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wikiuntamed · 7 months

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On this day in Wikipedia: Tuesday, 27th February

Welcome, karibu, laipni lūdzam, ողջու՜յն (voġčuyn) 🤗 What does @Wikipedia say about 27th February through the years 🏛️📜🗓️?

27th February 2021 🗓️ : Death - Ng Man-tat Ng Man-tat, Hong Kong actor (b. 1952) "Richard Ng Man-tat (Chinese: 吳孟達, 2 January 1952 – 27 February 2021), commonly called Uncle Tat (達叔), was a Hong Kong actor originally from Fujian. He was a veteran with dozens of awards in the Hong Kong film industry, including Best Supporting Actor at the 10th Hong Kong Film Awards for his role in..."

27th February 2019 🗓️ : Event - Pakistan Air Force Pakistan Air Force JF-17 Thunder downs Indian pilot Abhinandan Varthaman's Mig-21 in an aerial dogfight and captures him after conducting airstrikes in Jammu and Kashmir. "The Pakistan Air Force (PAF) (Urdu: پاک فِضائیہ, romanized: Pāk Fìzāʾiyah; pronounced [pɑːk fɪzɑːɪjəɦ]) is the aerial warfare branch of the Pakistan Armed Forces, tasked primarily with the aerial defence of Pakistan, with a secondary role of providing air support to the Pakistan Army and Pakistan..."

Image by Pakistan Air Force vectored by FOX 52

27th February 2014 🗓️ : Death - Aaron Allston Aaron Allston, American game designer and author (b. 1960) "Aaron Dale Allston (December 8, 1960 – February 27, 2014) was an American game designer and author of many science fiction books, notably Star Wars novels. His works as a game designer include game supplements for role-playing games, several of which served to establish the basis for products and..."

Image licensed under CC BY 4.0? by Larry D. Moore

27th February 1974 🗓️ : Birth - Carte Goodwin Carte Goodwin, former United States senator from West Virginia "Carte Patrick Goodwin (born February 27, 1974) is an American attorney and politician who served as a United States senator from West Virginia in 2010. A member of the Democratic Party, he was appointed by Governor Joe Manchin on July 16, 2010 to fill the vacancy created by the death of Robert Byrd...."

Image by U.S. Senate

27th February 1923 🗓️ : Birth - Dexter Gordon Dexter Gordon, American saxophonist, composer, and actor (d. 1990) "Dexter Gordon (February 27, 1923 – April 25, 1990) was an American jazz tenor saxophonist, composer, and bandleader. He was among the most influential early bebop musicians, which included other greats such as Charlie Parker, Dizzy Gillespie, and Bud Powell. Gordon's height was 6 feet 6 inches (198..."

Image licensed under CC BY-SA 2.0? by Jean-Luc

27th February 1816 🗓️ : Birth - William Nicholson (Australian politician) William Nicholson, English-Australian politician, 3rd Premier of Victoria (d. 1865) "William Nicholson (27 February 1816 – 10 March 1865) was an Australian colonial politician who became the third Premier of Victoria. He is remembered for having been called the "father of the ballot" due to his responsibility in introducing the secret ballot in Victoria...."

Image by The original uploader was Adam Carr at English Wikipedia.

27th February 🗓️ : Holiday - Doctors' Day (Vietnam) "National Doctors' Day is a day celebrated to recognize the contributions of physicians to individual lives and communities. The date varies from nation to nation depending on the event of commemoration used to mark the day. In some nations the day is marked as a holiday. Although supposed to be..."

Image licensed under CC BY-SA 3.0? by Stethoscopes

#OnThisDayInWikiHistory #WikiUntamed #WikiQuest #WikiWonderland

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haitilegends · 6 years

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Happy Birthday Robert Aaron! Blessings to you!

Multi-instrumentalist, Composer and Music Arranger.

Robert Aaron - Sweet Obsession - YouTube http://bit.ly/1PEmSiH

Robert Aaron - Maimouna - YouTube http://bit.ly/1PEnsNn

Amazon.com: Trouble Man: Robert Aaron: MP3 Downloads http://amzn.to/1k2yLQF

Biography : By ANTOINE RAJON

At a time when most jazz musicians and composers graduate from music schools and academies to then follow a standard, exclusive stylistic career, it is fascinating to meet Robert Aaron, one of the last of these multi-instrumentalists to learn his trade at the 'American school', i.e. on the street and in bars.

Forced to fend for himself from the age of 14, Robert soon left his hometown of Montreal and arrived in New York in 1976 where he made a living by busking on the streets of Brooklyn. He quickly became a regular on the New York No Wave scene and was part of the original line-up of James Chance and the Contortions. He still performs with them today. He was spotted by David Bowie and recorded the 'Let's Dance' album with him. Not a bad start to his career.

Robert played his many instruments (all the saxophones and flutes, as well as piano, bass, guitar, etc.) amid the tumultuous atmosphere of 1980s' New York and recorded with rock bands such as the B52s and Blondie, funk and disco bands like Chic, and for the producer Patrick Adams.

He also played his part in the rise of hip-hop, working with Afrika Bambataa and Heavy D as well as Stetsasonic (on the classic track 'In Full Gear' and on a historic tour of Africa), Wu-Tang Clan and RZA.

Nor did he take his foot off the gas during the Nineties, when he was responsible for one of the first house music hits, 'Sax in the Ozone', for the label Eight Ball in 1992, as well as making his musical knowledge available to Masters at Work and various other electronic artists such as Daniel Wang and Fisherspooner. He became musical director of Wyclef in 1995 for the next ten years or so.

Robert never had any career plan, his only guide being his thirst for music and the twin principles of pleasure and joy, and few people know his name and his place in the history of music. He has always preferred life in the wings and other shady areas to the 'bling bling' of the star system.

I fell in love with his music the very first time we met at Professeur Inlassable's #Paris studio after the poet Gentleman Jake had put us in touch. His love of Caribbean music (he was one of the mainstays of the label Mini and has recorded dozens of albums of #Haitian #compas with Skah Skah and Djet X among others) and his intimate knowledge of Seventies cosmic jazz and its main acts (he also played in Lester Bowie's big band) were two good reasons for coming up with an album in the finest tradition of Heavenly Sweetness.

We didn't set any stylistic constraints, just respect for the moment and the spiritual quality of the music, quick takes, and a requirement that the tracks be emotionally honest.

We shut ourselves away for two days in the studio in Meudon with Robert's Parisian friends: the organist and godfather of Malian music Cheick Tidiane Seck and Archie Shepp's drummer Steve McCraven, the bassist Marc Bertaux and the exceptional percussion players Roger Raspail from 'gwadloup' and the Cuban master of the congos, Emilio del Monte.

Two of the label's loyal friends - the poet Anthony Joseph and the guitarist Monnette Sudler – dropped by to share some musical moments, as did the wandering saxophonist Suleyman Hakim.

The result, 'Trouble Man', is a journey in jazz as it was lived and defined in the Seventies; no borders, no conventions. Robert Aaron's music, with its range of saxophones and keyboards (piano, Hammond organ, Wurlitzer), has a unique style that is hard to find in this age of mathematical solos. It perpetuates the lyricism of Gato Barbieri (his parents are from Argentina) or Stanley Turrentine, with the intense breath of Pharoah Sanders.

When you listen to this album, you experience the profound and now rare feeling of what drives the playing and writing of an exceptional musician. We call it 'soul', that paradoxical state when the profane and the sacred, joy and sorrow merge into one. We hear it less and less in increasingly rational musical recordings because it can only happen when there is a live connection between two hearts.

French Press Release : Par ANTOINE RAJON

Dans un temps où les musiciens et compositeurs de jazz sortent le plus souvent de conservatoires et écoles et suivent une route stylistique normée et exclusive, il est fascinant de rencontrer Robert Aaron, l'un des derniers exemples de ces multi-instrumentistes formés à 'l'école américaine' de la rue et des bars...

Livré à lui-même dès l'âge de 14 ans, Robert quitte rapidement son Montréal natal et arrive à New York en 1976 où il vit de sa musique dans les rues de Brooklyn. Il intègre rapidement la scène No-Wave new yorkaise et fait partie de la formation originale et mythique des Contorsions de James Chance avec lequel il se produit encore aujourd'hui. Repéré par David Bowie, il enregistre avec lui l'album Let's Dance. Voilà pour un début de carrière... Poly-instrumentiste (tous les saxes et flûtes, mais aussi piano, basse, guitare ...) de ces bouillonantes 80s new yorkaises, Robert enregistre alors avec des rockeurs - B52's, Blondie - , des groupes funk et disco -Chic, le producteur Patrick Adams -....

Il participe au développement du Hip-hop , collaborant avec Afrika Bambataa, Heavy D mais aussi Stetsasonic (sur le classique 'In Full Gear' mais aussi une tournée africaine historique), le Wu Tang et RZA.

Les années 90, donc, ne le voient pas faiblir et il est responsable d'un des premiers tubes de la house music, 'sax in the Ozone 'pour le label Eight Ball en 1992, tout en apportant sa science musicale au Masters at Work et de nombreux autres artistes électroniques comme Daniel Wang ou Fisherspooner. Il devient en 1995 directeur musical de Wyclef pour une dizaine d'année...

Avide de Musique, guidé par les seuls principes de plaisir et de joie, Robert n'a jamais eu de plan de carrière et son nom et son apport à l'histoire de la musique restent encore méconnus. Il a toujours préféré la pénombre et les quartiers interlopes au 'bling bling' et au star system. Ma rencontre avec lui, dans le studio parisien du Professeur Inlassable grâce au poète Gentleman Jake, fut un coup de foudre musical immédiat. Son amour des musique caraïbes (il fut un pillier du label Mini et a enregistré des dizaines d'albums de compas haïtien avec #Skah Shah, #Djet X ...) et sa connaissance intime du #jazz cosmique des années 70 et de ses acteurs (il joua aussi dans le big band de Lester Bowie) nous entraînèrent à penser cet album dans la plus pure tradition Heavenly Sweetness.

Pas de contrainte stylistique, mais un respect de l'instant et de la qualité spirituelle de la musique, des prises rapides et un souci de justesse émotionnelle. Entouré de ses amis parisiens l'organiste et 'godfather' de la musique malienne Cheick Tidiane Seck et le batteur d'Archie Shepp Steve Mc Craven, du bassite Marc Ber taux et des percussionistes extraordinaires, Roger Raspail de gwadloup et le maître conguero cubain Emilio Del Monte, nous nous enfermons deux jours au studio de Meudon.

Les fidèles du label, le poète Anthony Joseph et la guitariste Monnette Sudler, viennent faire un 'tour musical', tout comme le saxophoniste itinérant Suleyman Hakim. Le résultat 'Trouble Man' est un voyage à travers le jazz comme il était vécu et pensé dans les années 70, sans frontière et sans code. La musique de Robert Aaron, qui passe des #saxes au #claviers (#piano, #orgue #hammond, #wurlitzer), a une saveur singulière et presque oubliée dans une époque de solos mathématiques. Elle perpétue le lyrisme d'un Gato Barbieri (ces parents sont d'origine argentine) ou de Stanly Turrentine, mêlé au souffle intense de Pharoah Sanders..

On éprouve, à l'écoute de cet album, ce sentiment profond, et aujourd'hui rare, qui anime le jeu et les compositions de ce musicien hors norme, la Soul, cet état d'être paradoxal où se mêle profane et sacré, joie et peine et, qui, faute de transmission de cœur à cœur disparaît des enseignements musicaux. toujours plus rationnels. " ANTOINE RAJON

Robert Aaron | Credits | AllMusic http://bit.ly/ZawECg

Robert Aaron - Trouble Man - Paris DJs http://bit.ly/1nXTcCp

Amazon.com: Trouble Man: Robert Aaron: MP3 Downloads http://amzn.to/1k2yLQF

http://musique.haiti.free.fr/haitian%20records%20vol%2001/fiches/djetx.htm

Fierte - Djet-X http://bit.ly/1PEnKDS

Djet-X - le Notre - YouTube http://bit.ly/1GpiXVB

Djet-X - Bambauche 84 - YouTube http://bit.ly/1LcgHfj

Djet-X - Cheche la vi - YouTube http://bit.ly/1LcgSaD

Djet-X - Zanmi - YouTube http://bit.ly/1LcgZ60

Robert also appears on many other Haitian music recordings such as the Webert Sicot’s

“For Lovers” Album.

WEBERT SICOT

Saxophone alto, flûte Maestro

ROBERT AARON

Saxophone ténor, piano

HENRI MAGLOIRE GILLES

Guitare

JOSEPH CHARLES

Guitare basse

ALMANDO KESLIN

Batterie

HAITI☆LEGENDS

#Robert Aaron #Robert Aaron saxophoniste #Haiti legends

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sinceileftyoublog · 6 years

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Live Picks: 8/30-9/2

L.A. Witch

BY JORDAN MAINZER

We got ya covered through Sunday!

8/30: Set It Off, Subterranean

We previewed Tampa symphonic rock band Set It Off’s set at The Forge earlier this year, describing them as “a Warped Tour-approved band who has released three albums, the most prominent 2016′s Upside Down but the best 2014′s sickly sweet Duality, which found success in the grand condition of cheesy concept records, its theatrical, sweeping melodies and instrumentation overcoming its less palatable pop rock aspects.”

Since then, the band has signed to Fearless Records and released a new song, the faux-industrial emo, overproduced “Killer in the Mirror”.

Indie pop duo Chapel and rapper De’Wayne Jackson open.

8/30: Round Robin, Thalia Hall

We don’t know much about this performance other than that it’s a night of improvisation by people who live in, are from, or are rooted in Chicago music. Judging by the lineup, it’s a must-see. It includes Roscoe Mitchell, Akenya, DJ The Twilite Tone, poet Kevin Coval, Tortoise’s Jeff Parker, and SILY favorites like Matana Roberts, Haley Fohr of Circuit des Yeux, Mind Over Mirrors’ Jamie Fennelly, Chicago Symphony Orchestra cellist Katinka Kleijn, Matchess, and Makaya McCraven.

8/30: L.A. Witch, Beat Kitchen

Drawling psychedelic band L.A. Witch released their self-titled debut last year and have been touring strong off of it ever since. Expect to hear lots from the record and hopefully some new material.

Spacey band Moonwalks and local sludgy post-punk duo Pussyfoot open.

8/31: Miguel, Union Park

We previewed Miguel’s show at the Riviera earlier this year:

“War & Leisure, the latest album from Miguel, is, as its title suggests, simultaneously political and personal, the former somewhat new territory for him. The songs are varied as usual; he’s sultry on “Wolf”, funky on the synth-addled “Told You So”, and ready for the radio on the Travis Scott-featuring “Sky Walker”. Stylistically, it’s sort of a combination of his previous two albums, the drug-induced Kaleidoscope Dream and guitar-oriented Wildheart. And while it’s not as earth-shattering and trendsetting as those two, it’s perhaps his most cohesive and fully realized effort.”

Since then, he’s performed “Remember Me” from Coco at the Oscars and shared a new song, “Python”, among other things. At his headlining North Coast Music Festival slot, he should mix it up between his last three albums live, concentrating on War & Leisure.

8/31 & 9/1: Kidd Jordan and Friends, Constellation

Dog/Days is a week of free performances at Constellation, Links Hall, and Hungry Brain. This Friday at Constellation, jazz saxophonist Kidd Jordan plays with pianist Matthew Shipp, bassist William Parker, and drummer Alvin Fielder.

8/31 & 9/1: B-52′s, Ravinia

The Athens, Georgia freak new wave band’s got a decade worth of untouchable material, and they play almost all the highlights during their live set, plus the goofy as hell title track to Funplex. What’s not to love?

New wave legends Culture Club co-headlines. Thompson Twins’ lead vocalist Tom Bailey opens.

9/1: Barrence Whitfield & The Savages, Reggie’s

Soul Flowers of Titan, the new album from Barrence Whitfield & The Savages, is purportedly inspired by Sun Ra and the King Records/Federal Records Cincinnati sound of the 50′s-60′s. Is the latter noticeable? Definitely. The former? Not sure. Most of the songs, like the chaotically horn-laden “Slowly Losing My Mind” and the garage-meets-soul “Pain”, are in line with tracks from recent efforts Under the Savage Sky and Dig Thy Savage Soul. Though I guess the spirit of blues ditty “Let’s Go to Mars” is closest thematically to “space is the place,” much of Soul Flowers of Titan sounds right at home with the rest of Whitfield’s discography. And that’s a good thing, since Saturday at Reggie’s they’ll play a lot of it, plus some highlights from the band’s pre-Bloodshot Records days.

Garage rockers The Woggles headline. Baby Money & The Down Payments, the project of Chicago based songwriter Pamela Maurer open.

9/1: Sumac, Empty Bottle

Post-metal band Sumac headlines Empty Bottle as part of Scorched Tundra X. Earlier this year, they released a mammoth collaborative album with Keiji Haino, and next month, they follow up 2016′s What One Becomes with a new full-length, Love in Shadow. So far, they’ve released the 15-minute “Attis’ Blade”, which builds and sprawls to a mid-section of noise, quiet strumming, and back before revealing longing growls from Aaron Turner. I’ve heard the rest of the album, too, and it’s a good mix of new territory for the band combined with what they’ve always done well. 21-minute Opener “The Task” starts like a traditional metal song but dissolves into a calm eye before the storm of more brutality and the band’s trademark buzzing dissonance, all before ending with organs and Turner’s guttural moans. “Arcing Silver” is the shortest and most straightforward of the bunch in terms of its arrangements, peaks, and valleys, though it does end with some ambient guitar squalls that introduce more jams. And the introductory guitar tones on closer “Ecstasy of Unbecoming” are more reminiscent of Sufi music than metal, though distorted power riffing kicks the rest of the song into high gear.

Avant-garde metal band Yakuza, doom band In The Company Of Serpents, and hardcore band Couch Slut open.

9/2: Matthew Dear, Estate Ultrabar

We previewed Matthew Dear’s DJ set at smartbar earlier this year:

“Truth is, I have never been a huge fan of Matthew Dear’s original material for whatever reason–but his almost 3-hour entry in the DJ Kicks series from last year shows just how good of a curator he really is, starting with a meditative Nils Frahm track and just exploding into a dance frenzy from there. That’s why his DJ set at smartbar should be one of the best you’ll see all year.”

This time around, he’s headlining a BBQ at Estate. He’s releasing a new album Bunny in October and has revealed two tracks: the hypnotic “Bunny’s Dream” and the repetitive “Echo”.

Remix extraordinaire Josh Wink, Canadian DJ Kenny Glasgow, Fortune, Pershan, and Nick Jannite also spin.

9/2: Rapsody, Union Park

After being prominently featured on Kendrick Lamar’s To Pimp a Butterfly, last year, Rapsody released her own “one of the best of the decade” rap albums. Laila’s Wisdom sees Rapsody proud to be a black woman in the rap game. “Yeah, they call me black and ugly / But I go so hard, make the whole world love me,” she spits. Sure, her features--Lamar, Anderson .Paak, Black Thought, Busta Rhymes, and BJ The Chicago Kid among them--are impressive. But her flow, especially on songs like the unstoppable “You Should Know”, the funky “Pay Up”, and the skronking “Power” (she outshines even Lamar on that one), is the main attraction. She’ll be worth the one day price of admission at North Coast.

9/2: Hannibal Buress, Chicago Theatre

We previewed Hannibal Buress’ set at Arcada Theatre back in March:

“Hannibal Buress is both a comedian for the world and Chicago, so seeing him in the area presents lots of opportunity for in-jokes. (The one about the ridiculousness of being asked for an ID at O’Hare airport from his 2015 special Comedy Camisado comes to mind.) While he’s probably best known these days for his role on Broad City, he’s increasingly building up his filmography and TV appearances and has recently started a podcast, The Handsome Rambler, on which he’s interviewed Open Mike Eagle and Run The Jewels. But he’s funniest on stage.”

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1962dude420-blog · 3 years

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Today we remember the passing of Dave Brubeck who Died: December 5, 2012 in Norwalk, Connecticut

David Warren Brubeck was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. Many of his compositions have become jazz standards including "In Your Own Sweet Way" and "The Duke". Brubeck's style ranged from refined to bombastic, reflecting both his mother's classical training and his own improvisational skills. His music is known for employing unusual time signatures as well as superimposing contrasting rhythms, meters, and tonalities.

Brubeck experimented with time signatures throughout his career, recording "Pick Up Sticks" in 6/4, "Unsquare Dance" in 7/4, "World's Fair" in 13/4, and "Blue Rondo à la Turk" in 9/8. He was also a composer of orchestral and sacred music and wrote soundtracks for television, such as Mr. Broadway and the animated miniseries This Is America, Charlie Brown.

Often incorrectly attributed to Brubeck, the song "Take Five", which has become a jazz standard, was composed by Brubeck's long-time musical partner, alto saxophonist Paul Desmond. Appearing on one of the top-selling jazz albums, Time Out, and written in 5 4 time, "Take Five" has endured as a jazz classic associated with Brubeck

Dave Brubeck married jazz lyricist Iola Whitlock in September 1942; the couple was married for 70 years, until his death in 2012. Iola died on March 12, 2014, from cancer in Wilton, Connecticut, at the age of 90.

Four of Brubeck's six children have been professional musicians. Darius, the eldest, is a pianist, producer, educator and performer. (He was named after Dave Brubeck's mentor Darius Milhaud. Dan is a percussionist, Chris is a multi-instrumentalist and composer. Matthew, the youngest, is a cellist with an extensive list of composing and performance credits. Another son, Michael, died in 2009. Brubeck's children often joined him in concerts and in the recording studio.

Brubeck became a Catholic in 1980, shortly after completing the Mass To Hope which had been commissioned by Ed Murray, editor of the national Catholic weekly Our Sunday Visitor. Although he had spiritual interests before that time, he said, "I didn't convert to Catholicism, because I wasn't anything to convert from. I just joined the Catholic Church." In 1996, he received the Grammy Lifetime Achievement Award. In 2006, Brubeck was awarded the University of Notre Dame's Laetare Medal, the oldest and most prestigious honor given to American Catholics, during the University's commencement. He performed "Travellin' Blues" for the graduating class of 2006.

Brubeck founded the Brubeck Institute with his wife, Iola, at their alma mater, the University of the Pacific in 2000. What began as a special archive, consisting of the personal document collection of the Brubecks, has since expanded to provide fellowships and educational opportunities in jazz for students, also leading to having one of the main streets on which the school resides named in his honor, Dave Brubeck Way.

was endless curiosity combined with stubbornness", adding: "His work list is astonishing, including oratorios, musicals and concertos, as well as hundreds of jazz compositions. This quiet man of jazz was truly a marvel."

In The Guardian, John Fordham said "Brubeck's real achievement was to blend European compositional ideas, very demanding rhythmic structures, jazz song-forms and improvisation in expressive and accessible ways. His son Chris told The Guardian "when I hear Chorale, it reminds me of the very best Aaron Copland, something like Appalachian Spring. There's a sort of American honesty to it." Robert Christgau dubbed Brubeck the "jazz hero of the rock and roll generation".

The Economist wrote: "Above all they found it hard to believe that the most successful jazz in America was being played by a family man, a laid-back Californian, modest, gentle and open, who would happily have been a rancher all his days—except that he couldn't live without performing, because the rhythm of jazz, under all his extrapolation and exploration, was, he had discovered, the rhythm of his heart."

The Concord Boulevard Park in his hometown of Concord, California, was renamed to "Dave Brubeck Memorial Park" in his honor. Mayor Dan Helix favorably recalled one of his performances at the park, saying: "He will be with us forever because his music will never die."

While on tour performing "Hot House" in Toronto, Chick Corea and Gary Burton completed a tribute to Brubeck on the day of his death. Corea played "Strange Meadow Lark", from Brubeck's album Time Out.

Brubeck is interred at Umpawaug Cemetery in Redding, Connecticut.

#December 5 #2012 #R.I.P.#Dave Brubeck #Take Five

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aaronleaney · 4 years

Video

youtube

From The Basement #135 Trailblazer Aaron Leaney "Kalimba" Guy Thouin - drums photo bu Yug Tho

Post first wave 2020 lockdown, the drummer Guy Thouin (Le Quatour du Jazz Libre du Quebec, Robert Charlebois,Le Nouveau Jazz Libre du Quebec ) and saxophonist, Aaron Leaney (Ratchet Orchestra, BORD À BORD, Aaron Leaney/Chris Dadge duo) reunited to explore new compositions based on global and generational connectivity. Bells, brass, metals and drums are extended from their roots of free-jazz to classical indian ragas and rhythms. Limited edition ep coming 2021.

#guythouin #quebec #jazz #aaronleaney #chrisdadge #robertcharlebois #freejazz #canadianjazz #quebecmusique

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fluxuslaphil · 6 years

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La Monte Young and Jung Hee Choi in conversation with Fluxus Festival Curator Christopher Rountree

"We all know that you have to go to the grocery store. But don’t make it into a life structure that allows you to do it without letting it interfere with the greater goal, which indeed is musical euphoria.”

Chris Rountree: My first question is about the West Coast. I know your work doesn’t often happen in Los Angeles. I wanted to ask how your early experiences, in music in Los Angeles, aimed you where you’ve gotten now?

La Monte Young: Yeah. Basically I grew up in LA. I started playing jazz in high school. I went to John Marshall High. Right away, I fell in with a group of guys who were really into Charlie Parker and the New Sound. That’s what I listened to high school. I then was playing in sessions as soon as I got out of high school. I went to a club called The Big Top. I played there almost every night from about 8PM until 4 in the morning. Billy Higgins would say “Hey, man. I know a place that opens at 4. It’s an after-hour place. Why don’t we go there?” You know who Billy Higgins is, right?

CR: Oh yeah.

LMY: Well, he was my drummer. Probably one of the greatest drummers that ever played. He was just incredible. Yeah, I wasn’t surprised that he died, but I was regretful. He was quite a wonderful person. He was very, very interested in my playing. He went all over LA getting us arrangements to play. So, gradually, I was composing.

CR: Were you composing while you were playing jazz as well? And were the compositions different then too?

LMY: A little bit. Yeah, I was composing some tunes. There was a composition called “Annod.” Which was Donna backwards. She was my high school girlfriend. She had perfect pitch. She was a very good musician. It’s quite a good composition, I think. Maybe my very first one that counts. I was always also in school, I went to LA City College. I studied with Leonard Stein. Leonard Stein was Schoenberg’s teacher disciple really. He did as much for Schoenberg than any of the others. Even though Webern was probably the most important composer in my mind, Leonard really promoted Schoenberg’s work.

CR: Why was Webern the most important for you?

LMY: For me, he was the most original composer who ever lived. He did things in music that were just unimaginable. For me, creativity has always been very important. His untimely death was very unfortunate, but he grew up in that tradition with Mahler and Schoenberg. He listened to Mahler concerts and Schoenberg. He was always there. He had a very traditional upbringing. What he did in music had never been done before. You can hear it coming out of, certain parts of Five Pieces for Orchestra. But he gave us something that has never been in music before. I followed it. I elaborated on it. I went further.

CR: We were talking about LA City College.

LMY: Yeah. I was studying with Leonard Stein. He was really a remarkable person. He knew everything about music. So it seemed. I went directly from LA City College to UCLA, where I studied with Dr. Robert Stevenson. These two individuals, Leonard Stein and Dr. Robert Stevenson, were very important to me as formal teachers. I was also studying saxophone with William Green at the L.A. Conservatory. He was a saxophonist saxophone player. He could play classical, he could also play some jazz. He really was almost like a father to me. I was leaving home and getting out in the world. Probably needed a father figure at that point.

In the Mormon church, where I started, authority is very strong. You grow up with authority around you at all times. I was considered an outstanding member of the Mormon church when I left. I was 17 years old. It was a big shock to my entire family.

CR: How did you make that choice to leave? That must have been really hard.

LMY: There’s an interview that everybody has. After you’ve been in the Aaronic priesthood for a few years, they want to advance you to the Melchizedek priesthood. One of the questions, I knew this question was coming, “Do you believe the Mormon church is the only true church?” I said no. I think it’s true, but I said “I think a lot of them or all of them are probably true.” They wouldn't buy it. So I was unattached and basically left the church right there and then.

CR: It sounds like, when you were in the interview itself, that was the moment you decided to leave?

LMY: I knew what was happening. I had already been in school. So I’d been part of the Mormon church for my entire life. I had absorbed a lot of information to realize that the Mormon point of view is very beautiful, but it was very limited to a certain way of thinking. It evolved from the Mormons coming across the plains. They had nothing and they were eating their shoes because they just didn’t have anything to eat. It was a rough existence. When they got to Utah Valley, Brigham Young says “This is the place.” So they settled there and things got better because they settled in a beautiful valley.

You know, I just saw a movie on the Donner Party yesterday, a documentary. Those early people going across the plains, they had some vision of something they hoped for, but they didn’t realize what they had to go through to get there. They suffered tremendously and sometimes ended up using cannibalism to survive. It was a rough situation. They didn’t realize what they were getting themselves into when they said “We’re going to go west.” It was holy hell. Anyway, that’s how I grew up. That kind of heritage was all around me.

CR: Amazing. You were talking about composition at UCLA and your teachers. And then about looking for a father figure.

LMY: It was Leonard Stein. Then I went to UCLA where there was Dr. Robert Stevenson. Dr. Robert Stevenson grabbed me as soon as he saw me and heard me. He took me all around the music department, said “This is guy is really good. He’s a genius.” I was the only one who could get straight A’s in his classes. All the other kids wouldn’t even take his classes. He was really a very great scholar. He had no patience with anybody who wasn’t really outstanding. He gave them grades that were so low that they wouldn’t take his classes.

CR: Were you still writing jazz at that time?

Jung Hee Choi: The most important early works were written in LA, were Poem for Chairs, Tables and Benches; Trio of Strings; and The Four Dreams of China.

LMY: The Trio for Strings, I wrote in 1958. It was very inspired by nature, but it was all walks of day tones and there’s nothing like that in music before, really. Some people thought it was really far out but Leonard Stein and Dr. Robert Stevenson thought I was the best there ever was and ever had been and ever will be.

CR: I wonder what the moment was when you departed from jazz and moved into the style that you then developed. Was that at UCLA?

LMY: I don’t know. You know, the Trio of Strings, 1958 is very, very profound. It’s all one sustained tones, and it’s the precursor for The Four Dreams of China. With The Four Dreams of China, I simplified the idea.

There’s a very important chord, CFF#G, in one key. I used that chord in all four inversions, F sharp is the bass, F above it, then G, then C. And I used these four chords in the Four Dreams of China. Each of the dreams is based on only one chord. In the Subsequent Dreams of China, I began to combine dreams. That was very complex so I had to have more players. So, Charles Curtis and Ben Neill, we had early on. I was teaching Ben rather early on and then Charles Curtis discovered me and he became the only person in the world who could really lead the Trio for Strings.

I was fighting, over my head and one great friend and he said, “Well, you know man, it's unplayable.” But he played it. And people worked hard at it.

CR: And unplayable in what way, do you think?

LMY: Unplayable in what way? You have to come down to his own way, there were long silences and then play it for record tune or complex intervals. You know it’s not melodic. A long silences, long tones—

it gets very hard to bring that in, perfectly in tune. Even like Charles and later Steven Burns, they just specialized in it. They were amazing, how much they could play a tune out of a blue sky.

CR: What’s your approach to making work with a collaborator like Charles?

LMY: Well, for one thing, they frequently studied Raga with me. Raga is a very profound musical system that’s thousands years old. They worked out all of the details. If you can learn Raga, which most people could never do, you’re ready to become a great musician, or you are a great musician. I teach all of my students Raga. Ben and Charles were the very advanced, and they could learn Raga and they could play. You had to do it to approach the Trio for Strings. The Four Dreams of China is more playable, because it’s just one chord, and you can start to get it really in tune. The problem would be the Trio for Strings, because you’re moving from one chord to another, time to time. It’s much harder to have perfect intonation that way.

CR: Would you say that intonation is the most important thing in your work?

LMY: If you’re not perfectly in tune, you’re not doing anything. You’ve got to be perfectly in tune or you’ll never send the message. It’s something you learn to do the more you work on it. You just take it for granted after a while. Certainly it took me time to realize that. That’s what I was doing, but I was. Jung Hee, say something about it. You know, Jung Hee’s very in tune, and she’s very advanced. Say something Jung Hee, anything.

JCH: The tuning system is the most important aspect of La Monte’s work. The Well-Tuned Piano, is a good example of how he transformed the traditional Western intervals in those two instruments, that created a new acoustical phenomenon that he calls Clouds. In which on experiences all the harmonics, sustained harmonics, they all form in the air. It’s something you’ve never experienced before, by tuning all the strings in a piano with the grammatical ratios that he finds. One of the difficulties that musicians found when they performed The Second Dream from the Four Dreams of China, was they had never heard certain musical intervals.

LMY: Neither had I! I imagined them, then made them happen, and there they were, and they were a model for mankind.

CR: Can you describe that a little more?

JCH: Musical ratios, four notes in the secondary: 12, 16, 17, 18. So 16, 18, and 12 are very well known intervals. They can be reduced to 8 and 9, and 3 to 2. So it’s a very simple intervals that we’ve been using. But 17 is very, very unique. It only can be achieved by gifted musicians, and even very perfect musicians can only hear the interval, after many years. Charles found his. He remembered that moment: when he first met La Monte and rehearsed it then—he was a child prodigy and was already a professional musician—La Monte asked him to hold a perfect fifth.

LMY: I asked what?

JCH: You asked Charles to hold the perfect fifth, without accenting the 5th harmonic. Meaning the 5, the vector 5, the third harmonic, in one exercise.

CR: Wow.

JCH: Charles was very, very impressed, because no other composer, no other musician had ever asked him to emphasize the harmonics. That is the first memory Charles has of working with La Monte.

LMY: See this is a whole new world were you have to worry about which harmonics were made louder than others. In order to create a certain mood, you wanted some louder than others, and some softer than others. I think I was the only person who took this path. Various band musicians like Jung Hee and Ben Neill, and Charles Curtis took it very seriously and worked on it.

CR: It’s something so many musicians never think about at all actually. Do you think, that when you encourage musicians to think like that, it fundamentally ... clearly it changes them, but does it put them in a different space when they perform the music?

LMY: Oh yeah. It changes their lives. We all grew up playing melodies. Gradually, we heard various guys in music, Mahler and Schoenberg and Webern and Debussy. I was crazy about Debussy. But, all of these different musics exposed us to a different way of thinking.

CR: Would say that way of thinking is spiritual in nature? Or is it about mindfulness? Or?

LMY: Well, you know, listen, what is spirituality? We all grew up in various spiritual systems and ... we have to first define spirituality, before we can say whether something is or isn’t. What does it mean? What does spiritual mean?

CR: What is it for you?

LMY: Well, I think that it’s something real, it’s a life devoted in music. Music is extraordinary ability and fulfills a spiritual need. So that when a musician is involved with the music that fulfills that need, it takes them into, what to him or her is a spiritual state. Eventually, some people wanted to stay in that state all of the time. That’s a lifestyle. Many of us participate. It’s just, we do it to different degrees.

CR: When you feel inspired to make music, where does that inspiration come from? Does it come from, as you’re saying, just the experience of being in music every day?

LMY: Many musicians eventually just devoted every of moment of their life to music. Some have found a way, like Marian [Zazeela] and Jung Hee to combine visual reality with audio reality. Eventually you try to give up all of the elements of your environment and to create a world that is totally self-supportive and fulfilling. So that everything supports everything else and you don't get sidetracked. Because we all know that life has to do with going to the store and buying a quart of milk. But try to set things up in such a way, that it’s not a distraction. You want to make your life so totally organized it’s always fulfilling itself and fulfilling the goals of the particular recipient.

CR: You said recipient, do you mean your own personal goals?

LMY: Yes. You have to deal with: being in a state of doing what you’re supposed to do with your life. To some degree, you find out what you’re supposed to be doing, by doing it. So, if you get off the track, you’ll know right away. We all know that you have to go to the grocery store. But don’t make it into a life structure that allows you to do it without letting it interfere with the greater goal, which indeed is musical euphoria.

La Monte Young and Marian Zazeela’s The Melodic Version (1984) of The Second Dream of The High-Tension Line Stepdown Transformer from The Four Dreams of China (1962) in Dream Light, directed by Jung Hee Choi, will be performed at the Nov 17 Fluxconcert at Walt Disney Concert Hall, part of the LA Phil’s season-long Fluxus Festival.

La Monte Young’s Piano Piece for David Tudor #1 will be performed in conjunction with the May 2, 2019 Emanuel Ax plays Mozart concert. A post-performance, archival installation will be on view in the Walt Disney Concert Hall lobby through May 5, 2019.

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scratchtheblock · 7 years

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New Post has been published on SCRATCHTHEBLOCK

New Post has been published on http://scratchtheblock.com/scratchtheblock-presents-the-remix-session-13/

SCRATCHTHEBLOCK PRESENTS: THE REMIX SESSION 13

4 months ago we dropped the 12th volume of The Remix Session , a successful series of accurate selections of the most impressive remixes,revisitations,re-arrangements of hip-hop,r&b,jazz and neo-soul pieces. We launched the series with the main aim of supporting well-known and emerging producers. If you think you got dope skills , don’t hesitate to reach us out via [email protected]!

ANALOGIC FEAT. EVIDENCE,RAKAA & SEAN BOOG – TWENTY SQUARED (SRAW REMIX)

Self-taught hip-hop producer Jeff Baranowski aka Analogic had the pleasure to work with a tons of big names from the underground scene such as Skyzoo,Kenn Starr,Phonte,Talib Kweli,AZ but also some stellar acts , collaborating, for example ,on Rick Ross’s Rather You Than Me, co-producing Triple Platinum alongside production team The Olympicks. In 2014 the New Jersey producer released the project titled The Booth Shall Set You Free that includes the cut called Twenty Squared featuring microphone killers Evidence,Rakaa and Sean Boog. We selected the top-notch treatment remix of Twenty Squared included on Twenty Squared Remixes EP masterfully recalibrated by Mutual Intentions affiliate Sraw. The swedish producer revamps the original track adding his signature sound and the final result is simply amazing!

NATIVE DANCER – BIG BLUE (ERIC LAU REMIX)

Consisting of bassist Jonathan Harvey ,saxophonist Josh Arcoleo ,drummer Ulysses,keyboardist Sam Crowe and vocalist Frida Touray , Native Dancer is a London based experimental group ,whose unique sound combines influences that flirt with neo-soul, jazz,electronica,soul, electro-funk and trip-hop. With two EPs under its belt (EP Vol.I and Vol. II ) , Native Dancer dropped in May a collection of their previous pieces in a 12″ gatefold via U.K underground label Submit Records, that includes a superlative re-work of Big Blue flawlessly wrapped by one of the most well-respected producers in the UK: Eric Lau. We’ve a deep regard for Mr.Lau , because he’s a brilliant sonic-architect with great skills as producer as well as remixer.He left his mark on refined projects such as Black Focus by Yussef Kamaal,Soulidified by neo-soul songstress Hil St.Soul,A Handshake To the Brain by Hawk House among others. Native Dancer is currently working on the debut album counting on the support of musician/producer Miles James (Dornik,Michael Kiwanuka,NAO).

A TRIBE CALLED QUEST FEAT. CONSEQUENCE – THE JAM (REMIX)

1996…….one of the most beautiful years for da hip-hop lovers!!All Eyez On Me,It Was Written,Illadelph Halfilfe and of course Beats,Rhymes and Life by A Tribe Called Quest. The fourth album by Q-Tip & co. is a milestone of hip-hop music, a product of incredible quality and a source of inspiration for rappers,musicians,producers,beatmakers. In 2005 Q-Tip’s cousin, Consequence released via Draft Records da mixtape A Tribe Called Quence , packed with heavyweight producers such as 88-Keys and 9th Wonder among others. One of our fav is the stunning remix of The Jam,created using the sample of Quincy Jones’s Don’t Fly if It’s Foggy. Wow…damn… so fucking exquisite!!!

SADE – FEEL NO PAIN (NELLEE HOOPER REMIX)

British iconic singer/songwriter/composer Sade Adu filled the heart of a wide range of audience with her warm,soothing voice and superlative records but above all she epitomizes the essence of integrity and authenticity as she said:

“I only make records when I feel I have something to say. I’m not interested in releasing music just for the sake of selling something. Sade is not a brand”.

In 1992 Sade unleashed the fourth album entitled Love Deluxe which includes the smooth masterpiece Feel No Pain. In the same year Epic Records dropped a 12” of remixes and we want to recommend to listen closely the superb and engaging revisitation of Feel No Pain handled by Bristol grammy award-winning producer Nellee Hooper , the genius behind records from Snoop Dogg,Bjork,Massive Attack,Madonna,DJ Quik,Big Boi,U2,Gwen Stefani and many others.

FREDFADES FEAT. IVAN AVE ,FRESH DAILY AND JUJU ROGERS (FRUITFUL REMIX)

We live in da birthplace of hip-hop music but honestly,some of the most interesting hip-hop acts of the moment comes straight from the cold lands of North Europe!We’re talking about Oslo-representatives Fredfades and Ivan Ave. Fredfades is a mastermind hip-hop producer, whose beats conjure up the fantastic old-school hip-hop era, y’all know the jazzy beats,the boombap rhythms… Ivan Ave is an impressive microphone master whose smooth flow definitely knocked we out! Together they built a label/crew called Mutual Intentions (which includes Yogisoul, Ol’ Burger Beats, Jawn Rice and SRAW) earning respect overseas and establishing an extensive network of fruitful partnerships with dope artists from the US in particular from California area: Mnsdgn,Like of Pac Div,Blu,Pink Siifu,Dâm-Funk among others. Two years ago Fades and Ave released a collaborative work called Fruitful , but today we want to share with y’all a top-tier remix version of the track called Fruitful featuring JuJu Rogers and Fresh Daily. The cut appeared on Fredfades last effort called Warmth. Ivan Ave is almost ready to drop his new album Every Eye ,available from November (pre-order it now via Jakarta Records) , in the meantime make sure you to taste the single Running Shoes

GABRIEL GARZON-MONTANO – SOUR MANGO (SEVEN DAVIS JR REMIX)

As you know, scratchtheblock.com is not only the home for hip-hop or r&b or neo-soul! We also love to experience experimental sonorities , something that blurs the line between genres but able to bring good feelings. Well, Brooklyn singer/multi-instrumentalist Gabriel Garzón-Montano is a kind of artist able to tentalize our eager-ears through a musical approach that sounds organic,refreshing and ambitious. We felt in love with him thanks his flawless Bishouné which included the amazing pieces Everything Is Everything and 6 8. Today we serve you up the sophisticated remix of the excellent Sour Mango (written before Bishouné) from Gabriel recent album Jardin , dropped via Stones Throw Records. The re-arrangement is designed by eclectic/visionary Texas-native producer Seven Davis Jr.

GZA FEAT. INSPECTAH DECK AND D’ANGELO – COLD WORLD (RZA REMIX)

Back in the 95 when Brooklyn Wu-Tang Clan member Gary E.Grice aka GZA dropped his sophomore solo project Liquid Swords under Geffen Records. We resumed a supa-dope remix of the track titled Cold World featuring bandmate Inspectah Deck and neo-soul crooner D’Angelo. Cooked by super-producer RZA , the outstanding revisitation takes shape from a 1980 record by legendary Stevie Wonder called Rocket Love.

JOSE JAMES – TROUBLE (BAKER AARON REMIX)

No Beginning No End is a refined,amazing, creative and original opus performed by Jose James and in our humble opinion , it’s probaby his best project! The body of work is the result of a meticolous,passionate and clever craft of a magic circle of bright musicians such as Richard Spaven,Robert Glasper,Pino Palladino,Kris Bowers,Chris Dave,Takuya Kuroda among others. The fantastic oeuvre includes the single Trouble but now prepare yourself for an astonishing jazz revisitation handled by Harun Iyicil aka Baker Aaron , a Instanbul musician/producer and co-founder of Headroom Istanbul

SLUM VILLAGE – GET DIS MONEY (THE PLANTY HERBS REMIX)

When it comes to enumerate hip-hop classic records , it’s impossible don’t mention Slum Village‘s Fantastic Vol.2. The 1998 sophomore album by SV is considered by many critics,artists and hip-hop fans one the most inspiring craft of the rap game in terms of production! We stumbled upon an interesting remix of Get Dis Money , crafted by dutch DJ/producer Bobby van Putten aka The Planty Herbs and released in 2015 via Brooklyn label Razor-N-Tape.What’s your impression about it? If you want to listen to some new works from Slum Village members don’t miss the recent album by Young RJ entitled Blaq Royalty

MILES BONNY FEAT. SHHOR – WAY (THE XTRAORDINAIR$ REMIX)

Four months ago we recommended the impressive treatment remix of Way ,the smooth single performed by Miles Bonny and Shhor . The project released in June is an EP that consists of the original version of Way,plus two remixes handled by Tall Black Guy and The Xtraordinair$. We selected the buttery version crafted by The Xtraordinair$, a musical project brainchild of Kansas City beatsmith Leonard Dstroy and trained bass player Dominique Sanders . Together their brought to us some quality shit like X-Life released in 2015 via Laruche Records , which also includes a featuring with Bonny. Miles Bonny will release a new project called Let It Out in a week. It’s a collabo alongside producer Ta-Ku under the banner of Brooklyn label Bastard Jazz.

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jazzworldquest-blog · 8 years

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USA: North Carolina Central University Vocal Jazz Ensemble-Take Note(2017)

Vocal Jazz Ensemble group of male and female jazz vocalists with rhythm section accompaniment of piano, bass, drums, guitar, tenor sax and soprano sax. VJE offers Take Note in celebration of the 10-year anniversary of VJE director Lenora Helm Hammonds with North Carolina Central University. This release includes favorites from the vocal jazz standard repertoires of Count Basie, Duke Ellington, Jimmy Heath, Thelonious Monk, John Coltrane, Miles Davis, and Take 6, and on Flamenco Sketches, lyrics from the pen of NCCU Jazz Studies alum, vocalist Eve Cornelious. Produced by Lenora Helm Hammonds and Dr. Ira Wiggins, Take Note features the talented students of the NCCU Jazz Studies program. Two of the selections are from the pen of saxophonist/composer, Jimmy Heath from the recording featuring vocal selections he had written, some with lyrics by vocalist Roberta Gamberini. Having turned 90 years young on October 26, 2016, Mr. Heath has been a frequent guest artist of the program, first in 1986 and most recently the 26th Annual NCCU Jazz Festival in 2015. In honor of Mr. Heath’s legacy to jazz and our gratitude for allowing us to record his music, and specifically to his longstanding commitment and support of the NCCU Jazz Studies program and our director, Dr. Ira Wiggins, we dedicate Take Note to NEA Jazz Master, Mr. Jimmy Heath. North Carolina Central University North Carolina Central University is a historically black college and university (HBCU), a comprehensive liberal arts university founded in 1910 by Dr. James E. Shepard. The university is one of sixteen constituent institutions in the University of North Carolina system. NCCU is located in Durham. North Carolina near the culturally diverse Research Triangle area. About NCCU Vocal Jazz Ensemble: The NCCU Jazz Studies program and program director, Dr. Ira Wiggins are proud to present the NCCU Vocal Jazz Ensemble’s (VJE) second CD release, Take Note. VJE was founded in 1992, and is comprised of undergraduate and graduate student vocalists with backgrounds from all over the globe. The award-winning ensemble’s sound is steeped in the American jazz tradition, and continue to be noted for their diverse repertoire and performance acumen. The North Carolina Central University Vocal Jazz Ensemble debuted their first full-length recording, Arrival, in 2010. Arrival emerged as a culmination of years of performing under the tutelage of then director, Mr. Arnold George, jazz studies department director, Dr. Ira Wiggins, and Lenora Helm Hammonds who joined in 2005. VJE is often accompanied by, and performs arrangements from NCCU jazz faculty pianist/arranger Ed Paolantonio. NCCU Jazz Studies Program In 1979, NCCU became the first university in the state to offer the Bachelor of Music degree in Jazz Studies. The program has since evolved to include a comprehensive vocal jazz component and the Master of Music degree in both Jazz Composition and Arranging and Jazz Performance. The Jazz Studies program is under the leadership of Dr. Ira Wiggins and offers curricula leading to Bachelor of Music and Master of Music degrees in jazz. Alumni of the program include internationally renowned solo performing, recording and touring musicians, band leaders, and instrumentalists who have performed with jazz greats including Gregory Porter, Houston Person, Kim Burrell, Prince, Joey Calderazzo, Branford Marsalis and others. In addition, many NCCU Jazz Studies program alums are teaching as adjunct and full-time professors at colleges and universities, and as K-12 music teachers. Faculty members include guitarist Baron Tymas, assistant director of the program; trombonist Robert Trowers; trumpeter Albert Strong; Arnold George for piano, saxophone; Lenora Helm Hammonds, voice; Maurice Myers, voice; Ed Paolantonio, piano; Thomas Taylor, percussion; Aaron Hill, saxophone; and Damon Brown, bass. Artists-in-residence Branford Marsalis and Joey Calderazzo are also involved in workshops and private instruction. NCCU’s jazz groups have performed throughout North America, Europe and the Caribbean. Major performances include the Montreux Jazz Festival, Vienna Jazz Festival, Detroit Jazz Festival, New York City Jazz Festival, Jazz at Lincoln Center, Annual Collegiate Jazz Festival at Notre Dame, the Newport Jazz Festival and the International Association for Jazz Education (IAJE) festival in Toronto, and at jazz educators conferences. Ensembles have earned recognition at numerous college festivals, such as the Villanova Jazz Festival, where they garnered first-place honors. The NCCU Jazz Ensemble and vocalists were invited to perform at the White House for a reception for the state and congressional aides (Clinton administration) and for a political event to welcome First Lady Michelle Obama.

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brookstonalmanac · 1 year

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Birthdays 4.24

Beer Birthdays

George Muehlebach (1833)

Alan J. Wax (1949)

Bob Skilnik (1950)

Jeremy Cowan (1969)

Suzanne Woods (1978)

Five Favorite Birthdays

Cedric the Entertainer; comedian, actor (1964)

Willem de Kooning; artist (1924)

Richard Donner; film director (1930)

Michael O'Keefe; actor (1955)

Robert Bailey Thomas; Farmer's Almanac founder (1766)

Famous Birthdays

Aaron Bell; jazz bassist (1922)

David Blackwell; mathematician (1919)

Eric Bogosian; actor (1953)

Pierre Brassard, Canadian actor (1966)

Edmund Cartwright; power loom inventor (1743)

Doug Clifford; drummer (1945)

Jean Crotti; Swiss artist (1878)

Richard M. Daley; politician (1942)

Vincent de Paul; religious leader (1581)

Clement Freud; German-English politician (1924)

Jean-Paul Gaultier; fashion designer (1952)

John Gaunt; statistician, demographics founder (1620)

Sue Grafton; writer (1940)

Johnny Griffin; jazz saxophonist (1928)

Joe Henderson; saxophonist (1937)

Jill Ireland; actor (1936)

Chipper Jones; baseball player (1972)

Stanley Kauffmann; film director, critic (1916)

Shirley MacLaine; actor (1934)

Brian Marshall; musician (1973)

John Russell Pope; architect (1874)

Captain Sensible; pop singer (1955)

Barbra Streisand; singer, actor (1942)

Anthony Trollope; English writer (1815)

Tony Visconti; record producer (1944)

Robert Penn Warren; writer (1905)

William of Orange; Dutch politician (1533)

#Birthdays

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travelivery · 8 years

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Ween, the irreverent rockers from New Hope, Penn., took to the stage at Brooklyn Bowl Las Vegas for an incredible three-night run of sold-out shows over Presidents’ Day Weekend, Friday, Feb. 17 – Sunday, Feb. 19.

Check Out the Ween Photo Gallery Below

Ween at Brooklyn Bowl Las Vegas

The shows began nightly at 8 p.m. as pseudonymonic front men Gene and Dean Ween (Aaron Freeman and Michael “Mickey” Melchiondo Jr., respectively) were backed by longtime band members Dave Dreiwitz (bass), Glen McClelland (keyboards) and Claude Coleman Jr. (drums).

As the band took the stage, Dean Ween acknowledged the fans with a knowing, tongue-in-cheek, “What’s goin’ on, Brooklyn?” and confessed with a wry smile, “We’re really just here for the bowling.”

Wasting no time, Ween kicked off with fan favorite “Don’t Shit Where You Eat.” The first night’s set list was well received by the eager audience, causing Dean Ween to call several visible audibles, changing up the song selection on the fly to further fuel the energy of the crowd. Favorites like, “Transdermal Celebration,” “Mr. Richard Smoker” and the hard-rocking slam jam “Nan” all made the night one catalogue. Angelo Moore, saxophonist from Fishbone, surprised the crowd and joined Ween on stage for “Your Party.” Midway through the night, the die-hards in the crowd demonstrated their knowledge, roaring as Dean Ween announced, “This is my favorite Ween song,” knowing that “Mr. Would You Please Help My Pony” was on deck.

“We witnessed a bit of history this weekend,” said Brooklyn Bowl Las Vegas Senior Vice President Chris White. “It’s rare to find a band with such an enormously loyal following and a storied history like Ween’s, yet with so few recent performances. We knew the place was going to come to life like never before. And we were extremely pleased to have been able to offer that at Brooklyn Bowl here in Las Vegas.”

On Saturday, Feb. 18, Relix, the media company owned by Brooklyn Bowl founder Peter Shapiro, hosted the “Let Me Lick Your Plate Brunch and Bowling Tournament.” Teams of bowlers invaded all 32 lanes of Brooklyn Bowl Las Vegas’ two-story alley, competing for a chance at the top prize of VIP tickets and a $300 food and beverage credit for Ween’s Saturday night performance, as well as a Relix prize pack. The winners, a local team from Las Vegas, along with other bowlers and guests of the restaurant, enjoyed Brooklyn Bowl’s converted menu, where all dishes were renamed after Ween songs and albums. Highlights included the “Egg Cheese Satan” sandwich, the “Mushroom Festival in Hell” omelet, the “Big Sloppy Jilm,” the “Boys Club” sandwich and the “How High Can You Fry” chicken platters.

On night two – Saturday, Feb. 18 – Ween continued to wow fans with their seemingly endless repertoire, playing another extensive slice of their library with songs like “The Mollusk,” “Bananas and Blow,” “Fat Lenny,” “How High Can You Fly,” “Mutilated Lips,” “Sorry Charlie,” and the often Phish-covered “Roses Are Free.” The song-to-song contrast between Ween’s songs, like the country-stylized “Wavin’ My Dick in the Wind” and soaring space-rock anthem “Captain Fantasy,” was not lost on an audience whose movements seemed to mirror the unique progression of the set.

Night three – Sunday, Feb. 19 – included a flurry of Ween classics like “Buckingham Green,” “Big Jilm,” “Voodoo Lady,” “Spinal Meningitis (Got Me Down)” and a cover of Motörhead’s “Ace of Spades,” with bassist Dreiwitz taking a turn at lead vocals. The evening was punctuated by a surprise on-stage guest. Not a musician, as in night one, but a pair of fans who were greeted with hugs by Gene and Dean Ween, right before the gentleman guest unsuspectingly dropped to one knee and proposed to his girlfriend in front of 2,200-plus excited onlookers. She said yes.

For real-time show announcements and the latest information, follow Brooklyn Bowl Las Vegas on Facebook, Twitter and Instagram. For the most up-to-date show lineup, or to schedule your next event at Brooklyn Bowl, visit www.brooklynbowl.com/las-vegas/. If you would like to be added to their email list for first information about upcoming shows, email [email protected].

Ween at Brooklyn Bowl Las Vegas

About Ween

Ween is an American alternative rock band formed in New Hope, Pennsylvania, in 1984 by childhood friends Aaron Freeman and Mickey Melchiondo, better known by their respective stage names, Gene Ween and Dean Ween. After meeting in a middle-school typing class, the two began playing music and immediately chose the name Ween as well as their Ramones-inspired pseudonyms.[4] Ween performed as a duo backed by a Digital Audio Tape for the band’s first ten years of existence before expanding to a four- (and later five-) piece act. The band’s highest-charting single is “Push th’ Little Daisies”, which was a hit in the United States and Australia. – Wikipedia

Learn more about Ween on their website, Ween.com.

About Brooklyn Bowl Las Vegas

Brooklyn Bowl Las Vegas, the brand’s third location, boasts three levels spanning over 80,000 square feet and is one of the largest performance venues of its class in America. Early on, People Magazine projected the venue as “on the fast path to being Vegas’ über cool place” and in 2015, Brooklyn Bowl Las Vegas cracked the top 20 in Pollstar’s Top 200 Club Venues for Worldwide Ticket Sales. Brooklyn Bowl Las Vegas has been voted “Best Music Venue” in the 2016 Las Vegas Weekly “Best of Vegas” awards and was honored with the distinction of “Best Music Booking” by Vegas Seven magazine.

Located on The LINQ Promenade, the open-air district in the center of the Las Vegas Strip, the multi-dimensional space boasts 32 lanes of bowling, six on-site bars and rockin’ comfort food by the world-renowned Bromberg Brothers’ Blue Ribbon Restaurants, including their iconic Fried Chicken celebrated on Food Network’s “The Best Thing I Ever Ate.” On any given night, more than 2,000 concertgoers can enjoy live music programming from the general admission area, the luxurious bowlers’ lounges adjacent to the lanes, or the private lounge boxes overlooking it all. Since opening in March 2014, Brooklyn Bowl Las Vegas has seen notable performances by Bryson Tiller, Jack White, Disclosure, Alabama Shakes, Modest Mouse, Chance the Rapper, Robert Plant, The Smashing Pumpkins, The Roots and Jane’s Addiction.

Ween Sells Out 3 Nights at Brooklyn Bowl Las Vegas | Photo Gallery Ween, the irreverent rockers from New Hope, Penn., took to the stage at Brooklyn Bowl Las Vegas for an incredible three-night run of sold-out shows over Presidents’ Day Weekend, Friday, Feb.

#Brooklyn Bowl Las Vegas #Erik Kabik #Ween

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moderate-realism · 8 years

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Dennis Russell Davies

Dennis Russell Davies (born April 16, 1944, Toledo, Ohio) is an American conductor and pianist. He studied piano and conducting at the Juilliard School, where he received his doctorate. A champion of living composers and modern music including Hans Werner Henze, William Bolcom, Lou Harrison, Alan Hovhaness, John Cage, Philip Glass, Giya Kancheli, Arvo Pärt, Virgil Thomson, and Aaron Copland, Davies has commissioned, premiered and recorded numerous pieces by living composers, along with the standard classical works.

His recordings of note include Copland's Appalachian Spring with the Saint Paul Chamber Orchestra in 1979, for which he won a Grammy Award; Arvo Pärt Fratres and Miserere; and many of Philip Glass's operas and symphonies, including the 5th symphony, which is dedicated to Davies. Davies premiered Glass's newest symphony at the 2012 New Year's concert in Anton Bruckner Concert Hall in Linz to a standing ovation. Lou Harrison's 3rd Symphony is also dedicated to Davies.

Davies served as Music Director of the Saint Paul Chamber Orchestra from 1972 to 1980. Together with the composer Francis Thorne, he founded the American Composers Orchestra in New York in 1977, and served as its music director until 2002.[1] Davies served as music director of the Brooklyn Philharmonic from 1991 to 1996.

In 1980, he moved to Stuttgart, Germany when he served as General Music Director of the Baden-Württemberg State Opera House from 1980 to 1987. There he premiered two Philip Glass operas, along with many standard operas, often in productions with innovative and unusual staging. He has worked with many directors, including Robert Altman in a collaboration on Salome in Hamburg. He has also held permanent posts with the Stuttgart Chamber Orchestra, the Orchestra of the Beethovenhalle Bonn (1987–95), and the Vienna Radio Symphony Orchestra. Davies has been chief conductor of the Bruckner Orchestra Linz and the Linz Opera since 2002. He is scheduled to conclude his tenure in Linz in 2017.[2] In March 2008, Davies was named the third music director of the Sinfonieorchester Basel, effective with the 2009-10 season, for an initial contract of five years.[3][4] He is scheduled to conclude his Basel tenure at the end of the 2016-2017 season.[5]

Davies has also led many festival orchestras, including the Aspen Music Festival, the Cabrillo Festival of Contemporary Music, which he directed from 1974 to 1990, and the Saratoga Music Festival. He conducted The Flying Dutchman at the Bayreuth Festival, the second American to conduct there and one of the youngest. Davies is a Professor of Orchestral Conducting at the Salzburg Mozarteum.

Davies has had a long-standing association with the jazz pianist Keith Jarrett. He has conducted Jarrett in classical concerto repertoire (including Mozart and Lou Harrison) and has himself performed Jarrett's music for piano and conducted Jarrett's orchestral music (featuring Jarrett as soloist as well as saxophonist Jan Garbarek).

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brookstonalmanac · 2 years

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Birthdays 4.24

Beer Birthdays

George Muehlebach (1833)

Alan J. Wax (1949)

Bob Skilnik (1950)

Jeremy Cowan (1969)

Suzanne Woods (1978)

Five Favorite Birthdays

Cedric the Entertainer; comedian, actor (1964)

Willem de Kooning; artist (1924)

Richard Donner; film director (1930)

Michael O'Keefe; actor (1955)

Robert Bailey Thomas; Farmer's Almanac founder (1766)

Famous Birthdays

Aaron Bell; jazz bassist (1922)

David Blackwell; mathematician (1919)

Eric Bogosian; actor (1953)

Pierre Brassard, Canadian actor (1966)

Edmund Cartwright; power loom inventor (1743)

Doug Clifford; drummer (1945)

Jean Crotti; Swiss artist (1878)

Richard M. Daley; politician (1942)

Vincent de Paul; religious leader (1581)

Clement Freud; German-English politician (1924)

Jean-Paul Gaultier; fashion designer (1952)

John Gaunt; statistician, demographics founder (1620)

Sue Grafton; writer (1940)

Johnny Griffin; jazz saxophonist (1928)

Joe Henderson; saxophonist (1937)

Jill Ireland; actor (1936)

Chipper Jones; baseball player (1972)

Stanley Kauffmann; film director, critic (1916)

Shirley MacLaine; actor (1934)

Brian Marshall; musician (1973)

John Russell Pope; architect (1874)

Captain Sensible; pop singer (1955)

Barbra Streisand; singer, actor (1942)

Anthony Trollope; English writer (1815)

Tony Visconti; record producer (1944)

Robert Penn Warren; writer (1905)

William of Orange; Dutch politician (1533)

#Birthdays

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brookstonalmanac · 3 years

Text

Birthdays 4.24

Beer Birthdays

George Muehlebach (1833)

Alan J. Wax (1949)

Bob Skilnik (1950)

Jeremy Cowan (1969)

Suzanne Woods (1978)

Five Favorite Birthdays

Cedric the Entertainer; comedian, actor (1964)

Willem de Kooning; artist (1924)

Richard Donner; film director (1930)

Michael O'Keefe; actor (1955)

Robert Bailey Thomas; Farmer's Almanac founder (1766)

Famous Birthdays

Aaron Bell; jazz bassist (1922)

David Blackwell; mathematician (1919)

Eric Bogosian; actor (1953)

Pierre Brassard, Canadian actor (1966)

Edmund Cartwright; power loom inventor (1743)

Doug Clifford; drummer (1945)

Jean Crotti; Swiss artist (1878)

Richard M. Daley; politician (1942)

Vincent de Paul; religious leader (1581)

Clement Freud; German-English politician (1924)

Jean-Paul Gaultier; fashion designer (1952)

John Gaunt; statistician, demographics founder (1620)

Sue Grafton; writer (1940)

Johnny Griffin; jazz saxophonist (1928)

Joe Henderson; saxophonist (1937)

Jill Ireland; actor (1936)

Chipper Jones; baseball player (1972)

Stanley Kauffmann; film director, critic (1916)

Shirley MacLaine; actor (1934)

Brian Marshall; musician (1973)

John Russell Pope; architect (1874)

Captain Sensible; pop singer (1955)

Barbra Streisand; singer, actor (1942)

Anthony Trollope; English writer (1815)

Tony Visconti; record producer (1944)

Robert Penn Warren; writer (1905)

William of Orange; Dutch politician (1533)

#Birthdays

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1962dude420-blog · 4 years

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Today we remember the passing of Dave Brubeck who Died: December 5, 2012 in Norwalk, Connecticut

While on tour performing "Hot House" in Toronto, Chick Corea and Gary Burton completed a tribute to Brubeck on the day of his death. Corea played "Strange Meadow Lark", from Brubeck's album Time Out.

Brubeck is interred at Umpawaug Cemetery in Redding, Connecticut.

#december 5 #2012 #rip #dave brubeck #take five

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