the sound of the music, while it is his mother’s’ voice that is noise to the teenager enjoying his music” (72-73). In Music and Discourse, Jean-Jacques Nattiez goes further to state that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Nattiez quotes from René Chocholle’s Le Bruit to define “noise” as “any sound that we consider as having a disagreeable affective character”—making “the notion of noise [. .] first and foremost a subjective notion” (45). Noise in this context is, therefore, most often positioned as the result of instrumental or lyrical/vocal sounds that run contrary to an established set of musical -
The Top 200 Greatest Funk Songs
The top 200 greatest funk songs 1. Get Up (I Feel Like Being a Sex Machine) Part I - James Brown 2. Papa's Got a Brand New Bag - James Brown & The Famous Flames 3. Thank You (Falletinme Be Mice Elf Agin) - Sly & The Family Stone 4. Tear the Roof Off the Sucker/Give Up the Funk - Parliament 5. Theme from "Shaft" - Isaac Hayes 6. Superfly - Curtis Mayfield 7. Superstition - Stevie Wonder 8. Cissy Strut - The Meters 9. One Nation Under a Groove - Funkadelic 10. Think (About It) - Lyn Collins (The Female Preacher) 11. Papa Was a Rollin' Stone - The Temptations 12. War - Edwin Starr 13. I'll Take You There - The Staple Singers 14. More Bounce to the Ounce Part I - Zapp & Roger 15. It's Your Thing - The Isley Brothers 16. Chameleon - Herbie Hancock 17. Mr. Big Stuff - Jean Knight 18. When Doves Cry - Prince 19. Tell Me Something Good - Rufus (with vocals by Chaka Khan) 20. Family Affair - Sly & The Family Stone 21. Cold Sweat - James Brown & The Famous Flames 22. Out of Sight - James Brown & The Famous Flames 23. Backstabbers - The O'Jays 24. Fire - The Ohio Players 25. Rock Creek Park - The Blackbyrds 26. Give It to Me Baby - Rick James 27. Brick House - The Commodores 28. Jungle Boogie - Kool & The Gang 29. Shining Star - Earth, Wind, & Fire 30. Got To Give It Up Part I - Marvin Gaye 31. Keep on Truckin' Part I - Eddie Kendricks 32. Dazz - Brick 33. Pick Up the Pieces - Average White Band 34. Hollywood Singing - Kool & The Gang 35. Do It ('Til You're Satisfied) - B.T. -
Bytes and Backbeats: Repurposing Music in the Digital
ͭ Bytes and Backbeats ͭ Bytes and Backbeats Repurposing Music in the Digital Age steve savage the university of michigan press / ann arbor Copyright © by the University of Michigan 2011 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2014 2013 2012 2011 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Savage, Steve, 1948– Bytes and backbeats : repurposing music in the digital age / Steve Savage. p. cm. — (Tracking pop) Includes bibliographical references and index. ISBN 978-0-472-11785-7 (cloth : alk. paper) — ISBN 978-0-472-02773-6 (e-book) 1. Popular music—Production and direction. 2. Sound recordings— Production and direction. I. Title. ML3470.S32 2011 781.6409'051—dc22 2011007217 for tamara Together we explored the world while I explored this world. Preface Several of the gracious readers of this book in its various drafts suggested that I should include some biographical information to help orient the reader to this work. I suppose all authors have a story about what brought them to their book, but perhaps in this case it is particularly relevant. My story begins with a career as a drummer during which time I played in nu- merous unsuccessful rock bands, learned some jazz without ever coming close to mastering it, studied and performed African music with a master drummer from Ghana, and spent a couple of years actually making a liv- ing as a musician playing in a dance band. -
The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago, [email protected]
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago, [email protected] Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. Paper 664. http://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr. King’s legacy in mass culture. This work likewise is wrought from an intricate combination of support and insight derived from many individuals who, in some way, shape, or form, contributed encouragement, scholarly knowledge, or exceptional wisdom. -
Biography of James Brown from the Chapter Essay by Ricky Vincent
Biography of James Brown From the Chapter Essay by Ricky Vincent The most important force in the change in black music from blues based to rhythm-based music was James Brown. Brown’s 50-plus year career began in 1952 and lasted until his passing on Christmas Day 2006. Brown was known as “Soul Brother Number One” by fans who appreciated his intensely passionate delivery, his professionalism, and his close community connections. Born in a one-room shack in rural South Carolina, James Brown was raised by his aunts in Augusta, Georgia, who ran a brothel. There Brown learned first hand the nuances and necessities of the hustle, and Brown was soon on the streets of Augusta engaging in odd jobs, and eventually petty crimes and juvenile offenses. At the age of 16 Brown was caught stealing a coat from a car, and was given an eight year sentence. Upon his release in 1952 after only 3 years Brown stayed with the family of local singer Bobby Byrd, and joined Byrd’s group the Gospel Starlighters. Shortly after seeing the popularity of secular performance in the region, the group renamed itself the Famous Flames and performed a repertoire of rhythm and blues hits. Brown developed an appealing raw style that was popular throughout the South at the time. His first recording is now legendary, as the urgently begging ballad “Please, Please, Please” has been a part of his show for 50 years. The James Brown tour became the most celebrated R&B show on the circuit, with a show stopping performance, crisp, clean band and a number of stage antics, giveaways, raffles, and visits from local celebrities. -
Flanagan's Running Club – Issue 15
Flanagan's Running Club – Issue 15 Introduction The first rule of Flanagan's Running Club is everyone should talk about Flanagan's Running Club! Feel free to forward on to anyone you want, tell people about it the works, and just get them to sign up. Can I ask you all a favour, please can you review my book on Inkitt, and the link is below. Even if you don’t take time to read it properly, please flick through a few chapters, give it ratings and a review and vote for it please. It may help me get it published. https://www.inkitt.com/stories/thriller/201530 On This Day – 31st October 1922 – Benito Mussolini is made Prime Minister of Italy 1984 – Indian Prime Minister Indira Gandhi is assassinated by two Sikh security guards. Riots break out in New Delhi and other cities and around 3,000 Sikhs are killed. 2011 – The global population of humans reaches seven billion. This day is now recognized by the United Nations as the Day of Seven Billion. It’s Saci Day in Brazil It’s also World Savings Day And it’s World Cities Day Mapping The London Year 1795 – The poet John Keats is born in Moorgate. Keats’ parent both died by the time he was 14 (his father from falling from a horse and his mother from tuberculosis), and he was sent to live with his grandmother in Edmonton. Keats was left £800 (the equivalent of about £34,000 today) by his grandfather and a share of a legacy from his mother of £8,000 (about £340,000 today) but was apparently never told of either, as he never applied for any of the money. -
James Brown, Kraftwerk, and the Practice of Musical Time-Keeping Before Techno
University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2007-2008: Penn Humanities Forum Undergraduate Origins Research Fellows April 2008 When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno David Reinecke University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2008 Reinecke, David, "When I count to four…: James Brown, Kraftwerk, and the practice of musical time- keeping before Techno" (2008). Undergraduate Humanities Forum 2007-2008: Origins. 9. https://repository.upenn.edu/uhf_2008/9 2007-2008 Penn Humanities Forum on Origins, Undergraduate Mellon Research Fellows. URL: http://humanities.sas.upenn.edu/07-08/uhf_fellows.shtml This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2008/9 For more information, please contact [email protected]. When I count to four…: James Brown, Kraftwerk, and the practice of musical time- keeping before Techno Abstract "Of all creative artists," wrote Hector Berlioz in his famous orchestration treatise, "the composer is almost the only one to depend on a host of intermediaries between him and his audience" (Berlioz, 2002 [1856]: 336). These intermediaries – the orchestra and its leader and time keeper, the conductor – "may be intelligent or stupid, devoted or hostile, energetic or lazy; from first ot last they can contribute to the glory of [the] work, or they can spoil it, insult it, or even wreck it completely" (Ibid.). From written score to performance, realizing a composer's work of music becomes an acute problem of both collective action and aesthetic interpretation. The chief mediator between the composer's artistic intention and its social realization is the conductor, who through his or her authority not only asserts and determines the tempo of a performance, but also establishes its nuance, feeling, and overall interpretation. -
Percussion Catalog
PERCUSSION CATALOG 2 DRUMSET – INSTRUCTION AND TECHNIQUE 2 VIDEOS AND DVDS 7 BOOKS 11 PETER MAGADINI 11 FAST TRACK DRUMS 14 PLAY DRUMS TODAY! 17 DRUMSET – PERFORMANCE 17 VIDEOS AND DVDS 20 TRANSCRIPTIONS 23 TRANSCRIBED SCROES 29 GIG GUIDES 30 SNARE DRUM 33 MALLETS 36 TIMPANI 38 HAND PERCUSSION 40 ELECTRONIC PERCUSSION 41 SUPPLEMENTARY MATERIALS 43 SOLOS & ENSEMBLES 46 REFERENCE 51 CLASSROOM RESOURCES 53 HOW TO ORDER 54 ORDER FORM 1-800-637-2852 www.musicdispatch.com Prices, contents, and availability subject to change without notice. 2 DRUMSET – INSTRUCTION & TECHNIQUE VIDEOS AND DVDS BASIC BRAZILIAN AFRO-CUBAN COORDINATION GENERAL INSTRUCTION RHYTHMS FOR DRUMSET ACCELERATE WHEN MUSIC WORKS DVD featuring Maria Martinez YOUR DRUMMING SERIES Hal Leonard EXERCISES AND TIPS TO MAKE YOU featuring Ricardo Monzón In this exciting video from Hal BETTER – FASTER Berklee Press Leonard, respected percussionist, by Larry Finn Learn how to play and practice clinician and educator Maria Rittor Music the classic rhythms of the Afro- Martinez reveals her revolutionary studies for Brazilian drumset Covers everything from hand Cuban tradition with Berklee coordination. She covers: bossa technique to some pretty advanced professor Ricardo Monzón. Monzón demonstrates the nova, samba, partido alto and baiao styles; beats such as grooves and fills. The grooves patterns and instruments that form the beating heart of 4/4 Bossa Nova, 2/2 Samba, plus 3/4 and 7/4 examples of include funk, rock, hip-hop, the Afro-Cuban tradition, on clave, conga, timbale, both; and rhythmic phrases and studies including shuffles, and Latin. The main message in this video is bongo and guiro. -
Fela Kuti, James Brown and the Invention of Afrobeat
Make It Funky 99 Make It Funky: Fela Kuti, James Brown and the Invention of Afrobeat Alexander Stewart Evoking the image of ships and black sailors navigating the Atlantic, Paul Gilroy’s heuristic stresses dynamic cultural exchange among diverse popula- tions of the African diaspora and the mother continent itself—the “black Atlan- tic.” Gilroy argues for the central role of black musical expression in producing a “distinctive counterculture of modernity” on a basis of shared oppression, common goals, and hybrid cultures (Gilroy, 1993, 36). While the perspective of black Americans’ discovery and cultivation of African cultures and sensibili- ties (both historical and imagined) is more familiar to those on this side of the Atlantic, this process also figured importantly on the African continent. During the early postcolonial years, the interest of African Americans in discovering their African roots stimulated a similar impulse in some Africans. Describing the epiphany brought on by his 1969 trip to the United States, Fela Anikulapo Kuti, the originator of the jazz, funk, and soul-infused genre Afrobeat, recalled: It was incredible how my head was turned. Everything fell into place, man. For the first time, I saw the essence of blackism [black nationalism]. It’s crazy; in the United States people think the black-power movement drew inspiration from Africa. All these Americans come over here looking for awareness. They don’t realize they’re the ones who’ve got it over there. Why we were even ashamed to go around in na- 0026-3079/2013/5204-099$2.50/0 American Studies, 52:4 (2013): 99-118 99 100 Alexander Stewart tional dress until we saw pictures of blacks wearing dashikis on 125th Street. -
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. -
Swing Rhythm in Classic Drum Breaks from Hip-Hop's Breakbeat Canon
Swing Rhythm in Classic Drum Breaks 291 SWING RHYTHM IN CLASSIC DRUM BREAKS FROM HIP-HOP’S BREAKBEAT CANON 1 ANDREW V. F RANE other instrumentation. Some drum breaks—typically University of California, Los Angeles from funk, soul, and rock records of the late 1960s through early 1980s—have been sampled so frequently CERTAIN RECORDED DRUM BREAKS, I.E., DRUM that they have achieved iconic status, earning a place in patterns played without other instrumentation, have what some authors have appropriately called the ‘‘break- achieved iconic status, largely as a result of being fre- beat canon’’ (Oliver, 2015; Williams, 2014). The present quently ‘‘sampled’’ in other recordings. Although these study refers to these as classic drum breaks. highly influential drum breaks (sometimes called Perhaps the most celebrated classic drum break comes breakbeats) have been integral to much of the hip- from James Brown’s ‘‘Funky Drummer,’’ which has been hop and other music produced in recent decades, there sampled in thousands of recordings (Schloss, 2014), has been little scholarly investigation of their rhythmic including hip-hop songs by Run-D.M.C. (‘‘Run’s House’’), features. To that end, this study examined 30 classic Kwame´ (‘‘The Rhythm’’), and L. L. Cool J (‘‘Mama Said drum breaks from the ‘‘breakbeat canon,’’ focusing pri- Knock You Out’’ and others). In fact, Oliver (2015, p. 180) marily on sixteenth-note swing (a systematic delay of noted that ‘‘Funky Drummer’’ has been ‘‘sampled and even-numbered sixteenth-note divisions of the pulse). recontextualized so extensively as to achieve near- Such swing was common among the examined drum ubiquity in a wide range of popular music genres.’’ Yet breaks, though the magnitude of swing was often fairly other classic drum breaks have arguably achieved even subtle (median swing ratio ¼ 1.2:1).