Big Organ Trio Has Emerged As a Band with a Truly Unique Voice
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Love, Oh Love, Oh Careless Love
Love, Oh Love, Oh Careless Love Careless Love is perhaps the most enduring of traditional folk songs. Of obscure origins, the song’s message is that “careless love” could care less who it hurts in the process. Although the lyrics have changed from version to version, the words usually speak of the pain and heartbreak brought on by love that can take one totally by surprise. And then things go terribly wrong. In many instances, the song’s narrator threatens to kill his or her errant lover. “Love is messy like a po-boy – leaving you drippin’ in debris.” Now, this concept of love is not the sentiment of this author, but, for some, love does not always go right. Countless artists have recorded Careless Love. Rare photo of “Buddy” Bolden Lonnie Johnson New Orleans cornetist and early jazz icon Charles Joseph “Buddy” Bolden played this song and made it one of the best known pieces in his band’s repertory in the early 1900s, and it has remained both a jazz standard and blues standard. In fact, it’s a folk, blues, country and jazz song all rolled into one. Bessie Smith, the Empress of the Blues, cut an extraordinary recording of the song in 1925. Lonnie Johnson of New Orleans recorded it in 1928. It is Pete Seeger’s favorite folk song. Careless Love has been recorded by Louis Armstrong, Ray Charles, Bob Dylan and Johnny Cash. Fats Domino recorded his version in 1951. Crescent City jazz clarinetist George Lewis (born Joseph Louis Francois Zenon, 1900 – 1968) played it, as did other New Orleans performers, such as Dr. -
Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has. -
Jerry Williams Jr. Discography
SWAMP DOGG - JERRY WILLIAMS, JR. DISCOGRAPHY Updated 2016.January.5 Compiled, researched and annotated by David E. Chance: [email protected] Special thanks to: Swamp Dogg, Ray Ellis, Tom DeJong, Steve Bardsley, Pete Morgan, Stuart Heap, Harry Grundy, Clive Richardson, Andy Schwartz, my loving wife Asma and my little boy Jonah. News, Info, Interviews & Articles Audio & Video Discography Singles & EPs Albums (CDs & LPs) Various Artists Compilations Production & Arrangement Covers & Samples Miscellaneous Movies & Television Song Credits Lyrics ================================= NEWS, INFO, INTERVIEWS & ARTICLES: ================================= The Swamp Dogg Times: http://www.swampdogg.net/ Facebook: https://www.facebook.com/SwampDogg Twitter: https://twitter.com/TheSwampDogg Swamp Dogg's Record Store: http://swampdogg.bandcamp.com/ http://store.fastcommerce.com/render.cz?method=index&store=sdeg&refresh=true LIVING BLUES INTERVIEW The April 2014 issue of Living Blues (issue #230, vol. 45 #2) has a lengthy interview and front cover article on Swamp Dogg by Gene Tomko. "There's a Lot of Freedom in My Albums", front cover + pages 10-19. The article includes a few never-before-seen vintage photos, including Jerry at age 2 and a picture of him talking with Bobby "Blue" Bland. The issue can be purchased from the Living Blues website, which also includes a nod to this online discography you're now viewing: http://www.livingblues.com/ SWAMP DOGG WRITES A BOOK PROLOGUE Swamp Dogg has written the prologue to a new book, Espiritus en la Oscuridad: Viaje a la era soul, written by Andreu Cunill Clares and soon to be published in Spain by 66 rpm Edicions: http://66-rpm.com/ The jacket's front cover is a photo of Swamp Dogg in the studio with Tommy Hunt circa 1968. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Hammond Sk1-73
Originally printed in the October 2013 issue of Keyboard Magazine. Reprinted with the permission of the Publishers of Keyboard Maga- zine. Copyright 2008 NewBay Media, LLC. All rights reserved. Keyboard Magazine is a Music Player Network publication, 1111 Bayhill Dr., St. 125, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.musicplayer.com REVIEW SYNTH » CLONEWHEEL » VIRTUAL PIANO » STANDS » MASTERING » APP HAMMOND SK1-73 BY BRIAN HO HAMMOND’S SK SERIES HAS SET A NEW PORTABILITY STANDARD FOR DRAWBAR that you’re using for pianos, EPs, Clavs, strings, organs that also function as versatile stage keyboards in virtue of having a comple- and other sounds. ment of non-organ sounds that can be split and layered with the drawbar section. Even though there isn’t a button that causes Where the original SK1 had 61 keys and the SK2 added a second manual, the new the entire keyboard to play only the lower organ SK1-73 and SK1-88 aim for musicians looking for the same sonic capabilities in a part—useful if you want to switch between solo single-slab form factor that’s more akin to a stage piano. I got to use the 73-key and comping sounds without disturbing the sin- model on several gigs and was very pleased with its sound and performance. gle set of drawbars—I found a cool workaround. Simply create a “Favorite” (Hammond’s term for Keyboard Feel they’ll stand next to anything out there and not presets that save the entire state of the instru- I find that a 61-note keyboard is often too small leave you or the audience wanting for realism. -
2009/07/04 How Can I Miss You When You Won't Go Away?
2009/07/04 How Can I Miss You When You Won't Go Away? / Dan Hicks & His Hot Licks The Most of Dan Hicks & His Hot Licks We Can Be Together / Jefferson Airplane Volunteers Bad Moon Rising / Creedence Clearwater Revival Green River Poor Moon / Canned Heat The Very Best of Canned Heat I Feel So Good (I Wanna Boogie) / Magic Sam Live! at the Ann Arbor Blues Festival (1969) Trouble No More / The Allman Brothers Band The Allman Brothers Band Loan Me A Dime / Boz Scaggs My Time: A Boz Scaggs Anthology (1969-1997) What Does It Take (To Win Your Love)? / Jr. Walker and the All Stars 19 Greatest Hits I'm Your Puppet / Marvin Gaye & Tammi Terrell Easy Abraham Martin & John / Smokey Robinson & The Miracles Anthology King Harvest (Has Surely Come) / The Band The Band Mama Tried / Grateful Dead Dick's Picks Vol. 16 - 11/8/69 Games People Play / Joe South Best Hits In Japan 1955-1974 - Vol. 8: '69~'70 Rainy Night In Georgia / Brook Benton The Ultimate Soul Collection Girl From The North Country / Bob Dylan & Johnny Cash Nashville Skyline She Came In Through The Bathroom Window / The Beatles Abbey Road Golden Slumbers / The Beatles Abbey Road Carry That Weight / The Beatles Abbey Road The End / The Beatles Abbey Road Delta Lady / Joe Cocker With A Little Help From My Friends~Joe Cocker The Moon / Dollar Brand African Piano 2009/07/11 Johnny Cash / Ry Cooder I, Flathead The Beast In Me / Nick Lowe Quiet Please... The New Best of Nick Lowe Lam Liv (prelude to a separation) / Kong Nay A Cambodian Bard 明日になれば / The Fuji..i Mojoyama Mississippi 踊れ大阪総おどり / -
2)GEORGE PORTER Jr Di Massimo Luna.Pdf
Introduzione: Ci troviamo a 1Vew Orleans tra gli anni 60' e 70'. Un periodo particolarmente fertile e creativo, che favorì la nascita della musica R & B e Funk. E' la New Orleans delle band che nascono dalla strada, dei musicisti che imparano a suonare da qualcuno che sa suonare meglio di loro, conle una sorta di tradizione orale, di insegnamento non scritto e del tutto legato all'esperienza diretta. La sera si va nei locali, si suona, si fanno Jam Sessions, è cosi che nascono le nuove formazioni, i nuovi gruppi. Questa è la realtà in cui vive George Porter Jr.. Lui stesso in un' intervista racconta quanto sia stato importante, anche a livello umano, crescere in quell'ambiente. Tra le esperienze più sigriificative per George c'è sicuramente quella con "the Meters", definil:i una delle più grandi band rock-fusion degli anni 701,con all'attivo 11 dischi in 15 anni circa di attività. Loro sono stati la prima jam band della storia, come dichiara lo stesso George. Andavano sul palco e suonavano partendo da qualcosa di stabilito, per poi virare verso il riff o il carribio che qualche membro del gruppo aveva proposto sul momento.. .un perfetto esempio di interplay! I loro brani presentavano spesso delle parti "open", con dei pedali e con qualche solo di organo. Ai nostri giorni è usuale che rapper ed esponenti della musica hip hop, usino alcuni loro brani come basi per rappare sopra, vista la forte spinta ritmica da cui sono caratterizzati. Biografia: George Porter Jr. nasce nel 1947 a New Orleans Louisiana. -
MOX6/MOX8 Data List 2 Voice List
Data List Table of Contents Voice List .................................................2 Drum Voice List .....................................11 Drum Voice Name List ............................ 11 Drum Kit Assign List ............................... 12 Waveform List .......................................29 Performance List ...................................34 Master Assign List .................................36 Arpeggio Type List ................................37 Effect Type List ......................................78 Effect Parameter List .............................79 Effect Preset List ...................................87 Effect Data Assign Table .......................89 Mixing Template List .............................97 Remote Control Assignments ................98 Control List ............................................99 MIDI Data Format ................................100 MIDI Data Table ..................................104 MIDI Implementation Chart ..................127 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 DX Pad -
Hammond Jazz Empfehlungen
Hammond Jazz Empfehlungen Vorname Name Album Label B-3in' Organ Jazz 32Jazz George Benson It's Uptown Columbia George Benson The George Benson Cookbook Columbia George/"Brother" Jack Benson/McDuff George Benson & Jack McDuff Prestige Pat Bianchi East Coast Roots Jazzed Media Earl Bostic Complete Quintet Recordings Lonehilljazz Terence Brewer Groovin' Wes StrongBrewMusic Gloria Coleman Sweet Missy Doodlin' Records Linda Dachtyl For Hep Cats Chicken Coup Wild Bill Davis The Zurich Concert Jazz Connaisseur Deep Blue Organ Trio Wonderful Origin Records Moe Denham The Soul Jazz Sessions Thortch Recordings Joey DeFrancesco All About My Girl Muse Records Joey DeFrancesco All or Nothing at All Big Mo Joey DeFrancesco Ballads and Blues Concord Papa John DeFrancesco Desert Heat High Note Joey DeFrancesco Goodfellas Concord Joey DeFrancesco Joey DeFrancesco plays Sinatra his way High Note Joey DeFrancesco Legacy Concord Joey DeFrancesco One For Rudy High Note Joey DeFrancesco Plays Sinatra His Way High Note Joey DeFrancesco Singin' and Swingin' Concord Joey DeFrancesco The Champ Round 2 High Note Joey DeFrancesco The Philadelphia Connection High Note Bob De Vos Breaking the ice Savant Barbara Dennerlein Junkanoo Verve www.b-tonic.ch Seite 1 von 7 Hammond Jazz Empfehlungen Barbara Dennerlein Love Letters Bebab Lou Donaldson Everything I Play Is Funky Blue Note Lou Donaldson Good Gracious! Blue Note Lou Donaldson Here 'Tis Blue Note Lou Donaldson Midnight Creeper Blue Note Lou Donaldson The Natural Soul Blue Note Charles Earland Cookin' With the Mighty -
MOXF6/MOXF8 Data List 2 Voice List
Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 -
“Raising Hell”—Run-DMC (1986) Added to the National Registry: 2017 Essay by Bill Adler (Guest Post)*
“Raising Hell”—Run-DMC (1986) Added to the National Registry: 2017 Essay by Bill Adler (guest post)* Album cover Label Run-DMC Released in May of 1986, “Raising Hell” is to Run-DMC what “Sgt. Pepper’s” is to the Beatles--the pinnacle of their recorded achievements. The trio--Run, DMC, and Jam Master Jay--had entered the album arena just two years earlier with an eponymous effort that was likewise earth-shakingly Beatlesque. Just as “Meet the Beatles” had introduced a new group, a new sound, a new language, a new look, and a new attitude all at once, so “Run-DMC” divided the history of hip-hop into Before-Run-DMC and After-Run-DMC. Of course, the only pressure on Run-DMC at the very beginning was self-imposed. They were the young guns then, nothing to lose and the world to gain. By the time of “Raising Hell,” they were monarchs, having anointed themselves the Kings of Rock in the title of their second album. And no one was more keenly aware of the challenge facing them in ’86 than the guys themselves. Just a year earlier, LL Cool J, another rapper from Queens, younger than his role models, had released his debut album to great acclaim. Run couldn’t help but notice. “All I saw on TV and all I heard on the radio was LL Cool J,” he recalls, “Oh my god! It was like I was Richard Pryor and he was Eddie Murphy!” Happily, the crew was girded for battle. Run-DMC’s first two albums had succeeded as albums, not just a collection of singles--a plan put into effect by Larry Smith, who produced those recordings with Russell Simmons, the group’s manager. -
2008 Annual Report “Get on Board the Rex Caravan!” Has Increase, As the Rex Community of Expanded
Furthering a Tradition of Grassroots Giving 2008 Annual Report “Get on board the Rex Caravan!” has increase, as the Rex community of expanded. And coming into more been our rallying cry for several supporters at large has grown. The focus has been the Human Rights years. Many more have taken this Rex Musical Caravan of musicians, Framework, an overarching context to heart in 2008; the buses are roll- bands and festivals, who support for Rex mission areas, with The World ing down the road. Donations to the Rex’s work with their benefit perfor- As It Could Be Human Rights Educa- Rex Community Caravan are on the mances and other initiatives has also tion Project gathering momentum. RALPH J. GLEASON AWarD BILL GraHAM AWarD JErrY GarcIA AWarD In memory of music journalist Ralph J. Gleason, a In memory of pioneering producer and founding Rex In memory of Grateful Dead guitarist and founding Rex major figure in the advancement of music in America in board member Bill Graham, himself a refugee, this award board member Jerry Garcia, this award is designed to the 1960s, whose openness to new music and ideas tran- is for those working to assist children who are victims honor and support individuals and groups that work scended differences between generations and styles. of political oppression and human rights violations. to encourage creativity in young people. Ali Akbar College of Music The Beat Within All Stars Project (ASP) The mission of the Ali Akbar College The Beat Within provides incarcer- The All Stars Project, San Francisco, of Music is to teach, perform and ated youth the means for self-ex- brings the All Stars “performatory” preserve the classical music of North pression and positive connection approach to inner-city youth devel- India, specifically the Seni Baba Al- with their community through opment to California’s Bay Area.