Comehearnc.Com

Total Page:16

File Type:pdf, Size:1020Kb

Comehearnc.Com Rid YHOR ue ge Mu OOLE TRA N l sic E P S T K BRO ACH B Trai LI Y I UC WN RO ls R LL F CH X A I T A H B M C ESAR M A E UBY JOH JO Y C R NS H LE R ON N R R I C H I O S B T L E T E T N T R T F A IA B O A TAS AR BI N N R L B A I SH F N D O A E O P S D K R Greetings E rican E D A R M from O e u D C s Y ER m W D i M ON A c A L A W UT T H H T N S E T n R r N O 9 B I N a A a N R c N i G i E l S K s r N O f M C NA SYMPH E I ON S C CCOUR T DEX R L Y A I M Y O OM O L L W R U E R E A S D I B O C H E I W A BETTY D A M AV R H N R A IS T R O O B P R I E G L S LIC ER L R A R O L A E E R Y N D H T N PER SU CHU T A N Y H K L A MES T O Y JA AY A FL L R N RT AC O BE K R E O YLVAN ES S R S S O EN LS NFORD M O BRA AR DY SA O L L S ONITOR E RY P E M S G GA DAV IS A TH ND IS R D N E AN R A E ER E L V TE DROPS S RK R IZ E LA R A O GS A R CO E P NN G BE N O Y I R RU TH TTE O E E CO H M E N C C M S C R A L A L A I N L VA L G N E R O I I E S A T NE L L M M N JU T - T E Y B A ON E I SO O T U IM L N Y I P S C R A L B A - A THERS R IN RO E C A N B G W T RA H T R N D K HOU T E Y AL N O C V T R N R N E E A ARTHUR A I K A S G V L M L A I I M T S W H A A NT S HO N Y H A ME S M N I H I A K L ER D A T LL E U N H O F Y N N C O H B A D N N I would go away in the evening with the feeling that I had never before been in a more musical atmosphere. I J. T L C E B O Y BRITISH SONG COLLECTOR CECIL SHARP WHEN HE VISITED NORTH CAROLINA IN 1916 L M E S WERY M E O A N L H D C A ELIZABETH COTTEN N North Carolina’s national reputation as a music state—with DOC WATSON was playing lead guitar in a rockabilly band wrote the famous American folk song The MENHADEN CHANTEYMEN, a group of retired African E R N F recognized traditions of bluegrass, blues, jazz, funk and when folklorist Ralph Rinzler encouraged him to return to “Freight Train” in Carrboro. American commercial fishermen, gained acclaim for the A E Y I everything in between—is celebrated with our AFRICAN the roots music of Appalachia. maritime work songs they performed while hauling nets, L R SHIRLEY CAESAR L AMERICAN MUSIC TRAILS and BLUE RIDGE MUSIC TRAILS. Eleven-time Grammy Award-winner , the leading them to New York’s Carnegie Hall. I “Foggy Mountain Breakdown” by EARL SCRUGGS, with his “First Lady of Gospel Music,” was born in Durham. W Classical music roots run deep, too. In 1943 the NORTH three-finger pickin’ style, launched a new form of bluegrass Jazz legends THELONIOUS MONK, JOHN COLTRANE and CAROLINA SYMPHONY The music hotspots of Raleigh, Durham, Chapel Hill and BILLY TAYLOR became the first continuously funded music worldwide. BEN FOLDS TIFT are all from North Carolina. state symphony in the nation. Carrboro have attracted indie artists like , Kendrick Lamar’s Pulitzer Prize-winning album, “DAMN” MERRITT and SUPERCHUNK for decades. Fayetteville’s J. COLE was the first hip-hop artist in 25 years English folk song collector CECIL SHARP documented ballad features the song “DUCKWORTH,” produced by Winston- to go double platinum without any guest features with his VISIT singing traditions in Madison County in 1916, and this Salem hip-hop native, 9TH WONDER. The Bull City’s tobacco warehouses drew Piedmont blues Grammy-nominated album “2014 Forest Hills Drive.” innovators like REVEREND GARY DAVIS, BLIND BOY tradition is still practiced today. In 1958, Shawnee guitarist LINK WRAY released the FULLER and SONNY TERRY to Durham in the 1930s. COMEHEARNC.COM NINA SIMONE, Nina Simone, “High Priestess of Soul,” instrumental song “Rumble,” introducing the world to the Five Kinston musicians, including saxophone legend learned to play piano in her birthplace of Tryon. In 2018, beauty of the distorted power chord, which he achieved by MACEO PARKER FOR MORE INFORMATION ABOUT SPECIAL EVENTS her childhood home was designated a National Treasure. stabbing his amplifier’s cone with a pencil. , are credited with putting the funk in James Brown’s classic bands. .
Recommended publications
  • TN Bluesletter Week 10 080310.Cdr
    (About the Blues continued) offered rich, more complex guitar parts, the beginnings of a blues trend towards separating lead guitar from rhythm playing. Shows begin at 6:30 unless noted Texas acoustic blues relied more on the use of slide, In case of inclement weather, shows will be held just down the and artists like Lightnin' Hopkins and Blind Willie street at the Grand Theater, 102 West Grand Avenue. Johnson are considered masters of slide guitar. Other June 1 Left Wing Bourbon local and regional blues scenes - from New Orleans MySpace.com/LeftWingBourbon June 8 The Pumps to Atlanta, from St. Louis to Detroit - also left their mark ThePumpsBand.com on the acoustic blues sound. MySpace.com/ThePumpsBand When African-American musical tastes began to June 15 The Blues Dogs change in the early-1960s, moving towards soul and August 3, 2010 at Owen Park MySpace.com/SteveMeyerAndTheBluesDogs rhythm & blues music, country blues found renewed June 22 Pete Neuman and the Real Deal popularity as the "folk blues" and was sold to a PeteNeuman.com June 29 Code Blue with Catya & Sue primarily white, college-age audience. Traditional YYoouunngg BBlluueess NNiigghhtt Catya.net artists like Big Bill Broonzy and Sonny Boy Williamson July 6 Mojo Lemon reinvented themselves as folk blues artists, while MojoLemon.com Piedmont bluesmen like Sonny Terry and Brownie MySpace.com/MojoLemonBluesBand McGhee found great success on the folk festival July 13 Dave Lambert DaveLambertBand.com circuit. The influence of original acoustic country July 20 Deep Water Reunion blues can be heard today in the work of MySpace.com/DWReunion contemporary blues artists like Taj Mahal, Cephas & July 27 The Nitecaps Wiggins, Keb' Mo', and Alvin Youngblood Hart.
    [Show full text]
  • Lightnin' Hopkins
    Lightnin' Hopkins Samuel John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist, and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time. The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act". Life Hopkins was born in Centerville, Texas, and as a child was immersed in the sounds of the blues. He developed a deep appreciation for this music at the age of 8, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was "in him".He went on to learn from his older (distant) cousin, the country blues singer Alger "Texas" Alexander. (Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.) Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except young Hopkins, and Hopkins learned much from Jefferson at these gatherings. In the mid-1930s, Hopkins was sent to Houston County Prison Farm; the offense for which he was imprisoned is unknown. In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand. Hopkins took a second shot at Houston in 1946. While singing on Dowling Street in Houston's Third Ward (which would become his home base), he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles.
    [Show full text]
  • Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
    Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting.
    [Show full text]
  • Sonny Terry & Brownie Mcghee “Folk Alive” May 1, 1974 Host: Good
    Sonny Terry & Brownie McGhee “Folk Alive” May 1, 1974 Host: Good evening. This is “Folk Alive”. Several weeks ago I went to see Sonny Terry and Brownie McGhee at theBrooklyn Academy of Music. After the show I got a chance to speak with them for a little while and tonight’s program is the first half of that interview interspersed with some of their songs. Sonny and Brownie have been playing the blues together for 36 years and are perhaps the lone survivors of that blues era. I asked them if their music has changed much in that time. First we’ll hear Sonny, harmonica player and vocalist, and then Brownie, guitarist and vocalist. Sonny: …my music changed. The only change it was I got better. I know I can play better than I was ten, eleven, twelve years ago. I ain’t call that change. I ain’t never change my music. Brownie: You know, I couldn’t change. I’ll tell you why, I don’t see any reason to change now. I’ve got so many records out, and I identify with my records. So now if I wanted to get into another bag it would be, I think it would be very strange for me to change after forty years. What you gonna change for? I’m on a solid rock. But I don’t think what I’m doing is… Host: I think what you’re doing is a lot more honest. Brownie: And it’s much better for me because I can identify with it.
    [Show full text]
  • LITTLE BROTHER the Listening
    LITTLE BROTHER The Listening KEY SELLING POINTS • White vinyl reissue • Includes bonus 7” DESCRIPTION ARTIST: Little Brother “In Little Brother’s music, the North Carolina group makes a specific TITLE: The Listening point to highlight the more refined aspects of mid-’90s hip-hop. CATALOG: l-ABB1038 Basing its 2002 sound upon the foundation previously established LABEL: ABB Records by the likes of Pete Rock, A Tribe Called Quest, Jay Dee, and Black GENRE: Hip-Hop/Rap Star, Little Brother makes somewhat of a political statement by BARCODE: N/A ABB1038 applying such standards to this modern age. The Listening does FORMAT: 2XLP + 7” an exceptional job of proving that soulful meditations have indeed RELEASE: 7/14/2017 retained their traditional relevancy within the contemporary realms LIST PRICE: $22.98 / CS of rap. 9th Wonder’s production leads the charge with distinct drum kicks pacing larger-than-life melodic samples, which are often TRACKLISTING enhanced with sultry female voice-overs. Meanwhile, Phonte and 1. Morning Big Pooh dig even deeper within the hip-hop vaults as they draw 2. For You upon classic routines by the likes of Rakim, Slick Rick, and Audio 2 3. Speed for their lyrical inspiration. 4. Whatever You Say 5. Make Me Hot Whether engaged in storytelling, braggadocio, or simple 6. The Yo-Yo reassurance, the rhyming duo complements 9th Wonder’s varying 7. Shorty on the Lookout 8. Love Joint Revisited shades of mood music with a consistent degree of skill and sincerity. 9. So Fabulous The album both starts and finishes strongly, with “For You,” “Speed,” 10.
    [Show full text]
  • Neuhoff, Laura-Brynn.Pdf (929Kb)
    “THE BIGGEST COLORED SHOW ON EARTH”: HOW MINSTRELSY HAS DEFINED PERFORMANCES OF AFRICAN AMERICAN IDENTITY FROM 19TH CENTURY THEATER TO HIP HOP A Senior Thesis submitted to the Faculty of the College of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Bachelor of Arts in American Studies By Laura-Brynn Neuhoff Washington, D.C. April 26, 2017 “THE BIGGEST COLORED SHOW ONE EARTH”: HOW MINSTRELSY HAS DEFINED PERFORMANCES OF AFRICAN AMERICAN IDENTITY FROM 19TH CENTURY THEATER TO HIP HOP Laura-Brynn Neuhoff Thesis Adviser: Marcia Chatelain, Ph.D. ABSTRACT This senior thesis seeks to answer the following question: how and why is the word “minstrel” and associated images still used in American rap and hip hop performances? The question was sparked by the title of a 2005 rap album by the group Little Brother: The Minstrel Show. The record is packaged as a television variety show, complete with characters, skits, and references to blackface. This album premiered in the heat of the Minstrel Show Debate when questions of authenticity and representation in rap and hip hop engaged community members. My research is first historical: I analyze images of minstrelsy and reviews of minstrel shows from the 1840s into the twentieth century to understand how the racist images persisted and to unpack the ambiguity of the legacy of black blackface performers. I then analyze the rap scene from the late 2000-2005, when the genre most poignantly faced the identity crisis spurred by those referred to as “minstrel” performers. Having conducted interviews with the two lyricists of Little Brother: Rapper Big Pooh and Phonte, I primarily use Little Brother as my center of research, analyzing their production in conjunction with their spatial position in the hip hop community.
    [Show full text]
  • Guy Davis & Fabrizio Poggi
    Guy Davis & Fabrizio Poggi The Last Train Tour 2017 – A look back at Brownie McGhee & Sonny Terry “Guy Davis; he’s straight out of New York, and he’s America’s greatest link to the blues right now” windsor star, ontario, canada “Fabrizio Poggi is a terrific Italian harmonica player” dan ackroyd, the blues brothers Guy Davis & Fabrizio Poggi The Last Train Tour 2017 – A look back at Brownie McGhee and Sonny Terry Guy Davis once said, “I like antiques and old things, old places, that still have the dust of those who’ve gone before us lying upon them.” Blowing that dust off just enough to see its beauty is something Guy has excelled at for over twenty years of songwriting and performing. It’s no wonder his reverence for the music of the Blues Masters who’ve gone before him has been evident in every album he’s ever recorded or concert he’s given. Guy has had his musical storytelling influenced by artists like Blind Willie McTell and Big Bill Broonzy, and his musicality from artists as diverse as Lightnin’ Hopkins and Babatunde Olatunji. However, there’s one man that Guy most credits for his harmonica techniques, by stealing and crediting from him everything that he could, and that man is the legendary Sonny Terry. Guy’s new album, ‘Sonny & Brownie’s Last Train – A Look Back at Brownie McGhee and Sonny Terry’ is an homage to these two hugely influential artists, not only on Guy’s career, but to thousands of musicians around the world. One such artist is the Italian harmonica ace, Fabrizio Poggi, who collaborates with and produced this recording.
    [Show full text]
  • There's No Shortcut to Longevity: a Study of the Different Levels of Hip
    Running head: There’s No Shortcut to Longevity 1 This thesis has been approved by The Honors Tutorial College and the College of Business at Ohio University __________________________ Dr. Akil Houston Associate Professor, African American Studies Thesis Adviser ___________________________ Dr. Raymond Frost Director of Studies, Business Administration ___________________________ Cary Roberts Frith Interim Dean, Honors Tutorial College There’s No Shortcut to Longevity 2 THERE’S NO SHORTCUT TO LONGEVITY: A STUDY OF THE DIFFERENT LEVELS OF HIP-HOP SUCCESS AND THE MARKETING DECISIONS BEHIND THEM ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Jacob Wernick April 2019 There’s No Shortcut to Longevity 3 Table of Contents List of Tables and Figures……………………………………………………………………….4 Abstract…………………………………………………………………………………………...5 Introduction…………………………………………………………………………………..6-11 Parameters of Study……………………………………………………………..6 Limitations of Study…………………………………………………………...6-7 Preface…………………………………………………………………………7-11 Literary Review……………………………………………………………………………..12-32 Methodology………………………………………………………………………………....33-55 Jay-Z Case Study……………………………………………………………..34-41 Kendrick Lamar Case Study………………………………………………...41-44 Soulja Boy Case Study………………………………………………………..45-47 Rapsody Case Study………………………………………………………….47-48
    [Show full text]
  • Notes to Flyright LP 4705 "New York Country Blues"
    _ YORK COUNTRY BLUES Higration patterns showing movements of negroes from rural to urban settlements and from South to North and West have not only helped to interweave regional blues styles but have frequently concentrated artists from specific southern rural areas into certain ei ties . Obvious routes 11e westwards from Texas and the Southwest into California; from the Deep South of the Mississippi bottomlands and Alabama to Chicago _ perhaps the hest documented of all - and from the southeastern states to New York. :lUl selections on this anthology typify the general drift from rural southern communi ties into the New York metropolis. Sometimes the rural roots are more in evidence but nowhere are the compldte urban influences which dominated the blues in the e1 ty by the 1960s. These sides from the 1940s and 19508 show the breadth and wealth of musical talent in this city of supposed greater opportunity in the immediate postwar years - and the bulk reflect the gentle, lH ting sounds of the southeastorn states. Some of the artists had moved into the city some time before they r ocorded there. Alec Seward has made his home there since 1 924, although his first journoy to the city was in 1922. From Newport News, Virginia, Seward recalls many fine artists from the Chesapeake Bay area (none of whom have ever been recorded) yet it waB with the rougher­ voiced Louis &yes, a guitarist from North Carolina, that he teamed up in 1947. Their two-guitar sides epitomise the relaxed and deceptively languid blues style of the Piedmont, issued as the Back Porch Boys, this pseudonym was merely one of many colourful ones that were used on their releases.
    [Show full text]
  • Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
    Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption.
    [Show full text]
  • The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
    THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs.
    [Show full text]
  • Phonte Pacific Time Torrent Download Phonte – Pacific Time [EP Stream] Whenever Phonte Releases New Music, It’S Always an Occasion
    phonte pacific time torrent download Phonte – Pacific Time [EP Stream] Whenever Phonte releases new music, it’s always an occasion. After putting rap at the forefront for last year’s No News Is Good News album, he’s making singing the focus for his next surprise release — an EP called Pacific Time . The project features four tracks from the multi-talented North Carolina artist, with contributions coming from Kaytranada, BOSCO and Devin Morrison. For those wanting to hear some bars, no fear — he spits a verse on the closing track, “Heard This One Before.” And it’s a summer heater at that. Phonte Has Just Released A Surprise EP. Listen Here. With less than 24 hours notice, Phonte just released his second project since last March. 2018’s No News Is Good News marked the North Carolina MC/singer/producer’s first solo effort and Rap album in nearly seven years. It was subsequently named one of 2018’s best efforts by Ambrosia For Heads . For 2019, the Little Brother and Foreign Exchange co-founder (plus Questlove Supreme co-host) follows up with Pacific Time. At around noon EST on Thursday (March 28), Phonte announced that he would be dropping the new body of work at the start of Friday, attaching the project’s artwork. Freshly arrived, the four-song release features KAYTRANADA, Devin Morrison, and Bosco. Kaytranada, who involved ‘Te on 2016’s 99.9% , also produces “Heard This One Before.” Grammy-nominated producer (and Pac Div member) Like co-produces “Beverly Hills,” alongside Devin Morrison and Swarvy. Phonte handles the work behind the boards on “Ego.” Longtime Phonte collaborator plays keys, keys, and bass on multiple songs.
    [Show full text]