#Doob Solo

[doomedandstoned]

A Talk with ACID MAMMOTH frontman Chris Babalis

By DoobSolo

What’s heavy, fuzzy, and charging straight at you with the energy of an unchained berserker? It’s psychedelic doom four-piece ACID MAMMOTH from Athens, Greece!

While blatantly (and admittedly) rooted in Black Sabbath and psychedelic culture, Acid Mammoth has had a unique and recognizable sound since their inception in the mid 2010’s, set apart by hypnotic witchy vocals, ear-bending leads, and beastly fuzzy riffs and rhythms that pound like a prehistoric megafauna caravan.

In this interview, ride along with guitarist/vocalist Chris Babalis and D&S’ Doob Solo on an enlightening tour through the primal origins, promising future, and colossal heart of the band.

You can check out Acid Mammoth’s discography and upcoming live dates at the Heavy Psych Sounds website.

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[krispyweiss]

Song Review(s): Billy Strings - “Hellbender” and “Dust in a Baggie” (Live, April 26, 2024)

The booze makes him want to cry and the dust landed him in the clink.

So sang Billy Strings in opening his April 26 concert in Kentucky with the one-two gut punch of “Hellbender” and “Dust in a Baggie,” both given away in the gig’s associated livestream sampler.

For songs about such unhappy endings, “Hellbender” and, particularly, “Dust” are uplifting as heck. The former is an unsteady waltz that finds guitarist Strings, banjo man Billy Failing, fiddler Alex Hargreaves and mando dude Jarrod Walker passing solos around like a dusty bottle, while bassist Royal Masat amps up the latter to an appropriately tweaker-friendly pace as Strings and the boys make sitting in the pokey sound downright celebratory.

These numbers are played pretty frequently, so there are no surprises here. But the future of bluegrass sure seems secure every time Strings and his bandmates step on a stage.

Just don’t drink or smoke - unless it’s a doob - to that and all will be fine.

Grade card: Billy Strings - “Hellbender” and “Dust in a Baggie” (Live - 4/26/24) - A-/A-

4/27/24

[summersun4youforever]

✨ Tag 9 people to learn more about their interests!

tagged by my fav @loulovehome thank you pu hope that this quells your curiosity! 

MUSIC

fav genre? not to be that person but i think i have a toe in most genres, i suppose my favorites have got to be anything taylor swift does, pop punk, r&b pop/new age r&b, and bluegrass

fav artist? again, not to be that person but i love so many artists! let’s do this based off of genre: taylor swift, 1D, 5sos, massive focus on ZAYN, the Avett brothers, and counting crows

fav song? fav song of all time (since i was young) is going to be come around by rhett miller but more currently i’d say you are in love by taylor swift and dRuNk by ZAYN

song currently stuck in your head? i have no idea how it got there but i have stressed out by 21 pilots stuck in my head??

5 fav lyrics? ok let’s do this kids. edit: this went in a “fav love song lyrics” way so sorry in advance.

1)  I hope that I don't sound to insane when I say / There is darkness all around us / I don't feel weak but I do need sometimes for her to protect me / And reconnect me to the beauty that I'm missin' (January Wedding - The Avett Brothers)

2)  Hands around my waist / You're counting up the hills across the sheets / And I'm a falling star / A glimmer lighting up these cotton streets / I admit I'm a bit of a fool for playing by the rules / But I've found my sweet escape when I'm alone with you (Disconnected - 5sos)

3)  This is the worthwhile fight / Love is a ruthless game / Unless you play it good and right / These are the hands of fate / You're my Achilles heel / This is the golden age of something good / And right and real (State of Grace - Taylor Swift) 

4)  What if I changed my mind / What if I said it's over / I been flying so long / Can't remember what it was like to be sober / What if I lost my lives? / What if I said "Game over"? / What if I forget my lies? / And I lose all my composure (Back to Life - ZAYN)

5)   I never said I was perfect / Or you don't deserve a good person to carry your baggage / I know a few girls that can handle it / I ain't that kind of chick, but I can call 'em for you if you want / I never said that you wasn't attractive / Your style and that beard, ooh, don't get me distracted / I'm tryna be patient, and patience takes practice / The fact is I'm leaving, so just let me have this (Jerome - Lizzo)

radio or your own playlist | solo artists or bands | pop or indie | loud or silent volume I slow or fast songs | music video or lyrics video | speakers or headset | riding a bus in silence or while listening to music | driving in silence or with radio on

BOOKS

fav book genre? murder mystery and young love!

fav writer? jane austen, lisa jewell, and rick riordan (nostalgia ok?!)

fav book? the way i used to be my amber smith, rebecca by daphane du maurier, and then she was gone OR watching you (both by Lisa Jewell)

fav book series? i guess the whole percy jackson situations? i have everything RR every wrote, and i liked it all but i havent touched the older ones in ages

comfort book? not one specifically but the nancy drew books

perfect book to read on a rainy day? bird summons by leila aboulela

5 quotes from your fav book that you know by heart? i hope i can name five...

1)  “The point is, life has to be endured, and lived. But how to live it is the problem.” “I am no traveller, you are my world.” (both are My Cousin Rachel by Daphne Du Maurier)

2)  “And I’m terrified he’ll see through the tough iceberg layer, and he’ll discover not a soft, sweet girl, but an ugly fucking disaster underneath.” (The Way I Used to Be by Amber Smith)

3)  "I cannot make speeches, Emma," he soon resumed; and in a tone of such sincere, decided, intelligible tenderness as was tolerably convincing. "If I loved you less, I might be able to talk about it more. But you know what I am. You hear nothing but truth from me. I have blamed you, and lectured you, and you have borne it as no other woman in England would have borne it. Bear with the truths I would tell you now, dearest Emma, as well as you have borne with them. The manner, perhaps, may have as little to recommend them. God knows, I have been a very indifferent lover. But you understand me. Yes, you see, you understand my feelings and will return them if you can. At present, I ask only to hear, once to hear your voice.” (Emma by Jane Austen) (sorry for the length, the shortened versions were not cutting it for me)

4)  “Read, read, read. That's all I can say.” (The Secret of the Old Clock by Carolyn Keene)

5)  “...amazing how boring you can get away with being when you’re pretty. No one seems to notice. When you’re pretty everyone just assumes you must have a great life. People are so short-sighted, sometimes. People are so stupid. I have a dark past and I have dark thoughts. I do dark things and I scare myself sometimes.” (Invisible Girl by Lisa Jewell)

hardcover or paperback | buy or rent | standalone novels or book series | ebook or physical copy | reading at night or during the day | reading at home or in nature | listening to music while reading or reading in silence | reading in order or reading the ending first | reliable or unreliable narrator | realism or fantasy | one or multiple POVS | judging by the covers or by the summary (im a very judgmental reader) | rereading or reading just once

TV AND MOVIES

fav tv/movie genre? i like dramedies, mockumentaries, and procedurals 

fav movie? ive got a massive list on my phone but ill pick Doob (No Bed of Roses) and 3-Iron as my favs for today

comfort movie? 2000s romcoms, im talking clueless, 13 going on 30, how to loe a guy in ten days, ten things i hate abt you, legally blonde

movie you watch every year? mamma mia and all listed in prev question

fav tv show? too many, currently im rewatching arrested development

comfort tv show? new girl

most rewatched tv show? new girl

ultimate otp? shawn and jules from psych (ultimate bc ive been watching since diapers literally)

5 fav characters? winston bishop, stiles stilinski, bellamy blake, clarke griffin, lydia martin

tv shows or movies | short seasons (8-13 episodes) or full seasons (22 episodes or more) | one episode a week or binging | one season or multiple seasons | one part or saga | half hour or one hour long episodes | subtitles on or off | rewatching or watching just once | downloads or watches online

super fun even though it took me an hour lmao, I'm tagging @technosoot @hometothecanyonmoon @sassylilnoodle @sushiniall @rosegold-thorns no pressure and sorry if youve already been tagged!

edit: i somehow managed to forget what i consider to be one of the greatest opening verses ever???? so bonus lyrics:

Step out the front door like a ghost into the fog / Where no one notices the contrast of white on white / And in between the moon and you / The angels get a better view / Of the crumbling difference between wrong and right (Round Here - Counting Crows)

[talesofpassingtime]

Santana!

Last night, I took Stacey and Matthew to see Santana and the Doobie Brothers at the Dos Equis Pavilion in Dallas' Fair Park. Sadly I didn't see as much of the show as I would have liked. Not because I wasn't there for every minute but because throughout the performance, there were tears in my eyes.

We arrived early. Knowing we had lawn seats, I wanted to make sure we had a decent view of the stage. Texas in July, our biggest fear was being baked in the blazing sun and, according to the forecast, we were in for a scorcher. Spreading our blankets, we bought a round of Margaritas in souvenir guitar-shaped cups and waited for the fun to begin.

As show time approached, we noticed a hefty grey mass of clouds forming overhead. At first, it seemed like a good thing, a welcome respite, blocking out the too fierce sunshine. Then we looked at the radar. Then the rain started to fall.

Being hot, the first few drops of rain seemed a relief. Then it began to pour. Lightning flashed in the distance. The modest crowd began to disperse, some leaving, the rest massing into the shelter of the pavilion. We used one of our blankets as a makeshift umbrella and hoped for the best. The rain fell harder and then harder and finally, we were drenched to the bone. We joined the crowd under the roof, laughing with everyone at our misfortune.

Twenty minutes later, the rain slowed and finally stopped. We went back to the hillside, spread our wet blanket and sat gingerly in the damp. An old man beside us lamented his wet lighter. It was a long time before anyone could smoke. "She looks good wet," he said of my lovely wife with a laugh. He was right.

An hour and a half late, the Doobie Brothers took the stage. They were great, everything you would expect from a classic rock concert - superb musicians playing old favorites, blazing away with three guitars and I sang until my voice faded away. No Michael McDonald easy listening Doobies, these were the hard rocking Doobs, climaxing in a roaring version of China Grove. If the show had ended there, I would have gone home satisfied.

The set was struck, new drums were rolled in. The jumbotron displayed typical Santana iconography; images of peace, love and spirituality. Pictures of the crowd at Woodstock, playing in the mud, began to dominate, a memory that resonated with the rain-soaked older crowd.

Then Carlos took the stage.

As I am fond of telling people, I have been a fan of Santana for a long, long time. And for Santana fans, there is no more iconic lick than the first blistering solo of the Woodstock Soul Sacrifice. My eyes filled with tears when the drums began to play the introduction. Then the guitar burst in. I lost all control and today, the morning after, it still hasn't been regained.

He started by playing the Woodstock set; Soul Sacrifice, Evil Ways and Love Supreme. As a life-long Santana fan, this was the most magical bunch of songs he could have played. I never dreamed I would get to see the man relive his introduction to the world at large. Ladies and Gentlemen - Santana!

He then proceeded to play every great song he ever played before, a catalog that grabbed my soul and took me to the stars. Best of all, he played nearly all of Supernatural, the album that showed the mainstream world how good he had become. Stacey danced and I tried not to cry.

I have watched lots of video of Santana playing live and what always comes across is what a generous musician he is, never afraid to share the stage or the spotlight, paying constant attention to the members of his band and making sure that we did too. He brought out the Doobie Brothers to join him for the solos of She's Not There, a moment that proved how good the Doobie Brothers actually are, more than their own set had done.

He has incredible vocalists, which made me very happy because a guitar like Carlos' needs a great voice beside it. His wife, the drummer, played like she has three arms. The keyboards were as blistering as the gold PRS he plays. The conga player ... if you know Santana at all, you know what it means to play congas with him ... was better than I could have imagined. The rest of the band ... there's no point in laying on more praise. Santana has the accompaniment he deserves.

The best Americans have always been immigrants. Anyone who doesn't see that, doesn't know our country's history very well.

The evening was, for me, like a religious experience. Listening to Carlos Santana play guitar is like looking into the face of a loving, benevolent God. I still haven't recovered. I am uplifted, inspired and humbled by the experience. I spent a great deal of money for a few hours of entertainment but, quite frankly, I would have, should have spent more. I'm ready to start following the show on the road, paying top dollar for front row seats if I could get them. It was an evening I am honored to have been a part of and I would relive it a thousand times without being wholly satisfied.

Except for the rain. I'm still wet. In a way, it was fitting, cleansing us, relieving us from the heat, uniting us as an audience having lived through a wild storm together. The crowd was amazingly diverse, a bit older than a typical crowded rock concert but filled with every kind of person I can think of. The lawn was packed from front to back, despite the rain, and everyone was kind, loving and full of fun. We were united in our soaking wet joy.

As he closed the show with Smooth, I could hardly speak. I am a better person, having spent an evening with Carlos Devadip Santana. He is the best man I have ever known of. His music is my soul.

David

[rocksolute]

👶 heh

ted was snoring the night away without a single care, looking like a sloth hanging from a branch on a tree with  more than sixty-five percent of his body dangling off the edge of the bed he shared with his first and only flame—- the nancy to his not so vicious sid, elizabeth. he gnashed his teeth unconsciously in his sleep and sighed profoundly as he’s swept away and lost in a dream he could only hope to accomplish in real life.  ❛  this show is has been straight fuego, bodacious ladies and gentle-dudes and it is all thanks to you! we seriously could not have done it without you.  ❜  wyld stallyns fans’ screams caress his earholes in the dream, they were playing to a full house at the selland arena in fresno and they were opening for their fellow headliner, v.an ha/len. and just as he was about to dive into the song’s solo that would wrap up their portion of the show, the earpiece that protected his ears from upsetting loud noises fell with a soundless ‘clack’ onto the ground.

tossing his jet-black hair out of his eyes, he bends down to pick it up— but before he could snag the item in question, he felt a pair of icicles burning holes into his back. the young musician’s blood ran cold as their adoring fans gasped in unison, looking directly behind him with wide eyes and gaping open mouths.  “  theodore, look ou—- !  ” and he quickly turned around. the stadium was as still and as silent as graveyard now except for the static that flooded the stadium and the few notes that were unintentionally played as ted’s fingers just barely grazed his guitar strings. instead of finding his wife who’s sentence was cut short prematurely, he finds him. wyld stallyns’ arch-nemesis and rufus’ old gym teacher, chuck de nomolos who’d traveled a very long distance to destroy what he personally liked to call that ridiculous, insipid band not once…but twice.  ❛

 what have you done to my friends, you futuristic dickweed?  ❜  he demanded angrily, gripping the neck of the guitar in his hands as he swung it like a bat. may not be much compared to the futuristic ray gun his overfed repulsiveness had but it’ll do for now. instead of giving one of his speeches about how much he hated the most excellent society he was forced to live in because of their ‘tasteless, heavy metal’ music—- he let out a scream. a blood curdling scream, it unlike anything he’d ever had the utmost displeasure to hear before. a sound he didn’t think a human was even capable of producing. it was all over the place like, some sort of psychotic free form jazz and ted tried to so desperately block out the noise that flooded the arena.

his dream was quickly altered by a not so scary doze of reality when he realized the source of the noise wasn’t chuck de nomolos but his son. wiping the sweat off his brow, he lets himself drop with a hard ‘thud’ onto the ground.  “  my stars!  ”  he heard his wife cry, throwing the covers off her as she rushed to his aid.  “  theodore, are you alright?  ”  to which, ted replied with a guttural  ❛  i’m alright.  ❜  he lifted his head off the floor, just enough for her to see his dark, romantic, half lidded eyes behind the bed’s horizon.  ❛  do not fret, bodacious wife babe! i’ll take care of it.  ❜  

the former princess smiled sweetly before she eased back into bed and yanked the covers over her head, she does so much for their band and their family during the day; she needs the rest. ted scrambled to his feet and quietly made his way to william’s crib.  ❛  — what made you turn on your siren, little dude?  ❜  he checks for a questionable scent, a sigh of relief escaping his lips to see there wasn’t any.  ‘  hun-whee.  ‘  he’s hungry.  ❛  well, let’s go fetch some snack-a-roos, scrappy doo.  ❜  the toddler clapped his hands as dad took him in his strong arms and carried him down the hall, chanting  ’  snack-ee-roos! snack-ee-rooss! snack-ee-ro—– !  ‘  before ted shushed him a finger to his lips.  

❛  use your library voice, dude even if you’ve never been to a library before.  ❜  he’ll take him tomorrow morning to watch the puppet show, if he can bring himself to remember even a fraction of what he’s telling him. the smaller version of ted shook his head and pulled on a strand of his father’s nape-length hair. ‘  —- ba-doob!  ‘  after flicking the light switch in the kitchen, the young parent put the little one down and let him walk clumsily about. he opened the fridge, squinted his eyes and looked inside. maybe he’ll want some of those yogurt cookies that melt in your mouth.he immediately took those out. when he turned around, he saw william holding up his toy guitar.  ‘  bay-len! bay-len!  ‘  the tot said, to which his father cried.  ❛  you can shred just like e.ddie v/an ha!len? no way! show me.  ❜  

he offered the small sleeve with cookies to his son, who immediately popped three into his mouth. the younger pressed a bright, orange button on the guitar, making all the lights on it turn on. ted showed genuine interest as he too, munched on some of little bill’s most savory yogurt cookies, holding a pre-chilled bottle of milk in his free hand. his eyes blew up to the size of golf balls as genuine interest is displayed across his face.  ❛  outstandingly played! willing to bet you must be the very spit of e.vh himself! do you offer lessons for greenhorns such as myself?  ❜  

the younger eagerly shook his head before his dad lifted him off the ground, turned off the light and scurried down the hall with his laughter echoing behind him. hugging his toy guitar close to his chest, the child took the cookies and bottle from the older’s hands, taking drinks from the formula between bites till he eventually the walk to their bedroom rocked him to sleep.  

❛  time to get some shut-eye, little dude! we have a big day with a most excellent adventure ahead of us.   ❜  the taller quietly placed the bottle, wrapper, and toy guitar on the lamp table to his left before carefully placing his now sleeping son back in his crib.he couldn’t help but smile a bit as he looked down at him—- brushing the thick, jet-black hair they shared out of his eyes as he drifted off.  ❛  sleep well, little dude. 

CAN YOU EVEN ADULT, DUDE?  ⚡  NO LONGER ACCEPTING!

[dustedmagazine]

Listed: Aaron Parks

Pianist Aaron Parks has a prodigy's history: started college early with multiple majors, got the fellowship, the all-star recognition. His biggest break came through his work with Terence Blanchard, starting when he was still a teenager. Not long after, he recorded with artists like Mike Moreno and Ambrose Akinmusire. The heart of Parks's flexible work shows in his Blue Note debut as a leader, 2008's Invisible Cinema, a moody, complex album that displayed his compositional skills to full effect. While he's continued his collaborative work (the James Farm material with Joshua Redman stands out), he's been developing his solo work, with Arborescence (2013) highlighting his control and narrative sensibility. New release Find the Way, with bassist Ben Street and drummer Billy Hart, shows Parks playing with time-signatures and space, finding a lovely, open sound with a light touch. (Read Marc Medwin’s review here.) For this Listed entry, Parks shares some of his favorite jazz releases, connecting individual technique with group interaction.

Bennie Maupin — The Jewel in the Lotus

Magnificence. The music seems to just emerge like water from a spring. Sublime compositions and orchestrations. Listen to the gentleness and power of Billy Hart’s drumming on the opening track “Ensenada,” or the sorrow and expansive beauty of Maupin and Herbie Hancock in duo on the concluding “Past Is Past.”

Dewey Redman & Ed Blackwell — Red and Black in Willisau 

A live duo set from two of the deepest improvisers ever. The music sounds so complete that it’s easy to forget that there’s only two people on the stage. The playing is free and gestural but at the same time unbelievably focused and rigorously motivic. Really inspiring. There are five tracks on this record, and it’s worth listening to them all, from the ridiculously swinging and joyous opener “Willisee” to the oblique and lyrical “S 126 T.”

Gonzalo Rubalcaba — Inner Voyage 

This is one of my favorite recordings by a piano trio, certainly within the last 20 years. There’s a warm lyricism in Rubalcaba’s playing but also something cryptic in his approach to rhythm and harmony. His touch on the piano is crystalline, precise and dreamy. “Here’s That Rainy Day” floats by with breathtaking patience and a tenderness that never curdles into sentimentality, “Caravan” sways with a slyly restrained energy punctuated by the occasional serpentine flash of virtuosity, and the three pieces written for his children (“Yolanda Anas,” “Joan” and “Joao”) are deceptively simple masterpieces of modern lullaby. It would be hard to overstate how much of an influence this album has had on my development as a musician. 

Jimmy Giuffre 3 — Fusion 

Inscrutable, in the best way. There’s spaciousness, simplicity and subversion here. This trio of Giuffre, Paul Bley and Steve Swallow is cohesive with a unique kind of gravitation, taking solid form for long stretches but always seeming on the verge of either spinning off into total abstraction or disappearing into the ether. “Brief Hesitation” is an episodic masterpiece featuring some of my favorite Bley on record, and “Emphasis” is a madman’s blues: playful, dead serious and insanely swinging. 

João Gilberto — Amoroso 

Unapologetically gorgeous music. The way Gilberto phrases the melodies on this recording, especially on the four songs by Jobim, has been a real touchstone for me. On “Zingaro” he is somehow in/out/above/under the time all at once, while simultaneously holding down the rhythmic center on guitar. Beautifully lush yet transparent arrangements by Claus Ogerman, as well. 

Meshell Ndegeocello — Comfort Woman 

Oh man, I love this album so much. To the point that I’m almost uncomfortable talking about it. Cosmic medicine doesn’t get much sexier than this. Nourishment for the body, heart, mind and spirit. The combination of Ndegeocello and Chris Dave is so heavy, it’s like doom and salvation combined. “Andromeda and the Milky Way” or any of the three “Love Songs” should give you a good idea. 

Mark Hollis — Mark Hollis 

What can I possibly say? A miracle of a record by the former singer of Talk Talk. Devastatingly vulnerable, endlessly enigmatic. From the profound spareness of “The Colour of Spring” and the drifting odd-metered melancholy of “The Watershed” to the pointillistic woodwind orchestrations and soaring grandeur of “The Daily Planet,” this album casts a spell unlike any other. 

Matthew Stevens — Preverbal 

One of the most interesting and compellingly constructed records that I’ve heard in a while. A lot of time and care has obviously gone into the production here. Strong, strange songs that take their time developing and end up leading to unexpected places in a natural and unforced way. Check out “Reservoir” and the counterpoint between the supremely groovy foundation that Vicente Archer and Eric Doob set up and Stevens’ haunting question of a melody. Or the rugged and ravishingly beautiful “Our Reunion” featuring Esperanza Spalding.

Pauline Oliveros, Stuart Dempster & Panaiotis — Deep Listening

Do you have 10 minutes to spare? Do you ever contemplate the origins of consciousness? Are you a fan of music recorded in huge reverberant underground cisterns? Oh good! Now turn off all the lights and listen to “Suiren.” Or, even better, take an hour and listen to the whole album from the beginning. 

Shirley Horn — You Won’t Forget Me

Classic. She’s one of my absolute favorite pianists, first of all. Unbelievably hip and understated, with an uncanny sense of timing and a gorgeous touch on the instrument. And then there’s her voice — I don’t even have the words. The whole record is great, but for me it’s all about the ballads. I hang breathlessly in the spaces between every note and every word on the heart-breakingly slow and sublime “If You Go.” And the title track, featuring Miles Davis in his last recorded sideman performance, is a straight-up masterpiece. 

[blackkudos]

Carmen de Lavallade

Carmen de Lavallade (born March 6, 1931) is an American actress, dancer and choreographer.

Biography

Early years

Carmen de Lavallade was born in Los Angeles, California, on March 6, 1931, to black Creole parents from New Orleans, Louisiana. She was raised by her aunt, Adele, who owned one of the first African-American history bookshops on Central Avenue. De Lavallade's cousin, Janet Collins, was the first African-American prima ballerina at the Metropolitan Opera.

De Lavallade began studying ballet with Melissa Blake at the age of 16. After graduation from Thomas Jefferson High School in Los Angeles was awarded a scholarship to study dance with Lester Horton.

Career

De Lavallade became a member of the Lester Horton Dance Theater in 1949 where she danced as a lead dancer until her departure for New York City with Alvin Ailey in 1954. Like all of Horton's students, de Lavallade studied other art forms, including painting, acting, music, set design and costuming, as well as ballet and other forms of modern and ethnic dance. She studied dancing with ballerina Carmelita Maracci and acting with Stella Adler. In 1954, de Lavallade made her Broadway debut partnered with Alvin Ailey in Truman Capote's musical House of Flowers (starring Pearl Bailey).

In 1955, she married dancer/actor Geoffrey Holder, whom she had met while working on House of Flowers. It was with Holder that de Lavallade choreographed her signature solo Come Sunday, to a black spiritual sung by Odetta (then known as Odetta Gordon). The following year, de Lavallade danced as the prima ballerina in Samson and Delilah, and Aida at the Metropolitan Opera.

She made her television debut in John Butler's ballet Flight, and in 1957 she appeared in the television production of Duke Ellington's A Drum Is a Woman. She appeared in several off-Broadway productions, including Othello and Death of a Salesman. An introduction to 20th Century Fox executives by Lena Horne led to more acting roles between 1952 and 1955. She appeared in several films, including Carmen Jones (1954) with Dorothy Dandridge and Odds Against Tomorrow (1959) with Harry Belafonte.

De Lavallade was a principal guest performer with the Alvin Ailey Dance Company on the company's tour of Asia and in some countries the company was billed as de Lavallade-Ailey American Dance Company. Other performances included dancing with Donald McKayle and appearing in Agnes de Mille's American Ballet Theatre productions of The Four Marys and The Frail Quarry in 1965. She joined the Yale School of Drama as a choreographer and performer-in-residence in 1970. She staged musicals, plays and operas, and eventually became a professor and member of the Yale Repertory Theater. Between 1990 and 1993, de Lavallade returned to the Metropolitan Opera as choreographer for Porgy and Bess and Die Meistersinger.

In 2003, de Lavallade appeared in the rotating cast of the off-Broadway staged reading of Wit & Wisdom. In 2010, she appeared in a one-night-only concert semi-staged reading of Evening Primrose by Stephen Sondheim.

Personal life

De Lavallade had resided in New York City with her husband Geoffrey Holder until his death on October 5, 2014. Their lives were the subject of the 2005 Linda Atkinson and Nick Doob documentary Carmen and Geoffrey. The couple had one son, Léo. De Lavallade's brother-in-law was Boscoe Holder.

Awards

In 2004 de Lavallade received the Black History Month Lifetime Achievement Award and the Rosie Award (named for Rosetta LeNoire and "given to individuals who demonstrate extraordinary accomplishment and dedication in the theatrical arts and to corporations that work to promote opportunity and diversity"), the Bessie Award in 2006, and the Capezio Dance Award in 2007, as well as an honorary Doctor of Fine Arts degree from the Juilliard School in 2008.

Wikipedia

[postyourbeatz]

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#Repost @jazz_kaleidoscope ・・・ The discovery of a new and young talent is always very exciting. Recently, My friend @teipe.stephen introduced to me via a post, guitarist @andy.waddell who was working on a session for Stephen. I checked him out and liked very much the music on its 2 releases. Another young guitarist whose work is really worth discovering is Canadian Matthew Stevens. Born in 1982 Matthew got the piano and guitar bug early. You may have heard Matthew playing behind Christian Scott or Esperanza Spalding or Terri Lyne Carrington but he never recorded under his name until 2014 with the album “Woodwork” published by Whirlwind Recordings. Stevens attended the Berklee College of music and worked in studio and tours for numerous artist since his graduation. For his first solo album, he put together a team of other young talents, Gerald Clayton on piano, Vicente Archer on bass, Eric Doob on drums and Paulo Stagnaro on percussion. The cut is “Grown ups”. #matthewstevens #geraldclayton #vicentearcher #ericdoob #paulostagnaro #whirlwindrecordings #berkleecollegeofmusic #jazzguitar #contemporaryjazz @matthewthomaswyatt @geraldclayton @ericdoob @pstagnaro

[sneaky-pete]

how i’ve had some anxiety humming in the background of my brain the whole day in the same flavor of texting anxiety and i wonder why. you’d think that by now i’d grow out of that but nope.

she’s been retweeting and reblogging posts like “i’d rather get hit by a bus than the love someone again” and stuff and i’m really sad for her that she got hurt so badly like that. and by a man that has a tinder profile that says “smoking doobs and touching boobs”!!! like hellO? that must suck real bad to get crushed by an idiot like that. and to have vivid dreams of him often really can’t help.

as i’m typing this i’m putting myself in her shoes in a different way than i have before. this is not assuming anything on her part, but a fictional instance i’m creating to put myself in possibly a similar scenario to empathize from a different angle. i’m imagining having a good day where i healed a lot, hung out with friends, got out of the house, and had a really good day. i go to bed that night and wake up at 5 am after dreaming about an ex that hurt me, crying. 

.

.

god that must be awful. 

how dare i be sad about her not being eMoTionAlLy avaILable. how selfish. but i am still feeling a selfish badness. 

i want to have another Truth conversation with her at some point. i wanna tell her again that i’m always here for her. but i wanna tell her too that i’m always there for her in a different way, too. as in when/if in many months she wants to go out into that relationship world again i’m here for her to do that kind of stuff.

but am i being deceitful? am i being untrustworthy by hanging around? i’m hanging around because i appreciate her and care about her and i’m interested in the things she’s interested in. i’m not just sticking around to bang her when she’s ready. that’s fucked and not at all what i’m doing. (i just reread this sentence and i forgot to put the first “not” between “i’m” and “just” and i hope to god that’s not a freudian slip). 

part of the impediment of my progress in getting it through my thick skull that we’re just friends and that’s fine is that i have a) limited face-to-face social contact with her (before we see each other again it’s most likely gonna be when we see solo in probably a week and a half-ish), and b) limited contact with other people i can crush on in person.

i might want to get tinder again? who knows

i just want to be in love with someone. 

[jazzworldquest-blog]

USA; JAZZ @ THE MAVERICK Saturday, July 1st 8 pmArturo O’Farrill Quintet

2017 JAZZ SCHEDULE Saturday, July 1, 2017 8 pm Arturo O’Farrill Quintet Saturday, July 15, 2017 8 pm Bill Charlap Trio Saturday, July 29, 2017   8 pm Eldar Djangirov Trio Jazz at the Maverick Saturday, September 2, 2017   8 pm Karl Berger and the Creative Music Studio™ IN THE SPIRIT OF DON CHERRY Maverick Concerts 120 Maverick Rd. Woodstock, NY 12498-2503 Tickets & Info

Jazz at the Maverick

Saturday, July 1, 2017 8 pm

Arturo O’Farrill Quintet 

Feat.  Arturo O’Farrill on Piano with sons Zack on Drums and Adam on Trumpet; Bambam Rodriquez on Bass and Livio Almeida on Saxophone 

http://ift.tt/1sYClwE  

Five-time Grammy winning Afro-Cuban Jazz legend artfully blends textures and rhythms of South America and the Caribbean. 

This performance is made possible with support from Sally Grossman

General Admission $30               Reserved Seating $55                 Students $5

About Arturo

Five-time Grammy winning pianist, composer, and educator Arturo O’Farrill, is the son of the late, Afro-Cuban jazz legend Chico O’Farrill. He has played with jazz masters Carla Bley, Dizzy Gillespie, Steve Turre, Lester Bowie and was a long-time music director for Harry Belafonte. Arturo has performed worldwide in high profile performances at the Lincoln Center; Charleston’s Spoleto and Newport and Taiwan’s Taichung Jazz Festivals; and has enjoyed a long-standing residency at New York’s Symphony Space. He has also accompanied Ballet Hispánico and the Malpaso Dance Company, for whom he has written three ballets.    

Currently, Arturo’s Afro Latin Jazz Orchestra continues the tradition of performing every Sunday night at Birdland, which has for decades, been one of the most popular jazz clubs in the country. He travels regularly to Cuba as an informal cultural ambassador, working with Cuban musicians and students, bringing Cuban musicians to the US, and bringing American musicians to Cuba.

His newest album release (August 21, 2015) is Cuba: The Conversation Continues on the Motéma label. This album’s “Afro Latin Jazz Suite” was awarded the 2016 Grammy award for Best Instrumental Composition.

With his lightning fast fingers and the ensemble’s hot horns and pulsating rhythms, Arturo O’Farrill’s Jazz at the Maverick is certain to be a high-energy, unforgettable performance.

“Hooting and slewing between pan-Latin fusion, American hard bop, swing and classical – O’Farrill blazes with his father’s fire.”  Ronnie Scott’s, London.

JAZZ AT THE MAVERICK

Saturday, July 15, 2017 8 pm

Bill Charlap Trio

Feat. Bill Charlap on piano, Peter Washington on double bass and Kenny Washington on drums.

http://ift.tt/2utaZ8N

Grammy award winning jazz great returns to the Maverick by popular demand.

General Admission $30  Reserved Seating $55                 Students $5

About Bill Charlap

One of the world’s premier jazz pianists, Grammy award winner Bill Charlap has performed and recorded with many leading artists of our time, ranging from jazz masters Phil Woods and Wynton Marsalis to singers Tony Bennett and Barbra Streisand. Since 1997, he has led the Bill Charlap Trio with bassist Peter Washington and drummer Kenny Washington, now recognized as one of the leading groups in jazz. Charlap is the artistic director of 92Y's Jazz in July Festival in NYC, and in 2017 will celebrate his 13th Anniversary as director. He has also produced concerts for Jazz at the Lincoln Center, the JVC Jazz Festival and the Hollywood Bowl. Tony Bennett and Bill Charlap are the recipients of a Grammy Award for Best Traditional Pop album, for their 2015 release - The Silver Lining: The Songs of Jerome Kern.  BILL CHARLAP TRIO: NOTES FROM NEW YORK is out on Impulse!  Featuring the trio in peak performance, a 5-star Downbeat review hails this performance as, "A master class in class." Lyricists Alan & Marilyn Bergman said, "Bill Charlap's playing is unique, warm and intelligent. He not only plays the melody - he also plays the lyric. And, for lyric writers, that's as good as it gets.”

Jazz at the Maverick

Saturday, July 29, 2017   8 pm

Eldar Djangirov Trio

Feat. Eldar Djangirov on piano, Raviv Markowitz on bass, and Eric Doob on drums.

http://ift.tt/1B8ynJV

"Eldar’s command of his instrument is beyond staggering."  Downbeat Magazine

General Admission $25               Reserved Seating $45                  Students $5

About Eldar Djangirov

When Eldar Djangirov (pronounced john-’gear-ov) was signed to Sony Masterworks at the age of seventeen, the young pianist from Kansas City was already well known for his prodigious pyrotechnics and precocious knowledge of the bebop tradition. Along the way, he has had the good fortune to work with jazz masters Dr. Billy Taylor, Michael Brecker, Marian McPartland, Dave Brubeck, Wynton Marsalis, Joshua Redman, Roy Hargrove, and many others. Through these and other wonderful musical experiences, Eldar continues to explore new frontiers through composing and performing, enabling him ultimately to realize his own musical vision.

Eldar has appeared at the Tokyo, Lionel Hampton, Vienna, and Monterey Jazz Festivals to name a few, and has toured extensively worldwide. High profile performances include the Hollywood Bowl and Carnegie Hall. Eldar has been seen on national TV including the 2000 and 2008 Grammy Awards, Late Night with Conan O’Brien, CBS Saturday Early Show, and Jimmy Kimmel Live. He has also played with the world renowned NHK Symphony Orchestra, the Russian National Orchestra, and the San Diego Symphony Orchestra.

Eldar’s fifth recording, entitled Three Stories, is his first solo piano album and has garnered rave reviews:

“This is certainly jazz piano, but it’s the kind that belongs in a recital hall. Djangirov gets to the heart of every song” Dan Bilawsky, All About Jazz

“Something special goes on her In Djangirov’s hands, the piano is a dramatic personage” Karl Stark, Philadelphia Inquirer

“Djangirov’s playing is simply flawless.” Jeff Tamarkin, All Music Guide

Performance Quote:

“His command of his instrument is beyond staggering.” Downbeat

Jazz at the Maverick

Saturday, September 2, 2017   8 pm

Karl Berger and the Creative Music Studio™ - IN THE SPIRIT OF DON CHERRY

creativemusic.org

General Admission $25                   Reserved Seating $45             Students $5

Jazz at the Maverick presents the CMS Improvisers Octet, exploring themes from some of Don Cherry’s visionary recordings as well as pieces by other composers that follow his lead into “world fusion.” The ensemble’s “In the Spirit of Don Cherry” performance will use pieces from these materials as launching pads for improvised interpretations that weave together jazz, world music and contemporary music.

The ensemble features musicians who played with Cherry including Karl Berger (piano, vibes, leader), Bob Stewart (tuba), Steven Bernstein (trumpet), Peter Apfelbaum (reeds, percussion), Graham Haynes (cornet), Ingrid Sertso (vocals); along with Adam Lane (bass) and Tani Tabbal (drums).    

About Don Cherry

Noted for his long association with saxophonist Ornette Coleman, which began in the late 1950s, Don Cherry became a pioneer of world-fusion music in the 1960s. During this period, he incorporated various ethnic styles into his playing and composing. Cherry, who died in 1995, was essential to the creation and development of the Creative Music Studio™.  He inspired many of its methodologies, taught many CMS workshops and founded his legendary group, Codona, at CMS. A suite of his is included in CMS Archive Project Selections Vol. 2, released last year.

About The Creative Music Studio™ and Karl Berger

CMS engages musicians and listeners from all backgrounds and traditions, deepening and transforming their personal experience, understanding, and expression of music as a universal language. Over its 45 year history, hundreds of artists from all over the world representing nearly every style or genre of music have taught and performed at CMS. CMS was founded in 1973 by artistic director Karl Berger, composer, arranger, conductor, pianist, and vibraphonist, along with Ornette Coleman and Ingrid Sertso. The six-time winner of the Downbeat Critics Poll and recipient of numerous other awards in the US and Europe, Karl holds a PhD in music esthetics and has been a professor of composition and an artist-in-residence at universities, schools, and festivals worldwide. He has recorded and performed with Don Cherry, Lee Konitz, John McLaughlin, Gunther Schuller, Dave Brubeck, Dave Holland, Ed Blackwell, Pharoah Sanders, and many others.

About Maverick Concerts Maverick Concerts, Inc., is a 501c3 not-for-profit organization. Concerts are made possible in part with an award from the National Endowment for the Arts; funds from the New York State Council on the Arts, a state agency, with the support of Gov. Andrew Cuomo and the New York State Legislature; the Maverick Concerts Endowment Fund; Friends of Maverick; the towns of Woodstock and Hurley; local businesses; individual donors; and other public and private foundations. The Yamaha Disklavier C7X grand piano, the official piano of Maverick Concerts, appears through the generosity of Yamaha Artist Services. The Maverick Concert Hall is listed on the New York State and National Registers of Historic Places as a multi-starred attraction. The hall and grounds have also received an award for Excellence in Historic Preservation from the Preservation League of New York State. For further information visit http://ift.tt/1wA65T8 or contact Kitt Potter, Executive Director at kitt.potter@maverickconcerts.org or 845.679.8217.

Maverick Concerts 120 Maverick Rd. Woodstock, NY 12498-2503 845.679.8217 http://ift.tt/1wA65T8  

via Blogger http://ift.tt/2tu74vw

[doomedandstoned]

Doomed & Stoned Interviews TONY REED of Mos Generator, Big Scenic Nowhere

Longtime scene musician and producer TONY REED meets with debut Doomed & Stoned contributor Doob Solo for an interview that meanders through Reed’s prolific career.

Have a seat with these two heavy rock heads as they talk about minimalist mods and retro recording techniques, gear, lyricism, and Tony’s favorite ways to connect with you, the audience.

We hope you enjoy this deeper look into his musical life with Mos Generator, Hot Spring Water, Stone Axe, Big Scenic Nowhere, and more, with a few Pentagram teasers thrown in.

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[doomedandstoned]

Ripplefest Texas ‘24 Recap!

You may have heard by now that RIPPLEFEST TEXAS is growing into the largest and most alluring festival in the doom/stoner scene, west of “The Pond.” In 2024, Lick of My Spoon Productions and festival wizard Ryan Garney organized about 40 bands to play three separate stages at two venues over four days, with no gaps and no overlap in the music.

The 2025 edition of Ripplefest Texas is taking shape fast with big names like Unida, Left Lane Cruiser, Mos Generator, Fostermother and more on the bill and tickets are on sale now! Are you on the fence about attending? We’ve got the info you need right here!

Doomed & Stoned contributor Doob Solo got together with Blue Heron bassist Big Steve, and Scotsmen festival veterans Iain and Jamie to recap their respective experiences at Ripplefest Texas, 2024. Sit in with this chill group while they illustrate the performance highlights, meet-ups, memorabilia and adventures that made their trips to the festival unforgettable.

[doomedandstoned]

Clouds Taste Satanic Reveal Plans for 2025 & More in Convo with Steve Scavuzzo

~Doomed & Stoned Interviews~

By Doob Solo

In this fresh audio interview, CLOUDS TASTE SATANIC guitarist and founding band member Steve Scavuzzo discusses the evolution of his songwriting, what it’s like using vinyl as a framework for creativity, Easter egg guitar leads, and the band’s sense of humor. We’ll get exclusive insight into the classic rock inspiration for the record they have in the works, and find out what’s ahead for the band in 2025.

Clouds Taste Satanic is a four-piece instrumental act that collaboratively composes slow-tempo records for vinyl formats. Drawing inspiration from a breadth and depth of doom and rock acts from iconic bygone eras to modern times, CTS brings their own flavor of hybrid heavy to the Stoner-Doom genre. Godspeed You! Black Emperor, Rezn, Brian May of Queen, Radiohead, and Led Zeppelin are just a few of the influences that pepper the band’s heavy, riff-laden sounds.

Since 2013, founding member Steve Scavuzzo has manifested his creative visions and driven the evolution of CTS, from deep doom beginnings to the versatile band they are today. Now, with the current line up signed to Majestic Mountain Records, their catalog is growing steadily as they pick up ideas from the heavy rock landscape and develop new ways to make and deliver music to their listeners.

Clouds Taste Satanic’s Christmas-themed cover album “All I Want for Christmas is Your Soul” will be available for purchase on November 1st via Bandcamp as a 10-inch EP. Containing four familiar yuletide tunes as instrumentals with heavy-metal makeovers, the album is a savory change of pace for your holiday revelries.

Clouds Taste Satanic is: Steve Scavuzzo - Guitars Brian Bauhs - Guitars Greg Acampora - Drums Rob Halstead - Bass

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[doomedandstoned]

HIGH REEPER’s Shane Trimble Talks to D&S Ahead of 3rd Full-Length Album

~Doomed & Stoned Interviews~

By Doob Solo

HIGH REEPER lead guitarist Shane Trimble meets with D&S contributor Doob Solo for an in-depth, lively interview with a bit of sarcasm, a few laughs between friends, and some unexpected show-and-tell.

Take a full one-hour ride from the 1970s to present-day to get the lowdown on High Reeper's earliest origins and on their new album Renewed by Death, including revelations about the band’s name, album artwork, and primary inspirations for their new songs.

In our favorite section of this interview, things get poetic when Doob spills her raw opinion of Renewed by Death while Shane listens and backs her on a vintage instrument. Curious? Watch and find out how it manifested!

High Reeper's fresh album Renewed by Death emerges October 4th on Heavy Psych Sounds Records.

SOME BUZZ

High Reeper is a heavy metal band from Delaware/Philadelphia. Shortly after forming in 2016, they were signed to Heavy Psych Sounds Records and have since released two full-length albums and one split EP. They supported their first two releases with almost 90 dates over three tours in Europe alone, including stops at HPS Fests Rome and Innsbruck, Desertfest Berlin and Antwerp, headlining their venue at Desertfest London, Esbjerg Fuzztival and many other killer shows abroad and in the US.

Originally with a sound deeply rooted in modern stoner metal while still giving a nod to classic heavy metal records, High Reeper’s sound has continued to evolve with each LP and through lineup changes. The result of which helped produce their upcoming 2024 full-length length which is a 35-minute assault of brand new metal that finds the band looking clearly forward while at the same time exploring their influences from the ''80s and early 90s.

Their third studio album 'Renewed By Death' (2024) will see the day in the fall on Heavy Psych Sounds. It was produced, recorded, mixed and mastered by Shane Trimble at the band’s brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello.

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