In 1990 the Popa Chubby Band Was Born After a Jam Session with P Funk’S Bernie Worrell
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Joe Louis Walker
Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band. -
Número 105 – Febrero 2020 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1
Número 105 – febrero 2020 CULTURA BLUES. LA REVISTA ELECTRÓNICA Página | 1 Contenido PORTADA Popa Chubby (1) ………………………………………………..…... 1 Directorio CONTENIDO - DIRECTORIO ..…..………………………………..….… 2 EDITORIAL Con amor por el blues (2) ………………………………….…. 3 Cultura Blues. La Revista Electrónica PLANETA BLUES Popa Chubby, 30 años en el camino (3) …….. 5 www.culturablues.com BLUES A LA CARTA Nominados a los Blues Music Número 105 – febrero de 2020 Awards 2020 (2) ……………………………………………………………………..…… 11 COLABORACIÓN ESPECIAL Ganadores de blues del © Derechos Reservados Grammy 2020 (2) ……………………………………………………………………….. 14 Director general y editor: COLABORACIÓN ESPECIAL Mi ídolo: Steve Gadd (4) ……. 16 José Luis García Fernández ESPECIAL DE MEDIANOCHE Bloomfield, en la época del Subdirector general: “Padres e Hijos” (5) ……………………………………………………………….……. 18 José Luis García Vázquez LADO B El legado de Odie Payne para el blues - I (6) …………….... 21 Diseño: Aida Castillo Arroyo DE COLECCIÓN 50 Year Trip: Live At Red Rocks (2) ................. 24 Consejo Editorial: EN VIDEO The Long Road Home – In Concert (2) ……………………. 25 María Luisa Méndez Mario Martínez Valdez + COVERS Rockin' All Over the World (2) …………………..………….. 26 Octavio Espinosa Cabrera CULTURA BLUES DE VISITA Con los músicos y sus instrumentos en el 2019 - 2 (7) ………………………………………………..…. 28 Colaboradores en este número: HUELLA AZUL Resumen de entrevistas 2019 (8) …………….…… 32 1. José Luis García Vázquez COLABORACIÓN ESPECIAL La Esquina del Blues y Otras 2. José Luis García Fernández Músicas. Resumen musical 2019 (9) ………………………………………..…. 34 3. Michael Limnios 4. Carlos Rosete ¿A dónde se va el amor 5. Luis Eduardo Alcántara LA POESÍA TIENE SU NORMA que soltamos? (10) …………………………………………………………………..… 36 6. Juan Carlos Oblea 7. Rafael Arriaga Zazueta HÁBITOS NOCTURNOS RECOMIENDA Songs For 8. -
Mungo Jerry (Gb/D)
19. – 24. 10. 2018 Národní dům, Velká Hradební 33/619, 400 01 Ústí nad Labem ONDŘEJ KABRNA & FLYING HAMMOND (CZ) JÚLIUS BAROŠ QUINTET (SK/CZ) LACO DECZI & CELULA NEW YORK (CZ/USA) SHAUN BOOKER (USA) MUNGO JERRY (GB/D) POPA CHUBBY (USA) ENERGIT: LUBOŠ ANDRŠT 70 LET (CZ) „Některým lidem v Americe mohou Praha a Ústí nad Labem splývat v jedno město, ale jisté je, že 20. října zahraje Popa Chubby v Národní dům, Ústí nad Labem. Žádná Praha!“ Capricorn Promotion (capricornpromotion.cz) – 2 – JAZZ & BLUES 2018 JAZZ & BLUES 2018 19. - 20. 10. 2018 (400 Kč) 22. ročník mezinárodního festivalu (jazzfestul.cz) v Ústí n. L. (usti-nl.cz) Národní dům, Velká Hradební 33/619, 400 01 Ústí nad Labem (ksul.cz), GPS: 50.6622900N, 14.0419661E pátek 19. 10. 20:00 (200 Kč) ONDŘEJ KABRNA & FLYING HAMMOND (CZ) Ondřej Kabrna (p); Kryštof Tomeček (g); Jakub Nývlt (ds) Nová formace kolem fenomenálního hráče na klávesové nástroje, jenž střídá klavír, Hammond organ i syntezátory. Hudba tria je velmi dynamická, od naprostého pianissima až po rockové pasáže… (ondrejkabrna.com) JÚLIUS BAROŠ QUINTET (SK/CZ) Július ‘Ďuso’ Baroš (tp); Ján Fečo (as); Jaroslav ‘Barney’ Kantor (g); Tomáš ‘Kaštan’ Baroš (db); Martin Šulc (ds) Třígenerační uskupení vzniklé v dubnu 2012, které je inspirováno hudbou 50. a 60. let minulého století (Clifford Brown, Freddie Hubbard, Kenny Dorham, Lee Morgan, Miles Davis, Horace Silver, Charlie Parker ap.) Hraje však také vlastní autorské skladby… LACO DECZI & CELULA NEW YORK (CZ/USA) Laco Déczi (tp, v); Jan Uvira (kb, p); Michael Krásný (bg, v); Vaico Déczi (ds) Jazzová kapela působící v New Yorku a okolí, frontman patří k celosvětově uznávaným trumpetistům a skladatelům, je žákem proslulého Carmella Jonese… (lacodeczi.com) sobota 20. -
Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation. -
Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Annabel Moynihan Was Living in Portland Oregon
Inside the Artist - which plays mostly Irish traditional music in the style as its I started playing Irish traditional music about 25 years ago when I played here in Vermont. Locally I also teach and I love doing Annabel Moynihan was living in Portland Oregon. I studied with Kevin Burke, who that! I am inspired and learn so much from my students every February 2017 was the founding member of the Bothian Band who is an week. And I have been glad to be a part of the Suzuki teacher’s amazing and influential fiddle player with whom I was lucky community with the Burlington Vermont Suzuki Violins who have enough to study. I played out there in a band that played been really helpful and supportive for me. So I’ve been teaching traditional Irish and Scottish music with a Scottish singer. That for ten years now. I have a studio in Waterbury. I also have was a bar band and we played 4 or 5 nights a week--all Irish given classes as a part of the Vermont School of Irish Traditional music, all Scottish music, and lots of country western music. No Music, which is run by Hilary Ferrington and Benedict Kohler, English music (laughs). I also play the electric violin in a number and they’ve been teaching classes on Irish traditional music and After discussing the program she is helping to produce for a th of different experimental and electronic music bands and with Irish repertoire which has been a boon to our Irish music March 17 St. -
Intercultural Interaction in the Online Global Music Jam Session, Springer Series on Cultural Computing
Critical Studies in Improvisation / Études critiques en improvisation, Vol. 14, Nos. 2–3 Book Review Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session, Springer Series on Cultural Computing Roger Mills Springer International Publishing, 2019 ISBN: 9783319710396 ISBN: 9783319710389 214 pages Reviewed by David Lane Author and trumpeter Dr. Roger Mills1 is a research associate and lecturer at the University of Technology Sydney. As musical director of the Ethernet Orchestra, an “Internet-based networked music ensemble exploring intercultural improvisatory collaboration,”2 Mills builds upon his experiential foundation to write his 2019 book Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session (“Jam Session”). Jam Session navigates a range of conceptual and research domains including musicology, ethnography, improvisation, cognition, and information technology. Mills’s enthusiasm, ambition, and multidisciplinary perspective as a performer, collaborator, and academic permeate throughout Jam Session. The three dynamic interpersonal disciplines integrated throughout Jam Session (telematics, improvisational practice, and interculturalism) are each experiencing a blossoming of scholarship and practice. In Chapter 1, “Intercultural Interaction Tele-Improvisation: Inside the Online Global Music Jam Session,” Mills presents the key concepts and ideas explored in the book’s eight chapters. He begins with the historical practices and conceptual principles that ground his work and then broadly introduces the research practice that informs his theory of tele-improvised intercultural practice. His research practices employ a multimodal theoretical and analytical framework, grounded in models largely built upon the notions of conceptual metaphor and embodied cognition. These foundations set up his concluding discussions that relate to considerations for future research and scholarship. -
Dennis Chambers
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Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Winter 2019 Director’S Column
WINTER 2019 DIRECTOR’S COLUMN If you’ll pardon a personal memory, I remember people who studied households, hearing a short news piece on the radio in, it had to have work and leisure, popular reli- been 1972, when I was twelve. It started, “And here’s a story gion, and what some French you may be hearing more about.” Of course it was about the scholars were calling mental- break-in at Democratic headquarters at the Watergate Hotel. ités. Avoiding kings, queens, For the next year and a half, I heard and read a lot and presidents, this was scholarship about things that more about that story. As a kid who wanted to be a mattered to me, especially in wake of how Watergate serious person, I was a fan of politics and political encouraged me to doubt not just the self-righteousness history as much as baseball, and I knew the names and but the very importance of the powerful. I could have parties of all of the presidents and their vice presidents, taken an alternative approach, writing for example, about who ran against them, and some of the major issues of Watergate and southern history (and now that sounds like their presidencies. As a twelve year old, that’s what I an intriguing conference), but in the 1980s my first US assumed history was. So I followed the Watergate news history survey classes rarely said much about presidents as I followed baseball, every day and with great detail. If and people like them. there had been box scores or trading cards for politicians, Pretty quickly there were scholars challenging parts I would have read and collected them. -
Mose Davis Public Relations Information
Mose Davis Public Relations Information “My name is Mose…and you can call me Mose” – Mose Davis That quote from Mose Davis can be heard on Hamilton Bohannon’s hit record “Let’s Start the Dance”. The tune is a smoking-hot club classic. And the quote cuts through the clutter and camouflage of funk wannabes, to reveal a pure fact – Mose is Mose. Before Stevie Wonder, before Bernie Worrell, there was Mose Davis pushing the frontiers of funk with his use of the organ as the source of the bass line, during the late 1960’s. And if imitation is the highest form of flattery, then Mose Davis has been flattered by the best. And some of the biggest names in hip-hop have sampled a sip of Mose’s musical brew, including Snoop, Mary J. Blige and Queen Latifah. Classically trained at the Detroit Conservatory of Music, Mose Davis is an exceptional jazz artist and prominent fixture on the Atlanta music scene. Davis identifies jazz greats, Jimmy Smith and Ahmad Jamal among his musical influences. Davis performs with top acts across the country and internationally. Mose Davis has performed with Candi Staton, The Isley Brothers, Marlena Shaw, David Ruffin, Ray Parker, Jr., The Counts, Funkadelics and Carl Anderson. His festival appearances include The Atlanta Jazz Festival (with the Atlanta Symphony Orchestra), The Macon Jazz Festival and the internationally renowned Spoleto Festival. And now comes the new CD, “Sunshine”. “It’s a mix of jazz – the rough and the smooth – blended with some Latin and rock influences,” Davis says. -
Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K.