Music enthusiasts in the City of Brotherly Love are looking to rekindle a love supreme for the deteriorating John Coltrane House, a preservation effort that mirrors a broader mission to reclaim and promote Philadelphia's rich jazz heritage.
It embraced black soul music – but couldn't divorce itself from the prejudices of the south...Carter, of course, was a liberal and 180 degrees from the segregationist politics of Wallace. So indeed were most of the bands that recorded for Capricorn until the label went bust in the late 70s. Yet the supposed "romance" of the south touted by those outfits is hard to separate from the legacy of slavery and racism
Known as 'the Father of Loud', Jim Marshall changed rock'n'roll with his brand of affordable guitar amplifiers... Marshall was a drummer and drum teacher who used his earnings to set up a music shop in west London in 1960. Among his customers were the likes of Ritchie Blackmore and Pete Townshend, and it was through talking to them that Marshall realised there was a gap in the market for a guitar amplifier cheaper than the American-made models popular at the time. When, at Townshend's request, a Marshall 1959 amplifier head was teamed with a cabinet, the "Marshall stack" was born, becoming the defining feature in rock bands' backlines for generations to come.
The release finds the New Jersey trio, which also features Jarrett Dougherty on drums and King Mike on bass, exploring not only space-filling arrangements that are impressive for the lean band, but also hard-hitting and catchy tracks.
On Sunday, my father (Joe Mullins) and I sat and listened to every minute of a funeral for a man I had only been around once. Why would the passing of someone who I didn’t even know personally cause my eyes to swell up with tears?
For one, there is enough evidence to suggest that there would not be bluegrass music without Earl Scruggs. The middle finger on his right hand transformed the banjo from what was often little more than a stage prop, to a powerful tool for solo and accompaniment playing with seemingly endless possibilities. Earl’s unique style of playing the banjo was the missing piece to Monroe’s puzzle, and solidified what we now know as bluegrass.
This illustrates the dramatic sonic and geographical diversity that goes into creating what we know now as the underground country roots, or “Muddy Roots” world. Below is a list of the disparate origins of Muddy Roots music that came together from a mutual understanding and appreciation of the roots of American music, and the epicenters where this music originated from and/or is thriving today.
Hear five haunting songs from the late '60s to early '70s. We file them under jazz only by default. . . . One of the records was Minoru Muraoka's Bamboo. I'd not come across Muraoka's name in any of my searches, so I listened patiently to the koto (a stringed instrument similar to a zither) introduction to "The Positive and the Negative." A rolling bass line set the stage for funky-enough drums that soon gave way to Muraoka's shakuhachi, or bamboo flute. A cascading koto sat in for chicken-scratched guitar. "What in the hell do you call this?" I asked. "Shakuhachi Jazz," Ogawa replied, with an "Isn't it obvious?" air. He then sheepishly admitted that the album wasn't for sale, as Muraoka's discography was extensive and his records were rare.
Marc Rossi has a take on Indian-influenced fusion that is thoroughgoingly sophisticated, eminently musical and well put-together. His Marc Rossi Group recording Mantra Revealed (Innova 816) gives us much to experience, admire, and enjoy. It's a core group of Marc on keys, Lance Van Lenten on tenor and soprano, Bill Urmson on electric bass, and Mauricio Zottarelli on drums and percussion. They are joined in important cameo roles by vocalist Geetha Ramanathan Bennett, and the guitars of Prasanna and Bruce Arnold.
This is the sort of fusion that derives its principal thrust from the compositional-arranging prowess of Mr. Rossi. The finely enthusiastic performances in general and the appropriate idiomatic solos from tenor, piano, vocals and guitars give the music depth and drive.
"Jazz Impression of a Kriti" starts off the program with great strength, taking an Indian Kriti (Carnatic compositional element) and transforming it into a well turned fused onslaught in ten with some remarkable guitar work by Prasanna, who plays a nuanced solo that is both informed by traditional Indian phrasing and blazes beyond it into a realm where it mixes with rock and jazz in a post-McLaughlin fashion. The two following pieces pit the limber vocals of Ms. Bennett with some sterling fused-ensemble writing.
The album continues on with an interesting cornucopia of ornate fusion compositions that bring in at times various well-conceived indo-fused elements, as well as Afro-jazz and a hint of Brazilian jazz. The second half of the album generally excels in the architectural intricacy of the melody lines, rhythmically heightened solo work and heavily burnished ensemble work. Bruce Arnold and Bill Urmson stand out for their work on "New Beginnings." "Sahara" has a Tyner-Sanders feel to it, grooves nicely and highlights some rather scorching Van Lenten soprano.
"Voice of 1000 Colors" has a very attractive Afro-Reichian beginning then segues to fused bossa. "Vertical Fantasy on 'You Know You Know'" gives Rossi a chance to comment upon, embellish and give his improvisational impressions of the classic McLaughlin line.
"Feast or Famine" ends the program on a nicely turned modulatory fusion mode.
In the end there are spots of sheer brilliance in the Indo-fused introductory pieces and then some very well wrought mainstream fusion in the following pieces. Rossi is a composer-arranger of great promise and definite talent. The performers give their all (which is a goodly sum) and you go away feeling happy. What more can you ask? Indo-fusologists will love the first half of this program; general fusicologists will appreciate it all I suspect. I reveled in the first half; enjoyed the second.
First long-player by fingerpicker/singer/songwriter to feature all original songs features session support from Morphine, Groovasaurus, The Lemonheads players BOSTON, MA: There are such things as the cosmic blues.
All About Jazz is celebrating Bessie Smith's birthday today! "Empress of the Blues" She embodied the meaning of the blues, living the life she sang about. Bessie Smith set the standard for blues singers on how it should be done.
Paul Weller managed to make small-town dissatisfaction sound exhilarating on this late single from the JamWhere can you find a Town Called Malice on the map? It's actually located in Surrey, on the main railway line to the west country.
I tend to think that the term “post rock" is pretentious, the same way whenever someone drops "post-whatever" outside the context of a term paper how it's almost always lazy and represents an unwillingness to look closer at shifting trend.
Music from the True Vine presents Seeger as a gatekeeper of American roots music and culture, showing why generations of musicians and fans of traditional music regard him as a mentor and an inspiration.
Over the April 1st weekend I journeyed to Memphis, TN with some friends and clients to visit some of our nation’s historic music landmarks. Many of you are familiar with my role as the drummer of Moonshine Mason and the Rot Gut Gang, my 1940′s vintage country music band. The tour of Sun Recording Studios was especially meaningful, as the site still houses the first ever rock-n-roll record (Rocket 88 by Jackie Brenston) along with countless other relics including microphones used to record Elvis Presley. What a great time we had… if you’re in the area be sure and visit Gus’ World Famous Fried Chicken, you’ll be glad you did! Oh, did I mention we also visited Stax and Graceland?…
Dr. John stopped by Jimmy Fallon’s show to play a track from his latest album, the Dan Auerbach-produced Locked Down. The two played the track “Revolution” from the album with the songwriter’s massive band.
It's easy to forget what great jazz piano sounds like. Here's Earl "Fatha" Hines in three different duet settings—with Jaki Byard, Teddy Wilson and, well, himself... Cherry... All of Me... Memories of You...
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