While the general population may consider her a "mere" one-hit wonder, her music and voice have always showed that she is much more than that, which is why so many people have cared for her for five decades. Judging from the youthful photos of the modern day Payne, she's not about to rest just yet. The new one will have better and greater distribution, which means that you'll be able to find it at your local shindigs or local online merchants of choice.
Braille also plans on touring this year and he's bringing his family, so if you plan on seeing him on the road, don't be afraid to say hello to the wife and their daughter. They will also be blogging their adventures, which you can read by clicking here. Lots of good stuff happening for him and the HipHopIsMusic collective, and very soon you will also hear the collaboration him and I did, the appropriately titled "I Feel". The MuAmin Collective are up for a Free Times Music Award in the hip-hop categoryand you can vote for them to help push them to the top.
Click here for more information. Obese Records have just signed Australia's Spit Syndicateoffering the world a chance to hear hip-hop from the land down under. The album is due out during the first half of Ubiquity Records is still very much in the vinyl game YES!
The songs are described as a mixture of reggae, dub, and African good life. Only copies of this 45 are being made, and after that you can find it through collector's circles.
Buy in triplicate, which you can do directly through Ubiquity. No Kids are getting a slow buzz these days, if you've been curious about their sound, you can download this free MP3 called " The Beaches All Closed ". The song is taken from their forthcoming album on Tomlab called Come Into My Housedue out on February 19th, so give them body.
The band Frog Eyes recently completed work on their first video, for the song "Idle Songs". You can take a look at it by heading over to YouTube. Find out, as the MP3 can be found here. Click here for a listen. The Alchemist did a track with Metafore called "I'm A Beast", you can hear the results by clicking here.
You can view this by heading over to YouTube. The great folks at Daptone Records have been known for their brand of soul, funk, Latin, and African music, all newly recorded. But after having a lot of success in recent years, they're now expanding with a reissue division, Ever-Soul. Judging from the first release, a 45 by Hank "Soulman" Mullen no relation to Soulman from Phillyit seems Ever-Soul will be the place for the funky and obscure, which is how vinyl junkies like it best.
You can pre-order your copies directly from Daptone. Most of the United States is as cold as flock and floosh, and rather than download porn, you should get into your shacks and make some music.
Speaking of recording, if you are a producer, engineer, or musician, you'll want to mark June th on your calendars so you can plan a trip to New Orleans for this year's Potluck Audio Conference PotluckCon. This is the convention formerly known as TapeOpConand there will be many panels and workshops, along with a live recording and mastering studio so you can take your music there and have it professionally done or learn a few things or two.
Registration for the conference and special hotel rates are now open. If you have your own recording setup at home or have a professional studio, and are looking for people to "talk shop" with, I highly recommend the magazine known as TapeOp. Each issue features technical information, and interviews with producers, engineers, musicians, and those who create the circuitry.
There are also equipment and music reviews, so if you need to tweak your current project and every other magazine hasn't moved you in the right direction, TapeOp may be able to give you the push you need. Their website also has a forum, so you can inquire in real time. Is there more? For now, that's it for this week's edition of The Run-Off Grooveand as always, there's more I didn't get to. Return next week and we'll do this all over again.
If you have music, books, or DVD's you'd like for me to review, you can contact me through my MySpace page. Posted by John Book at AM 2 comments:. I am John Bookwelcome to the show. This week is not as jam packed as last week's column, but reviews we have nonetheless.
The hip-hop quota was not met this week, and since I received Joe Budden 's new project yesterday, it wasn't enough time for me to do a review here, but next week for sure. Okay, let's begin. Liquid Weeld is the name of a Japanese duo who say they are "sound artists". They combine abstract composition with experimental assembly and come out with something that will appeal to those who enjoy the more eccentric side of Bjork 's music.
The pacing, and the space between various sounds, is very deliberate, this isn't music that you can casually listen to and hope for instant gratification. That's the beauty of Liquid Weeld, and with tracks with simple titles such as "Reed", "Lotus", "Fennel", "Anise", "Olive", and "Silk Tree" you have to take it in like an autumn day, each leaf falling wherever and you patiently wait for it to land.
It's very much music similar to being in a dream state, and like many of those which are pleasant, the listener will want to hang out and visit for awhile. Remarkable stuff. Akira Kosemura is a pianist from Japan who likes to explore her music with a passion to experiment. It's On Everything Someone Good may seem like a casual solo piano piece, especially after listening to the opening track "Orgel"which sounds as if Kosemura is out in the rain as synthesized raindrops fall.
It's not electronica, but you can hear that there is interaction in the machine and it's not exactly computer generated. Her playing is extraordinary, but her sound composition is an added feature as well, as she puts herself and the music into different audio scenarios where everything reacts to each other perfectly.
It's On Everything is indeed a solo album and I for one plan on hearing her music for years to come. I would not mind hearing her collaborate with other musicians, if this is something she is into and I'm sure she is. Always There - Various - Sax And The City - Mellow Grooves And Late Night Moods (CD) then, this is a fascinating album for anyone who enjoys hearing brilliance in the 21st century.
Who are these Aster kids, and why should I or you care? Well, if you are into dreamy pop with hints of rock in there to give the music a much needed punch every now and then, Some Things Seldom Heard Of self-released is for you. Despite their huge, massive sound, Aster is only a duo, but it shows what can be done in the studio if done properly. They mix the traditional guitars, basses, and drums with various electronics and gadgets to create something that is actually more accessible than that basic description, and I think that's partially due to a combination of the force of the music and how the lyrics tell a story that is worth learning about, understanding, and remembering.
Aster can often get awash in their own cacophony, or they lay low and help color the pictures they're trying to paint. They are a variant of similar sounding bands, but are distinct enough to set themselves from the pack, which I feel is important in a marketplace that tends to be clustered by bands who are there merely to fill the void.
Aster is a band that separates them from the cluster. For sample-happy worshippers and fans of musical thievery, Negativland can easily be in anyone's Top 5 if not top two. Their brand new DVD will definitely please as many fans who may be disappointed that their favorite audio collages have been given the visual treatment. Our Favorite Things Other Cinema is a three hour DVD featuring various Negativland songs put into video form, most of which are very creative and honoring the Negativland lifestyle.
This includes clips for "Gimme The Mermaid", "U2", "Time Zones", "Freedom's Waiting", "Yellow, Black And Rectangular", "Over The Hiccups" the audio is taken from one of those Recordio-type one-off records of a little girl singing, but the visual representation is anything but charming, which what makes its effectiveand the videos over their issues with Pepsi are soon-to-be classics.
Now, as someone who loves audio Always There - Various - Sax And The City - Mellow Grooves And Late Night Moods (CD), there are a few piees on here that come off as second rate because what makes these pieces work is how the audio is cut-up, not to find visuals for it. Such as "Yellow, Black And Rectangular", which is nothing but basic computer animation that a 7-year old could do. No, let me take that back, a 7-year old could do better, and it's one of the only few low-points on the DVD.
The biggest highlight, and there are many, is the bonus material, which features an interview with the man known to Negativland aficionados as The Weatherman. Watching the group's co-founder scrub shoes for 15 minutes before he allows anyone to enter his home is the closest thing to actually seeing the lead eyeball of The Residents without the mask and to my knowledge that hasn't happened yetbut as peculiar and quirky as he might seem, he is very much what Negativland is all about.
It is the revealing of the man behind the curtain in The Wizard of Oz, and seeing that he's a bit like one of us, but with long white hair and beard. Another great piece is Visit Howland Islandand as far as mixing up audio and video to create a new statement, this works beautifully and I wish the entire DVD was done like this. It was funny during the first two songs but got boring real fast, although I did like the use of the MC Hammer dolls to represent two of the members in the "group".
While the artwork is generic and basic greytones on whitethe music is a lot more complex and colorful, as Capone and his band display in the nine tracks on this CD, featuring renditions of Dexter Gordon 's "I Want More" and Gigi Gryce 's "Minority".
What I liked about this album is that while some of the songs here are done straightforward, Capone allows the guys Chris Mastrobattisto on sax, Matt Lorentzen on piano, and Carl Jackson sitting in on bass to do their own thing and carry the songs where they feel they need to be, without worry or hesitation, and it feels like the kind of music these guys would do in a live setting.
At times it has the feel of a Charles Mingus recording, where one can sense the presence of its leader although he himself makes sure everyone plays here with equal billing and feeling.
Unfortunately the CD doesn't come with production, engineering, or mastering credits, but the sound they achieved Always There - Various - Sax And The City - Mellow Grooves And Late Night Moods (CD) is well done. As you can tell by the title, this is the first installment of what will be a series of four CD's, and fans of jazz drummers and drumming will eat this up big time, along with those who want to hear jazz recordings that sound alive and not just slapped together.
Come in out of the cold indeed, and feel the warmth of the good vibes inside. When David Finck 's electric bass is heard along with the drums that start "I Know" on the opening track to Future Day soundbrushone can't help but smile and have a sense a personal "I Know At least that's how I felt when I played the first song and continued on.
Finck, Joe Locke vibesJoe La Barbera drumsand Tom Ranier piano sound like those jazz quartets of yesteryear that continue to get praised 30 to 40 years after the fact, when the chemistry feels right, the vibe is spot on, and the quality of the recording is sharp to where you think you can even sense what kind of drinks may or may not have been in the studio.
One of the primary reasons why the sound is up to par is that Finck himself produced it, along with executive producer Roger Davidson and engineer Darwin Bestand I mention this because everything about this recording stands out as brilliant, one of those albums that you want to sit in your comfy chair and just mellow out to, or test your audiophile equipment out so you can say "my resonance is better than your resonance". Jokes aside, the music here comes from powerful musicians with a lot of experience behind them, and they play here with the kind of intensity and sophistication that displays the class that jazz fully deserves.
Even in old chestnuts like "Nature Boy", " Wayne Shorter 's "Black Eyes" and Cedar Walton 's "Firm Roots" they bring new life into it and make it appear as if you're hearing them for the first time. But that's the greatness of jazz, being able to reinterpret the familiar and make you scratch your head in wonder. I honestly wish more albums would come out sounding like this, and I hope the label will consider releasing this as an advanced resolution DVD-A disc.
This is that good. Keith Marks has taken his masterful musicianship of the flute around the world, and with Foreign Funk Markei he demonstrates why he is one of the best flautists around. For some, the flute has had a good and bad reputation in jazz. It was an instrument one didn't expect to hear, but with people like Herbie Mann and Yusef Lateef bringing it into the mix and developing its own unique voice, the flute became something that more artist wanted to bring into their music and compositions.
I'll admit, when the album began with a cover of Harold Faltermeyer 's "Axel F", I was a bit concerned. It's a pop song, a hit one at that, and at first he played it as is.
As the song moved on it was noticeable that Marks was trying to do something more than just a direct cover, otherwise it would be nothing more than smooth jazz fodder. All of a sudden, he steps off of the song while remaining in it, and it showed me that this guy wasn't about to make this album in cruise control. The song goes for and about a minute before the end, he starts doing that breathing thing, where he catches his breath in between notes.
As I've said before, I've always been sold by that sound, and I don't know why, I guess it's adding a human element as if to say "I'm here" and perhaps this album could be something good.
It was more than something good. There's no reason to pass this up at all, and he also takes time to introduce two original compositions, "Patsy" and the title track. Sample heads take note. Foreign Funk is available through CDBaby.
Hendrik Meurkens first heard jazz music as a teenager growing up in Hamburg, Germany, or so his bio says. From that moment on he was hooked, and through a lot of listening he discovered Toots Thielemans and seeked the harmonica as his own. As with many jazz explorers, he found himself discovering, enjoying, and embracing the music of Brazil.
Meurkens continues his love of jazz and Brazilian sounds with his new album, Sambatropolisalso on Zoho. Meurkens' main instrument here is the harmonica, but he also plays the vibes on a few of them too. When it comes to the harmonica in jazz, the instrument has generally been reserved for the chosen few, and with this album he may become a part of that elite club, with the kind of playing that shows professionalism without going overboard.
Meurkens' appreciation is obvious and the music sounds as native to him as anything else, and the musicians sense that by giving it their all. He offers a number of original pieces too, including "Ocean Lights", "Hot And Stuffy" the music on the album is hot indeed, and anything but stuffy"Choro Da Neve" and the title track, which could easily be adapted by others and become standards in their own right. Whether it's romantic ballads or eager dance numbers, there's nothing on Sambatropolis that is bad.
Not one song. Played with precision, the recording, mixing, and mastering is top notch, fans who love Latin jazz will find every reason to buy this and pass it along to friends. If Sambatropolis was a real city, we should all pack up and live there. Sambatropolis is available through CD Universe. Olivia Block is a new name and artist to my ears, and she is an artist and composer who likes to combine the "authentic" sounds of "real" instruments with the "natural" sounds in life that are often not considered musical.
She does this by both playing them in real time and allowing modern technology to mess with the process, and in Heave To Sedimental she creates a three song sound collage that will reveal different things with each listen. In the two part title track you hear everything from glass to rain, and what sounds like fire. But sounds are sped up, reversed, slowed down, played within, mixed in the forefront, she Always There - Various - Sax And The City - Mellow Grooves And Late Night Moods (CD) everything to perhaps confuse the listener but not quite.
Most of the sounds come in and out of the mix like random thoughts, such as the sound in "Heave To Part 1 " that sounds like an incoming truck pressing on the car horn, or how some elements come off like trying to tune into a distant frequency on airwaves unknown. Musicians are credited with instruments, including Block, credited as the cellist, and while you do hear instruments throughout, they're not done in a traditional way and you never know when they'll be played. In "Make The Land" you'll have to be sure that there are no other sounds around you as you listen, so you can concentrate on the unveiling of each sound.
Perhaps Heave To is one way to acknowledge the everyday sounds we ignore because we have our radios, CD's, or MP3 players blaring loudly, and Block is allowing us to take that in for 35 minutes. Or perhaps it's nothing more than a creative mind trying to work wonders through the power of sound. I think it's a bit of both.
Heave To is available through SquidCo. The title "Runs Toward Needles" in some way represents the artwork a bit, what looks like a bunch of little lines scribbled as if it's a fabric, thumb print, or a tree limb, but up close at x. It is this burst of confusion that may make you want to understand Sillagebut don't look to understand. Look to listen, and listen to observe.
Both Murray and Nehil bring in found sounds and create them at the same time, and combine them every now and then to make sounds that could be the source of sound effects to a bizarre film of submarine dynamics.
In a piece like "Clothes Tear" one doesn't hear clothes or tearing. For the first half of the sound you hear a lot of electronics twisting and turning to be heard, and then it heads underwater, maybe to find that sonic submarine.
Then with perfect timing, something begins to rise. At least that's my interpretation of it, and in truth it's nothing more than collaborative sounds that make an effort to speak to each other while having its own voice be heard and known. The 8-track album has to be heard in full from start to finish, since some tracks contradict each other in sound, sometimes they contradict within the same track. One part may sound bright and open as if it's some vehicle riding on the beach as water comes to shore, and then you're in outer space.
I go back to the needle theory, and perhaps that if there is some sense of logic to this, the needle has to be found. But perhaps the portrait Murray and Nehil are trying to present is about all of the needles, and that if you're going to dive in, you'll bleed a lot.
If you venture in, bring rubbing alcohol. Sillage is available through SquidCo. What happens if you enter an album, knowing that it's called In Six Parts Sedimentalthere are six tracks, but they are all untitled? Good for you. Tim Feeney and Vic Rawlings are experimental explorers, as they put together ear-piercing sounds through circuitry and other elements. If a sound is achieved, they will bring it in and try to twist it around. As I began to think that the band couldn't possibly go higher than in the first song' 'Exit Strategy' brings us a perfect amalgam of vocals, great hooks and clever instrumental.
It's incredible how 3rDegree is able to combine the old Prog days without a single trace of copying that sound. They're amusingly refreshing and new to this old 'accustomed' Prog ears of mine! By the time 'Incoherent Ramblings' starts, game's over. The band got me as their newest fan. I should have been aware of The Long Division before. But better later than never! Two shorter songs follow: 'The Ones To Follow' is another catchy acoustic driven track that is just great.
Soon they're followed by the amazing Dobbs vocals here a bit like Threshold's Mac era. Superb stuff! The right amount of keyboards, two guitar players that know how to work for the song and a solid drummer, that's 3rDegree. This one is a bit more of a Pop song with a big chorus and a melancholic mood.
Finishing with a high note is always good! The Long Division has everything that any intelligent Progressive Rock fan would want: great and smart lyrics, melodic hooks all around, flawless instrumentation, superb vocals, a perfect production and the main thing ' great songs! The Long Division is all based on great well-polished songs! It's time to follow forward, pass through the first few levels of average Joes and step on the 3rDegree.
Originally posted on progshine. Compared to "Narrow-Caster", "The Long Division" ups the ante in terms of complexity, while retaining its accessible, deceptively upbeat flavour.
Though there are no epics in the conventional prog sense, the album is intended as a sort of loose concept that, while firmly rooted in the peculiar atmosphere of a US presidential election year, can also resonate with citizens of most Western countries, especially in the current global situation.
The clean, geometric lines of the striking cover artwork contrast sharply with the stereotypically fanciful prog aesthetics, its bright blue and red hues identifying the two main US political parties, separated by an apparently unbridgeable gap. From a musical point of view, the main ingredients that made "Narrow-Caster" such as successful example of modern crossover prog do not disguise the intricacy of the instrumental fabric and the frequent changes in tempo and mood.
George Dobbs' authoritative voice is assisted by gorgeous, layered vocal harmonies reminiscent of early Yes or even The Beatles that complement the lush instrumental interplay. The double-guitar configuration, with new boy Eric Pseja flanking founding member Patrick Kliesch, has undeniably beefed up the sound, though as a whole "The Long Division" comes across as a smoother-sounding effort, less reliant on high-powered riffs and more focused on Dobbs' keyboards. The 10 songs on "The Long Division" are arranged in a pattern that alternates uptempo numbers with more laid-back ones.
The mellotron-infused "Exit Strategy", with its airy, orchestral feel, is dominated by vocals, though Robert James Pashman's strong bass lines well complemented by new drummer Aaron Nobel emerge prominently. The bass is also the undisputed protagonist of the funky, exhilarating "The Socio-Economic Petri Dish" - sounding like Yes probably would if they had been founded in the 21st century, and displaying the band's collective talent in both the instrumental and vocal department.
The second half of the album opens with the hauntingly romantic, piano-led "A Work of Art", the only song dating back from the early incarnation of the band, enhanced by sax, flute and mellotron and featuring an unusually subdued vocal performance by Dobbs. Things pick up with the slashing riffs and hard rock vibe of the Rush-influenced "Televised", driven by Pashman's fat, groovy bass line and Nobel's muscular yet intricate drumming, the heaviness softened by the Beatlesian flavour of the harmony vocals.
The short, gentle instrumental "The Millions of Last Moments" prepares the listener to the album's grand finale? With "The Long Division", 3RDegree prove that they have reached their full maturity as a band, delivering an intelligent, well-rounded example of modern progressive rock. Avoiding the bloated excesses of many retro-oriented bands, "The Long Division" is a complete package of classy music, top-notch vocals and thought-provoking lyrics? When this album came out four years ago in tandem with the Presidential Election, its relevancy could not be understated.
Init seems that this album is just as poignant as ever -- a testament to both its genius and its resilience, at least from a topical perspective. We're just on the cusp of another presidential election, that several month run to November when it will be impossible to avoid the whole mess.
It's either a brilliant time to release an album about the fractured nature of American politics or a sure fire bet to piss off a good hunk of the fan ba It's refreshing to find once in a while among all the bombastic modern prog a band that sounds restrained, smooth, with a bar music feel.
This is an album that draws its influences not as much from British prog but rather from the primary sources of Ameican rock another modern band with such an To my ears and sensibility, 3RDegree's The Long Division is exactly the kind of prog album this decade needs. The band couples great musicianship with infectious hooks, adding clever, socially conscious lyrics and a healthy dose of lush vocal harmonies. Not only are the individual songs strong on th I really regret dragging my feet on getting this but I have been in a lull of not buying music.
I listened to it for the first time in the car just after it arrived was greatly impressed. My wife commented that it had been awhile since she saw me with that big a smile on my face while listenin Great example of prog rock's various best known characteristics put to use to create an album that can really be enjoyed by those who have no idea what prog might be as a genre.
Is the album chock full of virtuosic passages-no-but they are so welcome when they find their way into really well con Heavy and deep in parts, syrupy sweet at others, the album is like a good book that's hard to put down. It ho In a genre where lyrics often are thrown away or deal in fantasy, 3RDegree instead release a relevant album in a US election year that doesn't tell you who to vote for but rather marvel at the ridiculousness of it all.
Because of this, "side two" can possibly be overlooked but there I've been following this band since their release "Narrow-Caster", which I liked a lot. Since then, 3RDegree have been hard at work on their follow-up, which was released in September In a landslide of strong album releases in and how come the know-it-all Mayans didn't predict that? Which is what I did, and it was because what I had seen was so bad. These album covers were put together by printers who were supplied with very often a bad photograph, and they would put the lettering down with their eyes closed.
None of this had any importance to anyone, it was just some small market. The posters that were advertising dancers. They were put together by the same people who made boxing posters. This was a letter press, and those big letters were actually wooden letters, put together one at a time, and they would insert blocks with pictures and this awful lettering. And it was all hand set.
I revolutionized Latin album cover art because I started designing them by hand, and reproducing them in photo offset lithography. I was always bumping heads, Masucci wanted complete control most of the time, but sometimes, I was able to turn things around, and be completely accepted.
Number one, the name of the album was La Gran Fuga, you know, The Great Escape, they handed me a photograph, which was the guys in color, that was pretty washed out. It was the guys in prison outfits, escaping over the fence of a prison in Puerto Rico. So, what I did was that I used that photograph, I turned it into a black and white, and I turned it into a vilox, line screen, to make it look like a newspaper, and I in fact made a replica of the New York Daily News on the back.
The hippies were selling copies of the posters. I took Willie downstairs, I had an office on 52nd and Broadway, went to the corner where there was one of these arcades. Four photos for a quarter. So I took four of them facing front, and four profile shots, because I wanted that bad quality. The prison numbers under his mug shot are his previous LP catalogue numbers.
The fingerprints were taken from a post office Wanted poster. That was only the first five thousand. In his parents returned to Cuba, where he was raised in the Luyano district of Havana. At the age of 10, he was sent to live with his paternal grandmother in the picturesque seaport of Antilla, in Oriente province. It was there that he first heard the music that would someday fulfil his dreams. During the period from throughChico would spend his summer vacations in New York City, where he first came under the influence of rock and roll.
He returned to Cuba in September of and began his initial venture into the realm of popular music. Along with a group of young musicians from Antilla, he sought to breathe new life into the music which he had heard while living in New York. At this time in his life he was the stereotypical Cuban teenager who wanted more than anything else to be a rock and roll singer. He dreamed of someday being on American Bandstand. It was during this visit that he experienced a newly-awakened interest in Cuban music, via the 78 rpm recordings of his parents and by way of Spanish language radio.
By September he was back in Cuba, but not for very long. His parents made the final move to New York in late From that point on, his life would revolve around popular American culture, and it was in that most difficult of places, New York, that he would develop as an artist.
His first instrument was the conga drum, which he picked up while still in High School, emulating the sounds which he heard on records by Mongo Santamaria, Tito Puente and Joe Cuba. He was like a diamond in the rough, and listening to these masters helped him to polish that diamond.
At the tail end of the Sixties he began to perform with as many groups as he possibly could, in order to gain the experience he needed. During the early part of the Seventies Chico played with various small groups, mostly in small clubs and bars, totally unsatisfied, as deep down inside he longed to play with larger ensembles, such as those led by Machito, Puente and Rodriguez.
These three were the last of the big bands whose popularity was waning at the time. Midway through the decade, as a new era in Cuban music was being ushered in he once again contemplated singing, and it was through a quirk of fate that he finally made the switch.
It happened in the following manner. While opening up for vocalist Tito Rodriguez's band at a ballroom in Newark, Chico's vocalist failed to show up and he wound up singing lead and playing the conga drum, a task which he found overwhelming. Noticing his potential, Tito approached him at the end of the set and suggested that Always There - Various - Sax And The City - Mellow Grooves And Late Night Moods (CD) pursue a career as a vocalist.
Although he felt honoured that such a renowned artist would take notice of him, he continued to play the congas, which he loved. Although they remained in the back of his mind, Tito's advice went unheeded for a couple of more years, until around As fate would have it, there occurred a second boom with the "charanga" style bands, and another quirk of fate led Chico to a club called La Mancha, which was located on 14th Street, near Union Square.
Marcadores: Record Of The Week. Comment: We are the Fans! And here we have it! One of the best organ jazz blues recordings, at least in my opinion. But instead, let me just point to one small detail: Listen carefully at around 27 seconds into the song.
At this moment Holmes is switching the organ motor off and then back on again in a split second, and the effect is that the sound of the organ is pitch-bending as the restarted motor frantically adjusts trying to deliver a stable speed again correlated to the frequency of 60 Hz current from the wall socket. And Holmes is using this Hammond-trick in the ongoing swinging context of the song! He is actually using this effect as an integrated part of the start of his solo phrasing.
Neat and pretty, to say the least… By Jazz Organ Fan comment on the old post. More On Mr. Misty repeats the hit and features some other catchy arrangements of standards.
Saxophonist Rusty Bryant is a strong asset on the latter set. Like many other organists in the mids, Holmes experimented a bit with electric keyboards.
But he soon realized that his musical personality was really to be found on the organ so he switched back, staying active as one of the top organists on the soul-jazz scene until his death in From Concord Music Group.
In memory of Roberto 'Pappa' Rodriguez Rest In Peace my Bro! Al Kent included the 12 inch version on his Disco Love Volume 2 for BBE, and while we did the licensing deal we discovered the original tapes were still safe and sound. So Al excitedly set to work creating a more disco friendly version of the song, taking influence from his hero Walter Gibbons, which quickly became a highlight of his DJ sets.
We thought it was finally time to share this one with the rest of the world. Lady Lounge Labels: downtempolo-filounge. Science Fiction Jazz - Vol. Labels: downtempojazztri-hop. Deep Forest - Music Detected Labels: etnicnew agetrance. Nigel Shaw — The River Labels: new age. Labels: downtemponew age. Cafe Arabica the Cream of Arabient Cuisine kbps. Labels: chilloutloungeworld. Newer Posts Older Posts Home.
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