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Basslines 6: Roots, Dancehall, and Karaoke
Basslines 6: Roots, Dancehall, and Karaoke Column in zweikommasieben Magazin #15, 2017 (www.zweikommasieben.ch ) Annotated version with sound and text references Text: Marius ‚Comfortnoise‘ Neukom ( www.comfortnoise.com ) With his 2000 book Bass Culture: When Reggae was King , Lloyd Bradley presented the most comprehensive, varied, and entertaining history of reggae to date. In its last section, however, the book takes a surprising turn – Bradley argued that the history of reggae came to an end in the mid-80s, and left was without any notable offshoots. This is an astonishing thesis, especially coming from an author like him. What were the arguments behind it, and what kind of light do the fifteen+ years since the book’s pub- lication shed on its legitimacy? In the early 1970s, after ska and rocksteady 1, Jamaica found in reggae a style that was distinctive in both musical profile and content. It was a style that would go on to influ- ence the identity of a generation and that was characterized by the social and political 1 The origins lie in the boom of the still colonial Jamaica of the 50s, when first sound systems (loud- speakers placed under free sky) were playing mento, calypso, r&b, jazz and soul. At the end of the 50s in the ghettos of Kingston, ska (https://en.wikipedia.org/wiki/Ska ) emerged: a mixture of the aforementioned music styles that became the first genuine Jamaican genre. With the high pace of ska, its emphasis on the rhythm and by broaching the issue of everyday life in the ghetto, the first gangsters entered the stage. -
Reggae Bass Pdf, Epub, Ebook
REGGAE BASS PDF, EPUB, EBOOK Ed Friedland | 32 pages | 01 Nov 1998 | Hal Leonard Corporation | 9780793579945 | English | Milwaukee, United States Reggae Bass PDF Book Reggae Rock. Here's a cool trick I learned to get super sub dubby bass tone: use an envelope filter, but turn the sensitivity all the way down so that it never opens. Print this page Do you know your Reggae Bass? No effects. May 26, Chapel Hill, NC. Fender Mustang Amp Review. Walking lines and swung bass lines in reggae tend to stay behind the beat and generally play very relaxed. Reggae Guitar. Reggae Love Songs. All rights reserved. You can accomplish everything with a few basic EQ and technique changes. Mostly no effects, it is really about the groove, not the tone. Do you use effects in reggae? It was also during this time that bass players were given a little bit more musical freedom and bass lines during this period began to become more intricate — relatively speaking bearing the standards set by ska and rocksteady in mind from before. Extra sustain and super round, phat but clean bass. Reggae Bass Scales. Use the previous reggae grooves as a blueprint for creating your own and listen to a lot of reggae bands for inspiration. Reggae Instrumental. The earliest form of music to come from Jamaica was a mid-tempo style of music called ska. While the One Drop Rhythm is fundamentally a single strike of the kick and the snare at the same time, there is some ambiguity on whether or not the drop is on beat three or just on beats two and four. -
Carlton Barrett
! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures. -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
Folio 90 July - Dec 2013
FOLIO 90 JULY - DEC 2013 ASIA FOCUS MAPPING MAYMELBOURNE 18 - JULY 31 multiculturalarts.com.au Agung Gunawan, Shadows on the Wall A Celebration of Melbourne Ska Tony Yap Sinit Tsegay, Jill Morgan and Anbessa Gebrehiwot, Sydney EDITORIAL In the expression of diverse cultures through Art we This is the first time the partners have come together Island Festival (Java/Bali/Indonesia) held in June 2013, who performed with Sydney’s Ali and Yama Sarshar enable people to feel connected and represented, and to collaborate in such a unique way. Ping Pong has stimulated and driven by Tony Yap (Australia/Malaysia) collaborating with Morganics and Bobby Singh. Art enables us to learn about each other in creative gathered high caliber, skilled artists from different parts and Agung Gunawan (Indonesia). MAV plans to link and expressive ways that contributes to greater of the globe to exchange ideas and create new artworks Mapping Melbourne to these two ‘sister’ festivals and Another key partnership initiative is the MAV & understanding and respect. that can greatly enrich the dialogue between countries. create an opportunity for dynamic and ongoing cultural Melbourne Theatre Company (MTC’s) Ambassadors In Australia (Melbourne) Ping Pong involves Australian exchange with Asia. Our collaborative work with TYC was program MTC CONNECT which was announced by Multicultural Arts Victoria continually demonstrates artist Greg Creek and Colombia-based artist Jorge Julián a finalist in the recent Australia Arts in Asia Awards. Brett Sheehy at Hamer Hall at the launch of MTC’s 2014 through our work that culturally diverse art creatively Aristizábal who have worked over two months to create program on September the 17th. -
Redalyc.Curwen Best. 2012. the Popular Music and Entertainment
Caribbean Studies ISSN: 0008-6533 [email protected] Instituto de Estudios del Caribe Puerto Rico Harris, Jo Anne Curwen Best. 2012. The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture. Maryland: Scarecrow Press. 211 pp. ISBN: 081087749X. Caribbean Studies, vol. 42, núm. 1, enero-junio, 2014, pp. 269-272 Instituto de Estudios del Caribe San Juan, Puerto Rico Available in: http://www.redalyc.org/articulo.oa?id=39238126014 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative rEsEñas dE libros • book rEviEws • comptEs rEndus 269 Curwen Best. 2012. The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture. Maryland: Scarecrow Press. 211 pp. ISBN: 081087749X. Jo Anne Harris School of Liberal Arts Georgia Gwinnett College [email protected] pouge, Soca, Tuk, Dancehall, and Calypso! What happens when Straditional Caribbean sounds ‘mash up’ with digital technology? The answer is: a digital revolution and global superstars like Rihanna. In Curwen Best’s The Popular Music and Entertainment Culture of Bar- bados, Pathways to Digital Culture, getting back to the plantation roots of Bajan rhythms provides the historical backdrop to a Barbados phe- nomenon, while at the same time debating how tourism, technology, and transnational influences have transformed popular culture and music in Barbados. For those familiar with Caribbean music and history, one obvious question is: How did plantation drumming evolve into hi-def recor- dings of hip hop, dub, and dancehall? The author, professor of popular culture and literary studies at the University of the West Indies, Cave Hill Campus, offers some interesting comments on multiple paths to a [re]evolution of popular music and entertainment in Barbados. -
The Swell and Crash of Ska's First Wave : a Historical Analysis of Reggae's Predecessors in the Evolution of Jamaican Music
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2014 The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music Erik R. Lobo-Gilbert California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Lobo-Gilbert, Erik R., "The swell and crash of ska's first wave : a historical analysis of reggae's predecessors in the evolution of Jamaican music" (2014). Capstone Projects and Master's Theses. 366. https://digitalcommons.csumb.edu/caps_thes/366 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Erik R. Lobo-Gilbert CSU Monterey Bay MPA Recording Technology Spring 2014 THE SWELL AND CRASH OF SKA’S FIRST WAVE: A HISTORICAL ANALYSIS OF REGGAE'S PREDECESSORS IN THE EVOLUTION OF JAMAICAN MUSIC INTRODUCTION Ska music has always been a truly extraordinary genre. With a unique musical construct, the genre carries with it a deeply cultural, sociological, and historical livelihood which, unlike any other style, has adapted and changed through three clearly-defined regional and stylistic reigns of prominence. The music its self may have changed throughout the three “waves,” but its meaning, its message, and its themes have transcended its creation and two revivals with an unmatched adaptiveness to thrive in wildly varying regional and sociocultural climates. -
Jamaican Dancehall in the 21St Century
Pon de Dancefloor: Jamaican Dancehall in the 21st Century Stephanie R. Espie University of Delaware [email protected] Abstract The history of Jamaican music includes Roots, Mento, Ska, Rocksteady and Reggae styles - setting the stage for the origination of the Dancehall genre in the early 1980s. While a wide range of ethnographic literature has been published on these musical foundations, few publications exist on the evolution of Dancehall in Jamaica. Dancehall has expanded in the past 10-15 years due to increasing effects of collaboration between American and Jamaican artists and DJs along with the ease of musical transmission through technology. In this ethnographic research, I have studied the evolution of Dancehall to create a portrayal of musical trends leading to the predominance of Dancehall in Jamaica. I collected data over 10 days of fieldwork in Portland, Jamaica in June of 2015. The music played by four club DJs was chosen as the focus of study because of its influence on Portland’s musical culture. Data consisted of observational field notes and 10 hours of audio recordings of local DJs in club settings. Audio recordings were analyzed for traditional beats, song length, production year, language choice, and added effects. Field notes were used as a secondary source to confirm/disconfirm the emerging musical themes from across these DJs. Findings have been compared to the existing literature to create an updated trajectory of musical trends within Dancehall. Along with contributions to the field of ethnomusicology, this research can be used in music education in informal music learning on a domestic and international level. -
Music, Mas, and the Film and Video Segments
Entertainment Services with Special Reference to MUSIC, MAS, AND THE FILM AND VIDEO SEGMENTS Submitted to: MR. HENRY S. GILL Communications Director/Team Leader CARICOM Trade Project Caribbean Regional Negotiating Machinery (RNM) "Windmark", First Avenue, Harts Gap Hastings, Christ Church Barbados Submitted by: MS. ALLISON DEMAS AND DR. RALPH HENRY December 2001 Entertainment Services with Special Reference to Music, Mas, and the Film & Video Segments i Contents EXECUTIVE SUMMARY........................................................................................................VI SECTION I 1.0 INTRODUCTION .......................................................................................................... 1 1.1 Objectives of Study........................................................................................................ 2 1.2 Delimitations and Limitations....................................................................................... 2 1.3 Outline of Study............................................................................................................. 3 1.4 Intellectual Property Rights.......................................................................................... 4 1.5 Industrial Organisation ................................................................................................ 7 1.6 Music........................................................................................................................... 11 1.7 Street Festivals........................................................................................................... -
Theuppertones.Com
The Uppertones is a powerful trio of trombone, vocals, piano, & drums dedicated to the sound of the 50's in Jamaica, the Jamaican R'n'B, Jamaican boogie, calypso, & mento. The kick start to homegrown Jamaican music in the 50s came from American rock'n'roll and R'n'B. At that time it was the birth of Ska, which originated rocksteady, reggae etc. This trio aims to please crowds with a stompin' swing style mixed with the Jamaican edge and style. Mr.T-Bone is a well known singer, composer, and trombone player in the international ska scene who has released 8 solo albums in the last 12 years and has toured Europe, USA, Canada, Indonesia, Brazil and Mexico. He has been a major contributor to the Italian ska & reggae scene for over a decade now. Peter Truffa a is a fabulous piano player & singer from New York. With his blues, jazz, and ska roots, he toured for years with The New York Ska-Jazz Ensemble and with Giuliano Palma and the Bluebeaters. Ferdinando Count Ferdi Masi is the best drummer you can have for this kind of music, he's an Italian ska and rocksteady pioneer founder of The Casino Royale the first italian ska band and The Bluebeaters. He plays with Mr.T-Bone since 1992 in many different projects. Their first album Closer To The Bone was released in 2015. This album was a selection of 12 tunes from the marvelous sound of the 50’s. After releasing it they immediately toured Europe for two years no stop playing 200 shows in twelve European countries. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title "In Plenty and In Time of Need": Popular Culture and the Remapping of Barbadian Identity Permalink https://escholarship.org/uc/item/7d59h0c8 Author Bascomb, Lia Tamar Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity by Lia Tamar Bascomb A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies in the Graduate Division of University of California, Berkeley Committee in charge: Professor Leigh Raiford, Chair Professor Brandi Catanese Professor Nadia Ellis Professor Laura Pérez Spring 2013 “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity © 2013 by Lia Tamar Bascomb 1 Abstract “In Plenty and In Time of Need”: Popular Culture and the Remapping of Barbadian Identity by Lia Tamar Bascomb Doctor of Philosophy in African American Studies University of California at Berkeley Professor Leigh Raiford, Chair This dissertation is a cultural history of Barbados since its 1966 independence. As a pivotal point in the Transatlantic Slave Trade of the seventeenth and eighteenth centuries, one of Britain’s most prized colonies well into the mid twentieth century, and, since 1966, one of the most stable postcolonial nation-states in the Western hemisphere, Barbados offers an extremely important and, yet, understudied site of world history. Barbadian identity stands at a crossroads where ideals of British respectability, African cultural retentions, U.S. commodity markets, and global economic flows meet. -
Cultural Maintenance and the Politics of Fulfillment in Barbados’S Junior Calypso Monarch Programme
MASK AND MIRROR: CULTURAL MAINTENANCE AND THE POLITICS OF FULFILLMENT IN BARBADOS’S JUNIOR CALYPSO MONARCH PROGRAMME A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2016 By Anjelica Corbett Thesis Committee: Frederick Lau, chairperson Ricardo Trimillos Njoroge Njoroge Keywords: Anjelica Corbett, Calypso, Carnival, Nationalism, Youth Culture, Barbados Copyright © 2016 Anjelica Corbett Acknowledgements Foremost, I would like to thank God because without him nothing would be possible. I would also like to thank the National Cultural Foundation, the Junior Calypso Monarch Programme participants, Chrystal Cummins-Beckles, and Ian Webster for welcoming into the world of Bajan calypso and answering my questions about this new environment. My gratitude also extends to the Junior Calypso Monarch Programme participants for allowing me to observe and their rehearsals and performances and sharing their love of calypso with me. I would like to thank Dr. Frederick Lau, Dr. Byong-Won Lee, Dr. Ricardo Trimillos, and Dr. Njoroge Njoroge, and the University of Hawai‘i at Mānoa's Music Department for approving this project and teaching me valuable lessons throughout this process. I would especially like to thank my fellow colleagues in the Ethnomusicology department for their emotional and academic support. Finally, I would like to thank my family for support and encouragement throughout my academic career. i Abstract Barbados, like other Caribbean nations, holds junior calypso competitions for Barbadian youth. These competitions, sponsored by Barbados’s National Cultural Foundation (NCF), allow the youth to express their opinions on society.