16 posts tagged with Jazz by filthy light thief.
16 posts tagged with Jazz by filthy light thief.
Displaying 1 through 16 of 16.
From the rather common "skate punk into alternative music" origins to a bedroom producer who signed with Ninja Tune, Bonobo, the stage name for Simon Green, has continued to change musically. From the lone musician who made sample-based music, he has expanded into working with field recordings, studio musicians, and live shows where the band took a four bar drum break transformed it into a seven minute epic drum-sax solo battle, to which the crowd tried to clap along. You can see him live tomorrow at the Alexandra Palace in London in a special Boiler Room session, but until then, there's plenty more to see, hear and read. [more inside]
According to the Daptone Gold compilation liner notes (auto-playing music, click on "Biography"to read the notes), written by Pitchfork contributor Douglas Wolk, "the world capital of soul" has moved from the US ("between Memphis and Detroit, with occasional stopovers in New Orleans, Cincinnati and elsewhere") in the 1960, to Lagos in the 1970s, then it went into hiding, finally reappearing in Brooklyn, with Daptone Records. Let's go back - why Lagos in the 1970s? [more inside]
Later this year will mark the 45th anniversary of Bill Cosby's first self-titled sitcom, The Bill Cosby Show. Ten years ago, the original jam sessions were released, which are notable for the "various collection of notables who steal the show with contributions at various points." Pianist Les McCann, sax man Ernie Watts, and guitarist Arthur Adams get things going on "Groovy Gravy," Tom Scott shows some legit chops on "Toe Jam," while Jimmy Smith offers sampling of his Hammond B3 on the interlude "Jimmy Cookin' On Top." If seeing Quincy Jones and Bill Cosby get top billing confused you, the album credits reference their roles, which are not front-and-center, except for some vocal improv by Cosby on "Hikky-Burr." You can hear more tracks on Grooveshark, and if you're into more of that modern dance remixery, you might (also) enjoy The New Mixes, Vol. 1, which can also be sampled on Grooveshark.
Richard Pryor moved to New York City in 1963, where he performed regularly in clubs alongside performers such as Bob Dylan and Woody Allen. He even opened for singer and pianist Nina Simone, who talked of his early nervousness, when she put her "arms around him there in the dark and rocked him like a baby until he calmed down." You can see something of that young man in this clip of Pryor singing a bit of jazzy blues in 1966. The performance is also available on YouTube with slightly better quality, but faded in from different scene. [more inside]
"From the day of it's release in 1977, every time you heard it, you knew 2 things - you had never heard anything like it and this was something special. Energy, sophistication, soul. Birdland." | Weather Report live in 1978 at Stadthalle Offenbach | Maynard Ferguson Big Band live in 1982, Maynard Ferguson Band, live at Disneyland '83 (decent audience recording), Maynard Ferguson Band live on TV (year unknown) and a studio recording of Maynard Ferguson | Bruce Kaphan Quartet recording Birdland in their studio | Manhattan Transfer Vocalies Live in Tokyo in 1986, the same year when Weather Report disbanded | Future Corps, live
Andrea Benini is a musician, music producer and composer from Cesena, Italy, and is more commonly known as Mop Mop, or at least the head of a changing group of musicians who use that name. In 2005, collective Mop Mop released an album of cool vibes, spare paino lines, tight grooves (5 sample tracks, streaming on Grooveshark). The group has changed over the years, releasing a total of four albums, with the most recent, Isle of Magic, containing 13 tracks of pure voodoo jazz, Caribbean flavors, Afro-funk, exotic rhythms and soul music. [more inside]
British hip-hop producer/rapper Funky DL has a freebie for you: Jazzmatic, Nas' Illmatic redone as a jazz album from the late 1930s.
Sometimes you want to be somber, or serious, or just enjoy some peace and quiet. And in some of those instances, you get jazz that nobody asked for. Jazz that just won't die. [more inside]
"Before playing he explained the story behind the song, which was a journey – it was in 1993 as a 12 year old that he was able to return to Beirut alone for the first time (his parents having fled to Paris during the war) and he wandered the streets with his walkman, earphones plugged but playing no music, instead composing music in his mind and looking at the bullet marks in the walls of homes which had been rebuilt so many times over during the war that not much of the devastation was actually visible.. but after walking for a while, he sat and rested for some time.. and then suddenly when he got up again he noticed a street in front of him completely devastated and abandoned – something that he had actually been looking to see – but in that moment he was listening to (having just discovered) Led Zepplin and the combination of seeing the devastation and the music actually scared him and he ran away. And so this song tells that journey." The song is Beirut, and he is Ibrahim Maalouf. [more inside]
Animation veteran Steve Moore recently posted a short from the archives of Disney TV Animation, written by Dan O’Shannon, narrated by Garrison Keillor, and voiced by Mia Farrow, Michael Richards, June Foray, and Adam West, all set to a jazz soundtrack. Take 15 minutes and watch Redux Riding Hood. Steve tells the story of the short on his blog. (Via Cartoon Brew)
If you enjoy instrumental jazz and Christmas music, you might enjoy The Best Jazz Christmas Record You've Never Heard. ""Christmas With The Believers" turned out to be the best jazz Christmas music I had ever heard, and that's still the case today. I'll take the imaginative arrangements, chops, tight playing, and sense of swing on this recording over anything I've heard by the legends in this field." It's presented here as a cassette recording from Fall '86, with Donny Schwekendiek on piano, Neal Heidler on the bass and Narry Puhlovski on the drums.
"Art Tatum was [one of the two] dominant piano players of the 1930s, astounding everyone with his technique, most especially other piano players, who were convinced he was playing the impossible" -- Chick Corea, hosting a segment on the largely overlooked Arthur "Art" Tatum, Jr. If that display of skill and improvisation has you interested, here are a few documentaries about the mostly blind piano man who made other pianists question their instrument choice, yet often left the public at large overwhelmed (or unimpressed): Toledo Stories: The Tatum Legacy (YouTube, 28 minutes) :: Art Tatum - The Art Of Jazz Piano (YT, 52 min.) :: Art Tatum: A Talent Never to Be Duplicated (NPR, audio only, 11 min.) :: Art Tatum, 'The Musician's Musician' (NPR audio, 54 min.) [more inside]
September 2010 marked 20 years of Ninja Tune, the independent label formed by the duo known as Coldcut. Starting with an album by the duo that they released under a different group name, the small UK label has since spiraled out to include three separate imprints (plus an artist-specific mini-label), with an extensive collection of singles, EPs and albums from an ever-growing list of artists. More history in words, music and video awaiting inside... [more inside]
Mid-week pick-me-up, straight outta Japan: Soil & "Pimp" Sessions, live in 2009 at the annual North Sea Jazz Festival. If those live clips are a bit noisy, check out Pop Korn, My Foolish Heart~Crazy on Earth~, and My Foolish Heart ~Foolish in Mind~. And for a cool-down, try Welsh producer Doc Daneeka's bassy slowed down house version of Pop Korn (image source: Fotos+Mono, from the Chilean artist Relleno De Mono). [more inside]
The story starts in 1992 or so, when the 14 year old Brit, Dominic Stanton, bought turntables and started spinning early drum'n'bass. He transitioned from DJ to producer, made demo tracks, and got signed by age 17. He went on to produce broken beat* and jazzy downtempo*, even into the realm of disco edits. Then about two weeks ago, the 31 year old musician called it quits.
The point is that I am no longer Domu. He is a character, always has been, and as of Friday 13th November 2009, he no longer exists. Neither does Umod, Sonar Circle, Bakura, Yotoko, Rima, Zoltar, Blue Monkeys, Realside or any of the other names I put out music under. I am cancelling all my gigs and not taking any more. My hotmail is closed, my Twitter is closed and my Facebook is closed.Furthermore, his website is closed and the original post of his farewell message is lost, though you can still view the cached version or find it copied elsewhere. Domu's website now simply states This really is The End . . . Step inside for an abbreviated journey. [more inside]
Duke Ellington recalled "... that's one of those things Tizol came up with. See, it wasn't in tempo, he stood [and played it] sort of ad lib. He played it, [the] first ten bars, we took it and worked out the rest of it." That thing was Caravan, and the instigator was Juan Tizol, who was a trombonist in Duke Ellington's orchestra. The track, originally recorded in 1936, became a jazz standard. The lyrics were penned in 1936 by publisher and manager Irving Mills, adding to the exotic feeling and romance of what is considered by many to be the first Latin jazz piece, before the late swing era and first decade of bebop when Latin Jazz (also called Afro-Cuban Jazz) came into prominence. The track didn't cross into other genres until Les Paul created his version of the track in 1948, which lead to other covers, and eventually a successful cover by The Ventures (source). [more inside]