#as a former trumpet player

[willwoodbabygirl]

#312

[real-fire-emblem-takes]

Your analysis is interesting NFL anon, unfortunately I have to counter your FE3H football with the better sport;

Marching Band!!!

Brass Players:

Trumpet: Caspar, Ingrid, Leonie

Melophone: Bernadetta

Baritone: Ferdinand, Cyril

Trombone: Dimitri

Sousaphone: Hilda, Raphael

Woodwind Players:

Flute: Hubert, Mercedes, Lysithea

Piccolo: Annette

Clarinet: Claude, Lorenz

Saxophone: Sylvain, Monica

Drum Line:

Bass: Balthus

Snare: Petra, Ashe

Tenor: Edelgard

Pit: Dedue, Linhardt, Hapi, Ignatz

Color Guard: Constance, Marianne, Yuri, Felix, Dorothea

Drum Majors: Byleth (Former Trombonist), Shez (Former Saxophonist)

.

[mayoscribble077]

𝓒𝓱𝓪𝓹𝓽𝓮𝓻 6: 𝓣𝓻𝓾𝓶𝓹𝓮𝓽 𝓒𝓸𝓷𝓬𝓮𝓻𝓽𝓸 𝓘𝓷 𝓔-𝓕𝓵𝓪𝓽 𝓜𝓪𝓳𝓸𝓻

——

💕𝓢𝓾𝓶𝓶𝓪𝓻𝔂💕: Aspiring diva Kang Mi-na takes part in this year’s Squid Games, challenged among the fellow lower class. In order to have a safe chance of winning, the aspiring fashionista teams up with former-rapper Thanos. Not only is she tested on what she is willing to risk for money, but her place as one of Thanos’ confidants.

💜𝓟𝓪𝓲𝓻𝓲𝓷𝓰💜: Choi Su-Bong(Thanos) x Kang Mi-na, Thanos squad + Kang Mi-na

💕𝓖𝓮𝓷𝓻𝓮💕: mi-na lives au, se-mi dies instead tho :( , romance, angst, fluff, casual, flirty bantering, lots of jealousy on nam-gyu’s part

💜𝓦𝓪𝓻𝓷𝓲𝓷𝓰𝓼💜: graphic depictions of violence, murder, mild gore, explicit language, drug usage, mentions of suicide, major character deaths, spoilers for squid game s2,

💕𝓘𝓶𝓹𝓸𝓻𝓽𝓪𝓷𝓽 𝓲𝓷𝓯𝓸💕: like the original show, this is intended for a mature audience, please proceed with caution. updates will be posted biweekly at the latest, constructive criticism is welcome as long as it is dmed to me!!

💜𝓢𝓽𝓪𝓽𝓾𝓼💜: work in progress 🤭

———

💕𝓶𝓪𝓼𝓽𝓮𝓻𝓵𝓲𝓼𝓽 💜𝓷𝓮𝔁𝓽 𝓬𝓱𝓪𝓹𝓽𝓮𝓻

———-

Triumphant trumpets thundered from the speakers in perfect symphony. Classical music was never Mi-na’s forte. If it were her choice, she’d rather wake up to the latest Pop or Hip-Hop hits. But nooo, this sadistic murder play was run by old people.

Buzzzzz!

‘Attention please, the second game will begin momentarily. Please follow the instructions from our staff.’

Mi-na remained snuggled up in her bunk, savoring the warmth contained in the blankets. Maybe no one would notice.

“Wakey, wakey Señorita!” Thanos purred, nudging the mattress.

Mi-na whined, rolling onto her stomach and burying her head under the pillow.

Thanos nudged the mattress again. “C'monn, it’s time to play the game.”

“I’m not in the mood to die right now.” she groused, hardly awake.

“Nah, you won’t die. You got the great Thanos to protect you.” He reassured her with utmost confidence in himself.

Thanos lifted a portion of the pillow, peeking underneath. Mi-na shifted, holding his gaze for a moment. There was a vibrant teal to his eyes, Mi-na noticed, that surrounded his dilated pupils. Without a doubt the man probably wore contacts, and even more so he would deny it.

“Cmon, girl. You can’t ignore me forever.” Thanos drew even closer, tilting his head just enough to rattle her. Does he really think he can just smirk like that and get whatever he wants?

Mi-na eventually caved in, finally slipping out of bed.

“Unbelievable.”

Mi-na trotted to join the crowd, refusing to acknowledge Thanos’ moment of triumph.

“Let’s go!” He spurred, barreling after her because he just HAD to be by her side.

Up the stairs they went, up the geometric labyrinth with pastel colors. Of course, she wasn’t going to wake up looking like a mess so Mi-na put up her ponytail, tightening it just enough to feel the tension in her scalp.

Thanos trailed behind, matching her steps while simultaneously checking her out. Respectfully.

Fortunately, the remaining players didn’t have to go up as many stairs, but there were still just enough flights to have Mi-na’s legs sore by the end of it.

A large sliding door unveiled from the arena before the living. It looked to be an old elementary school yard, boxed in by watercolors walls and painted clouds. Right on the ground were two large rainbows that formed symmetrical circles. Flags of countries from all around the world hung above them.

At that moment, it was as though a fragment of her childhood was placed here. The rainbow tracks reminded her of the school festivals Mi-na would take part in. Or in her case, watching everyone else play while she laughed at the runts.

‘Welcome to your second game. This game will be played in teams, please divide into teams of five within the next ten minutes.’

Instinctively she turned to Thanos, he was the only person she knew after all. She didn’t want to seem desperate though, not in a place that seemed to feed off desperation.

“Señorita,” Thanos chimed, as if on cue. He gestured to the two of them “You and me?”

“You want me to team up with you?” Mi-na asked, as if unable to comprehend the offer.

“Of course.” He flicked his hand. “We’d be unstoppable together, you and me. We got mad power between us, can’t you feel it? .” He wiggles his fingers, nodding his head to an imaginative beat.

Yeah, he’s definitely on drugs.

As weird as he was, the man was beyond entertaining. She parted her lips, pretending to contemplate before giving him a toothy grin

“Alright, Why not?”

“That’s what I’m talkin about, my girl!”

Thanos then cupped his hands and called out from the sea of people.

“NAM-SUUU!!!!!”

———-

[once-in-a-blood-moon]

Obey Me Boys as Band Kids

Please note that these are personal things I've noticed in my time as a former band kid, and is not meant to be taken too seriously. I love all the sections equally and all the weirdos in them, haha. Anyways, go band kids! 💪

Inspired by the new event coming out! 🤗

Lucifer is a trumpet player. He’s got one of the biggest egos in the band and plays loud and proud even if he’s wrong (which is rare). Lucifer is that kid that takes his instrument home every single day to practice and shows off the next day. Takes band seriously, and is very popular among his peers. Mad that he didn’t get drum major position, but never shows it when asked. 

Mammon plays snare drum. Literally could use what’s left of his brain cells rattling around in his head instead. A troublemaker, probably gets betted to do stupid things every other week, which just causes more stress for the drum major and the band director. Though it makes for good stories later. One of the weakest marchers, loses the beat halfway and is now marching right, left, right…

Leviathan is a sax player, do not tell me he’s not. Most of the sax players I knew were NERDS, so dorky, but some of the funniest people you will ever meet. They’re either really popular or terribly socially inept, Levi falls on the socially inept spectrum. He’s not too serious, but not a total blowoff in the band. He plays super quiet out of fear of playing wrong, but if there’s a song he likes, he gets really into it. Probably one of those guys that puts the whole reed in his mouth and swishes it around to wet it as everyone else is appalled by it.

Satan is the drum major (me too 😊). Responsible and stressed, cordial with all, friendly with some. He knows the ins and outs of everything going on within the band, whether it’s gossip, inside jokes, the literal music itself (that’s a given), etc. He probably has little pow-wows with the section leaders where he gets his information, specifically the colorguard captain. Has a solid connection with the drumline.

Asmo is captain of the colorguard! Gossip and drama, and part of the band's discount Keeping Up With the Kardashians show (I swear that’s what it’s like). He’s a perfectionist, probably stays late after school to practice his routines. Has a meltdown at the smallest mistake, yells at others when they mess up. He’s definitely hit someone with a flag because they were in his way or in the wrong spot, iykyk. 

Beel is a tuba player. He probably keeps to himself, maybe befriending the trombone or trumpet players and opening up a little there. His mom brings the band snacks and food for games. New to band so he’s learning how to play and march properly. Still hasn’t learned to suck in his cheeks when he plays.

Belphie is a clarinet player (also me 💅). He’s probably a squeaker. Makes hard eye-contact with the drum major as he licks his reed wet with a sly grin just to mess with them. He’s a great player, he just needs to be louder, no one can hear him. Leans on his clarinet when his eyes get droopy when he’s sitting down. 

Diavolo is in the drumline, probably a bass or quad player. If he’s a quad player, there will never be a time you won’t hear him playing. Every five seconds he’s playing some part of the cadence, and somehow the rest of the drumline joins in. If he’s a bass player, he’s just a derpy guy who’s just there for a good time. Joins the tromboners in their mischief and jokes. 

Barbatos gives pit energy to me, think marimba and bells. He quietly practices in the back, waving his mallets over the notes so he doesn’t disturb anyone. Very attentive to the drum major and band director when they speak, never has an outburst of any kind. He’s responsible, and timely when preparing for a show. Probably keeps the drumline in check though. (Also plays cymbals during parades). 

Simeon is a flute player, specifically piccolo. He’s a beast on that thing, and so loud (watch your ears). Gossips and chats with the clarinet section, is an honorary member of that section too. I bet he has that flute pinky thing, iykyk. 

Solomon is… *sighs* a trombone player… He’s one of the guys in the back making “that’s what she said'' jokes when the director says something that can be twisted that way. Makes the whole band crack up at his funny quips. He’s a skilled marcher and is incredibly dedicated to the band. Sometimes empties his spit valve on other people’s shoes just to mess with them (think Lucifer specifically).

Luke is an aspiring trumpet player! He’s doing his best, so cheer him on when you can. One of those insecure, doesn’t want to be too loud trumpet players. But you can never be too loud…unless it says pianissimo…

[dawg-slice]

Why people think Wilbur is Shelby's abuser

Chain Of Events:

Shubble goes live and talks about the abuse they've faced

They do not name the abuser

They said her abuser would bite them and leave bruises

They described their abuser as "british" "having a large platform" and "being a musician"

Zoe, lovejoy's ex trumpet player,

tweeted this shortly after the stream

Looking at Zoe's likes

We see two former lovejoy photographers talking about the abuser

Han retweeted this, directly name dropping Wilbur

and inkblots tweeted this

So that's why.

[7grandmel]

Todays rip: 16/05/2024

Kass' Theme

Season 4 Episode 1 Featured on: SECOND WIND ~ SiIvaGunner: King for Another Day Tournament Original Soundtrack VOL. 2

Ripped by wolfman1405 feat. Buta Big Band

Requested by sabybeal! (Request Form)

Now, Wolfman1405 is certainly not a new name to be featured here on this blog. Be it with Sunday Morning, Theme of HoBART, and most recently Haltmanna feat. Rob Thomas of Matchbox 20, I've spilled many words on just how excellent of a contributor the guy is, how distinct his jazzy sound, sultry voice, and love for music truly is amidst the channel's sea of contributors. Yet through all of those posts and more, I'm somehow yet to write a post about Wolfman1405's most distinct trait - the rips involving his own full-on Jazz ensemble, the Buta Big Band. With Kass' Theme, it felt as if the group was finally able to show their full potential on the big stage - a no-nonsense, non-shitpost cover of a beautiful piece of Nintendo music.

I briefly mentioned back on Sunday Morning that contestants like Adam Levine never really felt destined for the big leagues - the idea that some contestants just *felt* like they wouldn't be able to make it to the top. The contestants of this rip, Nintendo Power, felt pretty similar to me - as good as their setlist was, it wasn't all too different from the type of music SiIvaGunner usually uploads, that being primarily Nintendo-focused. But their presence did of course feel very welcome althesame - it gave the team ample room to show just how far they could PUSH that Nintendo-centric focus the channel already had with genuine all-cylinders effort put in. That was, as I've ruminated on many times, a huge part of what made KFAD so incredible: it was, to put it in the corniest way possible, SiIvaGunner's Avengers moment, of so many rippers from the channel's history coming together to give it their absolute all for this one event. Frequent rippers, infrequent rippers, old legends like Triple-Q and guest contributors like GaMetal on Ink That or DM DOKURO on September. And in the middle of all this sat Wolfman1405 - contributing a half dozen rips to the event, with Kass' Theme in particular showing perhaps the full power he possesses.

It helps, of course, that Kass' Theme is one we all have collectively swooned for since the release of Breath of the Wild in 2017. Hell, later in that very same year, during Season 2, SiIvaGunner themselves contributed a full-on Fusion Collab in the titular Kass' Theme Fusion Collab - a listen that, fittingly enough, begins with Wolfman1405's very own piano playing. Kass' Theme, two years later, then truly feels like a full circle moment, and above all else like a huge flex from the part of the Buta Big Band. It's Kass' Theme, sure, but filled with personality around every corner, evident from the word go as the ensemble leads into the titular song with a snippet from the main The Legend of Zelda theme completely seamlessly, borderline mandela-effecting me into believing that it had always been a remix of said theme all along. Kass' Theme isn't a very long piece of music, but the rip journeys through so many different takes and rhythms to the tune in its runtime - a trumpet-lead at one section, the full band in another, a section broken up by drum beats, and what I believe to be a trombone solo halfway through it all. As a former trombone player (Mel fun fact of the day!) I can't help but admire it, both on principle alone but also for just how well it manages to fit this new take on the song.

There's layers to dissect at every turn with Kass' Theme, and even as it turns almost entirely into freestyle toward the arrangement's end, it never loses the soul of what it's adapting - and, of course, never stops sounding fantastic. It's that sheer quality that makes Wolfman1405's rips stand as tall as they do, that touch for finesse born from such a good understanding of music - and, perhaps most obviously ad most importantly, a love of the SiIvaGunner channel. It all reminds me of rips like Because I Love You - there's no bit, no punchline, no irony, naught but the love of genuinely good music, to be expressed as earnestly as possible with an audience of fans who are damn near bound to accept that sincerity with open arms. Kass' Theme is an absolute slam dunk for the Buta Big Band, and one of the MANY reasons I love Wolfman1405's contributions to SiIvaGunner - and hey, if you're interested in his work outside of the channel, may I recommend his two independantly-produced singles, Distance and Atlanta?

[cosmosbeelover]

The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 5/? (Rewrite)

I am quite surprised by the limited information available regarding this male group, which is known by two different names. I will endeavour to clarify the situation; the group in question is referred to as either 'Arirang Boys' (아리랑보이즈는) or 'Joseon Music Troupe' (조선악극단). It remains unclear why they operated under these two names. This situation is reminiscent of the male groups 'Yeonhee Professional Quartet' (연희전문사중창단) and 'Youth Member' (청년회원), where the former has significantly more information available compared to the later.

Before Liberation – 1940s

Prior to delving deeper, I would like to clarify my approach to discussing this male group, which predates the liberation era and thus had limited information available, similar to my previous post regarding the first two male groups (Part 2). I will first outline the group and its members, followed by the company they were associated with. Additionally, I will mention the 'Jeogori Sisters,' who were part of the same company as the 'Arirang Boys,' noting that one member from each group is a married couple. However, I will refrain from providing extensive details about the 'Jeogori Sisters' as they will be addressed in a future post within The History of Korean Girl Groups.

The Arirang Boys (아리랑보이즈는), a four-member project group, emerged around 1940 and frequently performed alongside the Jeogori Sisters, a female ensemble featuring Lee Nan-young (이난영), Jang Se-jeong (장세정), Kim Neung-ja (김능자), Lee Jun-hee (이준희), and Seo Bong-hee (서봉희). The group comprised Kim Hae-song (김해송), a singer and composer married to Lee Nan-young, composer Park Si-chun (박시춘), comedian Lee Bok-bon (이복본) known for his jazz performances, and composer-arranger Song Hee-sun (송희선). Additionally, Hyun Kyung-seop (현경섭), a trumpet player for an orchestra record company, occasionally filled in for other members.

In no particular order, members of Arirang Boys: Kim Hae-song (김해송), Park Si-chun (박시춘), Lee Bok-bon (이복본), Song Hee-sun (송희선) and Hyun Kyung-seop (현경섭) who occasionally filled in for other members.

Despite not releasing any albums, they achieved popularity through their use of instruments like the guitar and violin, enhancing their stage performances. According to singer Kim Jeong-gu's (김정구) testimony prior to his death, the Arirang Boys were particularly cherished for their comedic interludes during shows.

The Arirang Boys Members:

I will briefly talk about the ‘Arirang Boys’ members here but will go into detail about them separately in future posts.

Kim Hae-song (김해송)

A few other photos of him here.

Kim Hae-song, whose real name was Kim Song-gyu (金松奎) and Japanese name Kyouya Kobayashi (金山松夫), was born in December 1911 in Gaecheon, Pyeongannam-do, during the Japanese colonial era, and he passed away around 1950 at approximately 39 or 40 years of age. It is believed that he remained in Seoul throughout the Korean War and died while being abducted to North Korea.

A multifaceted artist, he was a composer, singer, lyricist, guitarist, and musical director, active from 1935 to 1950. He graduated from Pyongyang Gwangseong High School in 1933, and although there are unverified claims of his attendance at Sungsil College and Jochi University in Japan, these remain unconfirmed. In 1935, he signed with Okeh Records, marking the beginning of his career as a singer and composer.

Lee Bok-bon (이복본)

Lee Bok-bon (李福本), born in Seoul in 1911 and died around 1950?, he was a singer from Joseon and South Korea . He first appeared on the stage of Joseon Theater Company in 1933 and appeared in director Ahn Jong-hwa's (안종화) film 'Crossroads of Youth' (청춘의 십자로) in 1934. He is also called "Korea's first jazz singer" as a member of the Seoul theater company 'Mooran Rouge'. However, during the Korean War, he was kidnapped by the North Korean People's Army during the Battle of Seoul and disappeared thereafter, and is presumed to have died.

Park Si-chun (박시춘)

A few other photos him and information but nothing new here.

Park Si-chun, real name Park Soon-dong (박순동; 朴順東) was born on October 28, 1913, in Miryang, South Korea, was a versatile artist who passed away on June 30, 1996, at 82. His talents included music composition, guitar, and proficiency in instruments like the trumpet, violin, and saxophone. He also worked in the film industry as an actor, director, producer, and music director.

One of his notable works is the pro-Japanese song "Blood Letter Support," which expresses a desire to serve as a volunteer soldier during the Pacific War. The lyrics, by Jo Myeong-am, reflect strong pro-Japanese sentiments. In 2008, he was recognized as a pro-Japanese figure by the Institute for Research in Collaborationist Activities, and a festival honouring him sparked controversy. He was also listed among 705 pro-Japanese anti-nationalists by the Truth and Reconciliation Commission in 2009.

Song Hee-sun (송희선)

I’m not shore which person in the photo shown above is Song Hee-Sun, but I hope this information that I found on him even though it a lot, is the wright Song Hee-sun.

The birth and death dates of Song Hee-sun remain unknown. He began his music education at Sungsil High School in Pyongyang and later ventured into the Japanese light music scene, establishing himself as a saxophonist and subsequently performing with OK Grand Shodan.

His notable contributions include musical dramas like "Dongyang no Rose" (동양의 장미) and "Golden Come Out Ttuktak," (금 나와라 뚝딱) as well as the song "The Young Days of the Sea" (바다의 젊은 날). Additionally, the arrangements he created for Lee Hwa-ja (이화자) during the Japanese colonial era are featured on the Oke album.

Hyun Kyung-seop (현경섭)

I’m not shore which person in the photo shown above is Hyun Kyung-seop, he might not be in the photo because he was occasionally filled in for other members at the time. While I was looking into Hun Kyung-seop I found this blog about him, that the National Museum of Korean History published a collection of Hyun Kyun-seop. As there is little information that I could find I’m going to add all the information here, but i will post him and other members' information separately in the future.

The National Museum of Korean History has published a collection featuring 267 artifacts related to Hyun Kyung-seop, a prominent trumpet player associated with Oke Records during the Japanese colonial era. This collection encompasses photographs of Hyun Kyung-seop and his personal diaries, providing insight into his life during this tumultuous period. Despite his significant contributions to music, particularly as a key member of the Joseon Music Troupe, Hyun Kyung-seop remains largely unremembered by contemporary audiences.

Beginning his career at the age of 22 in 1935, Hyun Kyung-seop gained recognition for his performances in Japan and China, with media outlets even comparing him to the legendary Louis Armstrong. His versatility extended beyond trumpet playing to include arranging, acting, dancing, and singing. However, his life took a tragic turn during the Korean War when he was abducted by North Korean soldiers in Seoul, leading to a prolonged absence that left his family in distress. Despite efforts by his son, Hyun-won, to locate him, including a DNA test through the Red Cross, the family faced numerous hardships due to the stigma associated with his disappearance, which severely restricted their opportunities and freedoms.

Hyun Kyun-seop playing the trumpet in the middle.

This compilation encompasses original images from each day of Hyun Kyung-seop’s diary, a variety of identification documents, photographs of his music colleagues, and all phonograph records he possessed, which have been digitally restored and compiled onto a DVD.

However, these DVDs are currently unavailable for access to my knowledge.

The once-obscure trumpet player Hyun Kyung-seop, who nearly faded from historical memory following his performance at the Seoul Geukdo Theatre in June 1950, has been immortalized through a collection published by the National Museum of Korean History. Transitioning from anonymity to becoming a symbol of the Japanese colonial era and the post-liberation music scene, this collection, made possible by the contributions of his family and the museum's restoration efforts, serves as a crucial resource for understanding the evolution of popular music in Korea.

Okeh Records (오케레코드):

Oke and Okeh Records are the same company. The photos shown below are people that worked for or with Okeh Records, and were attached with the information that I found of the company.

Founded in the early 1930s, Okeh Records highlighted diverse talents from Korea and Japan. Despite facing censorship and limitations, the label effectively developed around six notable groups, producing music films and establishing the Orchestration Team, Orchestra Music 'n Dance Research Institute, while managing Okestudio and theatres both domestically and internationally. The label also toured extensively across Korea, Japan, and Northern Asia, and created military songs. Although Okeh ceased its activities due to the Pacific War, its substantial yet often overlooked influence laid an essential groundwork for future artists following liberation.

Oke Records, a South Korean record label, was operational both prior to and following the country's liberation. The name "Okeh" derives from the Japanese pronunciation of the English term "Okay," and it is represented in the alphabet as 'Okeh.'

Founded in 1932, the exact date and conditions of its inception are not well-documented; however, the celebration of the '15th Anniversary of the Joseon Musical Troupe' (조선악극단) in April 1947 implies that the organization may have been established around April 1932.

Okeh Records was the latest addition to the five major record companies active during the Japanese colonial period, which included Columbia Records, Victor Records, Polydol Records, and Taepyeong Records, all of which ceased operations by 1943, coinciding with the end of the Pacific War. Despite being the last to enter the market, Okeh Records achieved notable success, becoming the second-largest producer of records and playing a crucial role in promoting many of the era's most prominent artists and songs.

Initially, the company was known as the Japanese Okeh Gramophone Company Gyeongseong Temporary Sales Office, later rebranded as the Gyeongseong Branch. The management was overseen by a Korean named Lee Cheol, although information regarding the company's financial structure is scarce. It is clear that Okeh Records depended on Japan's Teichiku Records for its recording and pressing operations, indicating a significant initial partnership with Teichiku. A theory suggests that Lee Cheol's wife, Hyeon Song-ja, had a school friend whose father was an executive at Teichiku Records, which may have aided in the branch's establishment; however, this connection remains unverified.

Okeh Records launched its first album in February 1933 and maintained an active production schedule for approximately 11 years, concluding around late 1943 or early 1944. It ranked second in the volume of new album releases, following Columbia Records, and played a pivotal role in the popular music industry, significantly outpacing its rivals. Initially, the company operated from the Japanese Deichiku Records studio until early 1936, after which it established its own recording facilities in Gyeongseong (Seoul) by late 1936, marking the beginning of its Gyeongseong recording era.

From its inception, Okeh Records prioritized stage performances and album production, featuring one of the finest bands of the time. The company distinguished itself by ensuring that all arrangements and accompaniments for popular music were performed by Korean musicians as Gyeongseong recording evolved. In 1937, Teichiku Records appointed Imura Ryozui as branch manager, taking over the operational rights from Lee Cheol, which led to the rebranding of the company as Teichiku Records Gyeongseong Branch.

Following a fire in January 1941, plans for a new office building were set in motion, resulting in a facility with studios completed by mid-May. Although the precise date of Okeh Records' final album release remains uncertain, it is believed that production continued until late 1943, with operations effectively ceasing in 1944 after the withdrawal of Japanese capital post-liberation. The reestablishment of Okeh Records in August 1948, highlighted by albums such as “Cry Silver Bell,” signified a new entity while honouring the legacy of the original Okeh Records.

Okegrand Show (오케그랜드쇼)

Since its inaugural album release in 1933, Okeh Records had prioritized stage performances, featuring a performance group known as the "Okeh Ensemble," (오케 앙상블) which consisted of artists exclusive to the label and toured extensively across the country, Japan, and Manchuria during recording intervals.

The transition of Okeh Ensemble into the Okeh Grand Show occurred when the operational rights of Okeh Records were transferred from Lee Cheol to Imura Ryozui, who had been sent from Japan's Teichiku Records post-1937.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

Following this shift, Lee Cheol, facing limitations on his decision-making in the recording industry, founded the Joseon Entertainment Company (initially named Joseon Recording Company) in January 1938, thereby venturing into a new domain of stage performances.

This evolution led to the reformation of the traditional orchestra into the Orchestra Grand Show, which emerged as the premier performing group in Joseon, eventually evolving into the ‘Joseon Musical Troupe’ (조선악극단) after its inaugural tour of Japan in 1939.

Orchestration Team (오케싱잉팀)

As the Joseon Akgeukdan expanded and managing multiple schedules became increasingly challenging, a sister group was established to split the performances into two factions, concentrating on popular music. This led to the formation of the Okesinging Team.

Both Photos - Not shore the name of the two ladies but both worked with Okeh Records. Note shore when both of these photo’s was taken, probably around 1940s.

The Okesinging (오케싱잉) Team, or Okegayodan (오케가요단), made its debut in June 1940, showcasing prominent artists from Okerecord, such as Lee Nan-young, Nam In-su, and Lee Hwa-ja. Despite its formal designation as a distinct entity, the Okesinging Team frequently performed alongside the Joseon Akgeukdan during events. Active until 1941, the Okesinging Team focused on musical performances before entering a brief hiatus. In 1943, it rebranded as the Shinseng Theatre Group (신생극단), broadening its repertoire beyond music and re-emerging on stage.

Orchestra Music and Dance Research Institute (오케음악무용연구소)

Akgeuk and Akgeukdan are the ‘Joseon Musical Troup’, I’m not shore why they are written as Akgeuk or Akgeukdan.

The Okeh Music and Dance Research Institute, founded by Lee Cheol (이철), who also established the Joseon Entertainment Company and led the ‘Joseon Musical Troupe’ (조선악극단), aimed to continuously identify and cultivate talent in popular arts, marking it as the first specialized educational institution for this field in history. Established in September 1940, the institute was directed by Lee Cheol, supported by a faculty of 13 professors from diverse disciplines who provided rigorous education to carefully selected students. Notable faculty members included Kim Hyeong-rae (김형래) in music, along with Kim Min-ja (김민자), Jo Yeong-suk (조영숙), and Lee Jun-hee (이준희) in dance.

This photo was taken in 1943 after the ‘Joseon Musical Troupe’ (조선악극단), the greatest entertainment group of its time, finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). English – (1) Prince Yeong Chin (Lee Eun) (2) Princess Yi/ Lee Bang-ja (3) Kim Jeong-gu (4) Jang Se-jeong (5) Lee Nan-yeong (6) Lee Cheol, head of the Joseon Musical Troupe (7) Kim Hae-song (8) Lee Bok-bon (9) Lee Jong-cheol. Korean – (1) 영친왕(이은) (2) 이방자 (3) 김정구 (4) 장세정 (5) 이난영 (6) 이철 조선악극단장 (7) 김해송 (8) 이복본 (9) 이종철.

In February 1941, the inaugural performance of the first class of cadets, who had trained for approximately six months, took place, with Kim Baek-hee (김백희; 金白姬) emerging as the most distinguished among them; she later became a leading figure in musical theatre following Korea's liberation. By April 1941, an advertisement was released to recruit the second class, establishing an annual selection process for new cadets. These trainees underwent three years of instruction, during which they were not initially compensated but were exempt from tuition and provided with fashionable uniforms. After acquiring sufficient training and skill, they performed as backup dancers or in the chorus for the Joseon Music Troupe, with the most talented individuals given the chance to perform solo by their third year. Those who remained until their third year could earn a significant salary.

Baek Seol-hee (백설희; 白雪姬), who later thrived in musical and popular song genres post-liberation, was part of the third class selected in 1942 and made her solo debut just before graduating in 1944. Alongside Kim Baek-hee and Baek Seol-hee, the Okeh Music and Dance Research Institute nurtured numerous other talents in music and dance, such as Kang Yun-bok (강윤복; 康允福), Shim Yeon-ok (심연옥; 沈蓮玉), and Joo Ri (주리; 朱莉), significantly contributing to the continuation of Lee Cheol's legacy until the 1950s. The Aoi (アオイ) Music Theatre Troupe, a performance group, was established in May 1941.

Similar to the Joseon Music Theatre Troupe, the Joseon Entertainment Company managed the Aoi Music Troupe, which seemingly maintained a strong affiliation with the Okeh Music and Dance Research Institute. The troupe consisted entirely of female newcomers, and the Okeh Institute was the primary source for such talent, indicating a natural collaboration. The term 'Aoi,' which translates to 'blue' in Japanese, likely derives from 'Aoyama,' the surname of Lee Cheol, the leader of the Joseon Entertainment Company.

Following Lee Cheol's death in June 1944, the Okeh Institute rebranded itself as the Cheongsan Music and Dance Research Institute, further linking the name to Lee Cheol. The Aoi Music Troupe made its debut along the Honam Line in late May 1941; however, the absence of subsequent records suggests it may not have achieved commercial success and was likely disbanded. From the perspective of the Joseon Entertainment Company, this initiative can be viewed as a trial endeavour.

The last witness of the 'Joseon Musical Troupe', the life of Kang Yun-bok

This article was published after Kang Yun-bok’s (강윤복) who was a veteran dancer passed away in 2015, and talk about his life who worked for Okeh Records, and like the title says, he was a witness of the ‘Joseon Musical Troupe’ (조선악극단). I’ll briefly talk about him with the little information i found about him, as for some reason there is little information about him, don’t know why?

Veteran dancer Kang Yun-bok, whose birth name was Kang Yun-deok (강윤복), passed away on May 12, 2015, at the age of 91, due to natural causes.

Born in Pyongyang in 1924, Kang was a prominent member of the Joseon Music Troupe, a notable musical ensemble during the Japanese colonial era, and subsequently performed with the KPK Orchestra under the direction of composer Kim Hae-song, as well as the 8th US Army Show.

Kim Yun-bok during a KPK Orchestra performance in the late 1940s.

The 8th US Army Show thrived from 1953, coinciding with the presence of US forces during the Korean War, until the mid-1960s, when troop levels decreased due to the Vietnam War, and it was instrumental in launching the careers of various stars, including Patty Kim and Bok hee Yoon.

Music critic Park Sung-seo remarked that Kang Yun-bok was the last living member of the Joseon Akgeukdan, the premier popular culture group of the Japanese colonial period, noting that his low public profile has contributed to his obscurity, despite his significant role in the history of popular music.

Kang was married to the late Jeon Hae-nam, a trailblazer in Korean tap dancing, and he is survived by his son Park Jae-bin and daughters Dan-hee, Jin-hee, and Hyeon-hee.

----------------------------------------------------------------------

In September 1940, a significant milestone occurred in the realm of Korean popular arts with the establishment of the Okeh Music and Dance Research Institute by Lee Cheol, a prominent figure in colonial Joseon's music scene. Lee, who had already made a substantial impact through his work with Okeh Records and the Joseon Music Theatre Company, aimed to cultivate future talent in popular arts through this private educational institution. The institute became a breeding ground for numerous musicians and dancers who gained prominence in the 1940s and 1950s.

Kim Hae-song, Kang Yun-bok, and Joo Ri during a KPK Orchestra performance in the late 1940s.

The inaugural class attracted many teenage girls, who were enticed by the offer of free music, dance, and liberal arts education for three years, with the opportunity to perform on the Joseon Music Theatre Company stage for those who excelled. Ultimately, around 40 students were selected based on their appearance, talent, and growth potential, although the curriculum, which encompassed music theory, vocal training, and diverse dance styles, proved to be quite challenging.

After three years, only nine students graduated from the initial cohort of 40, among whom Kang Yun-bok (1924-2015) emerged as a notable dancer alongside Kim Baek-hee, a vocal music standout. Kang, who passed away on May 12, had initially enrolled at the research institute while attending Sookmyung Girls’ High School, driven by her passion for dance despite her family's strong opposition. Her remarkable talent and dedication soon alleviated her family's concerns, allowing her to flourish in her chosen path.

In April 1941, merely six months after his enrolment at the institute, he made his debut with the ‘Joseon Musical Troupe’ (조선악극단), quickly becoming a prominent member of the ensemble that performed across Korea, Manchuria, Japan, and China. By May 1943, he witnessed Prince Yeong Chin moved to tears by Kim Jeong-gu’s rendition of “Fallen Flowers Three Thousand” at the Prince’s Tokyo residence, and in June 1944, he learned of the unexpected passing of Lee Cheol, the troupe's leader, in Shanghai.

Kang Yun-bok, who appeared in a theatre show in the late 1950s

Following liberation, as the Joseon Akgeuk Troupe began to wane, Mr. Kang Yun-bok transitioned to the KPK Orchestra, which debuted in December 1945. This orchestra, founded by composer Kim Hae-song—a former key member of the Joseon Akgeuk Troupe who had departed earlier—incorporated many of its members, including Mr. Kang Yun-bok, effectively becoming its successor.

While the early 1940s marked the prominence of the Joseon Akgeuk Troupe, the late 1940s signified the rise of the KPK Orchestra. With the burgeoning Akgeuk market, Mr. Kang Yun-bok not only performed with various groups, including the KPK Orchestra, but also emerged as a significant choreographer.

The onset of the Korean War led to the loss of Kim Hae-song, the disbandment of the KPK Orchestra, and a swift decline in Akgeuk; however, Mr. Kang Yun-bok's influence in popular dance expanded during this tumultuous period.

In addition to various performances that supplanted musicals, the U.S. 8th Army Show, which gained momentum in the mid-1950s, and the presence of U.S. troops in Okinawa, Japan, created a demand for Mr. Kang Yun-bok's dance expertise. Furthermore, with the decision to deploy Korean troops to the Vietnam War, the Southeast Asian performance venues also sought his talents.

Beginning in the late 1960s, Kang Yun-bok primarily focused on stage and broadcast choreography while dedicating himself to mentoring future artists. His nearly four-decade career, which concluded in the late 1970s, represents a crucial chapter in the evolution of Korean popular dance. Despite the significant decline of this genre over the years, Kang's contributions extend beyond popular dance, playing a vital role in enriching the broader narrative of modern and contemporary Korean performing arts.

Group of women that worked in Okeh Records. Not shore when this photo was taken probably around 1940s, and the name of the women are in the photo.

The National Arts Archives has persistently sought Kang Yun-bok's involvement in the ongoing "Oral Recording of Korean Modern and Contemporary Art History" project, initiated in 2003. After several refusals, he finally agreed to participate on the 15th of last month.

Preparations for the project were progressing smoothly, with plans to finalize administrative tasks and commence the official oral recording in early June; however, Kang Yun-bok's unexpected passing occurred before this could take place. The loss of this key figure, who could have provided invaluable insights into the largely unrecognized Chosun Akgeukdan and KPK Orchestra, is profoundly felt.

While it is not uncommon for an individual's death to erase memories of a particular era, the immediate sense of loss in this instance is striking. Nevertheless, Mr. Kang Yun-bok left behind words and materials, and it is hoped that these can be gathered to illuminate the rich history of the past stage performances.

Joseon Musical Troupe's Performance to visit Prince Yeong Chin

This article published in 2010 was about a photo of the ‘Joseon Musical Troup’ visiting Prince Yeong Chin, that was deemed lost or a myth being found. I won’t go into much detail about the two royal family members shown in the photo as my main focus here is the ‘Joseon Musical Troup’.

Crown Prince Uimin Yi Eun, also known as Prince Yeong Chin or Lee Eun, lived from October 20, 1897, to May 1, 1970. He was part of the Imperial Family of the Korean Empire and held a political role within the Empire of Japan. He was married to Princess Yi Bang-ja, who was born on November 4, 1901, and passed away on April 30, 1989. Princess Yi Bang-ja was also a member of the Imperial Family of Japan and was the eldest daughter of Prince Nashimotonomiya Morimasa, making her the first queen.

At the former location of the palace, the evening smoke drifts lazily in the gentle river breeze, prompting a reflection on the fate of the three thousand palace ladies who once resided there.

In 1943, Kim Jeong-gu, a prominent 27-year-old singer of his era, performed his renowned song "Fallen Flowers Three Thousand" (낙화삼천) at the Akasaka mansion in Tokyo for Prince Yeongchin (Lee Eun) and Princess Yeongchin (Lee Bang-ja), who were held captive in Japan. The poignant performance moved Prince Yeongchin to tears, and soon, all fifty attendees were similarly affected.

A notable legend in Korean pop history recounts how the finest singers of the Joseon dynasty travelled to Japan to perform for Prince Yeong Chin, resulting in a collective outpouring of tears from the audience. The photograph surfaced, providing evidence that substantiates this poignant narrative. (The photo in question shown below)

This photo was taken in 1943 after they finished a performance in Tokyo to comfort Prince Yeong Chin. It was obtained and made public by Lee Jun-hee (이준희), a visiting professor at Sungkonghoe University (성공회대학교; 聖公會大學校). Prince Yeong Chin (Lee Eun) (영친왕(이은) and Princess Yi/ Lee Bang-ja (이방자) can be seen in the centre of the photo surrounded by the ‘Joseon Musical Troupe’.

Lee Jun-hee, a visiting professor at Sungkonghoe University and an authority on vintage pop music, revealed on the 24th that he uncovered a commemorative photograph of the ‘Joseon Musical Troupe’ (조선악극단), which featured prominent artists of the era such as Kim Jeong-gu, Lee Nan-young, Jang Se-jeong, Song Dal-hyeop, and Kim Hae-song, alongside Lee Bok-bon and Lee Jong-cheol, during their visit to Prince Yeong Chin’s residence in Akasaka in 1943, where they held a consolation performance for the king.

The photograph was preserved by Kang Yun-bok, an 86-year-old first-year researcher at the Music and Dance Research Institute of Oke Records, led by Lee Cheol, the troupe's head, and Kang's experience parallels that of a modern trainee in a major entertainment agency. He also recounted the poignant moment when Prince Yeong Chin and the troupe members were moved to tears by Kim Jeong-gu's performance.

The professor noted that the Joseon Akgeukdan, established in the 1930s, was instrumental in cultivating many legendary singers and enjoyed significant popularity in Japan, which contributed to their emotional connection to Prince Yeong Chin, reflecting their sorrow over the loss of their homeland, a sentiment shared by all the performers who have since passed away.

I found the news clip of the ‘Joseon Musical Troupe’ first public release of footage of them. First public release of footage of the 'Joseon Akgeukdan' from the Japanese colonial period Anchor Translation – “Do you know about the 'Joseon Musical Troupe', which featured the best stars of the time during the Japanese colonial period? KBS has obtained footage of the Joseon Musical Troupe's activities, which soothed the nation's sorrow. This is reporter Cho Ji-hyeon.” Report Translation - "This is a performance by the Joseon Music Troupe in Japan in 1939, during the Japanese colonial period. The song they are singing passionately is the new folk song “A New Day Is Dawning.” You can see the faces of Go Bok-su, the greatest star of the time, from Living in a Foreign Land, Lee Nan-young from Tears of Mokpo, Jang Se-jeong from The Ferry Departs, and Nam In-su. This is “Money Song” sung by Kim Jeong-gu. <Recording> “The wind is blowing. The wind of money is blowing.” The conductor, Son Mok-in, is a giant of our music industry who composed Tears of Mokpo and Living in a Foreign Land. These videos were inserted into a Japanese film and are being released for the first time in 70 years. <Interview> Lee Jun-hee (Visiting Professor at Sungkonghoe University): “The oldest popular song material... It has tremendous historical significance.” During the Japanese colonial period, the Joseon Music Troupe enjoyed immense popularity, to the point of touring China and Japan. A photo taken in 1943 with the Joseon Music Troupe at the invitation of Prince Yeongchin, who was taken as a hostage to Japan, has also been released. It is said that Prince Yeongchin shed tears when Kim Jeong-gu sang 'Nakhwasamcheon', which is about the fall of Baekje. The Joseon Musical Troupe, which comforted the pain of the nation with songs during the colonial period. You can watch videos of their activities on the special song stage for the founding of the public corporation. This is Jo Ji-hyun from KBS News."

The photograph was featured on KBS 1TV's "Gayo Stage" as part of a special broadcast commemorating Independence Movement Day on March 1. During this episode, a video from 1939 showcasing the Joseon Akgeukdan was presented, which the production team acquired through a professor. The footage included performances by notable singers such as Nam In-su, Kim Jeong-gu, Go Bok-su, Jang Se-jeong, and Lee Nan-young, who collectively sang contemporary folk songs like "Don Taryeong" and "A New Day Is Bright." Producer Kang Young-won remarked that this video is likely the oldest surviving recording related to Korean pop music

There are probably more interviews about people talking about Okah Records and other Korean record company artists out there but at this point i can't find any more. If people can find any more interviews about veteran artists just post them below, it would really helpful.

While concluding my research on Okah Records, I discovered several interviews filmed in 2009 featuring individuals who were either married to or children of the artists associated with Okah Records during the 1940s. The interviews included Lee Young-mi, daughter of Lee Cheol; Oh Jeong-sim, wife of Son Mok-in; and Kim Young-jae, son of Kim Seong-heum. Unfortunately, these videos lack subtitles, leaving me unable to comprehend their discussions.

Despite the limited availability of videos featuring their families discussing these renowned artists, gaining insights and engaging with those who knew them proves invaluable for understanding the history of the Korean entertainment industry prior to liberation.

[darkmaga-returns]

Jihadi Rebels gain ground in Syria as Middle East disaster worsens for Trump’s second term.

Roger Stone

Dec 03, 2024

A familiar story is emerging in Syria: Rebels are rising to challenge the regime of President Bashar al-Assad, rapidly seizing much of Aleppo in an unexpected power grab that has left the Syrian regime on its heels.

This is similar to what happened in the late 2010s, when Turkish-backed Islamic terrorists laid siege to Syria and took over many cities. The so-called Free Syrian Army went to war with the Assad regime and aligned Kurdish forces.

The Obama administration had funded a $1 billion dollar clandestine war conducted by the CIA in Syria with the explicit goal of regime change. Weapons funneled into the region by the U.S. government ended up in the hands of ISIS and Al Qaeda-aligned forces while the foreign policy establishment cheered loudly. When President Trump came into power, he ended the program immediately, and uncoincidentally ISIS largely disappeared as a major regional terror force thereafter.

The same players that were empowered by Obama’s pro-terror plotting are back with vengeance just in time for Trump’s next presidency. Recent successful attacks in Syria have been led by an Islamist terror front Hayat Tahrir al-Sham (HTS), which has rebranded from its former name, Jabhat al-Nusra. Al-Nusra was founded as a direct affiliate of al-Qaeda and were a recipient of arms from Obama’s CIA war on Syria.

It is not a stretch to say that Westerners cheering on the rebels are, whether wittingly or unwittingly, rooting for Al Qaeda – the alleged masterminds of the 9/11 terror attacks – to take more power in the Middle East. The Syrian rebels are backed by Turkey whose ruler Recep Erdogan has openly trumpeted the Muslim conquest of Europe. As the radical Muslims are empowered in Syria, more migrants will inevitably be piling across the porous borders of globalized Europe to further rape and pillage those lands.

[moonlightpancakes]

✨Welcome to my blog!✨

Hellooo, welcome to my blog! :DDD I go by Nyx or Ari (preferably Nyx on this account), my pronouns are she/her, and this is a self shipper blog for the wonderful cat violinist (and arsonist), ✨Rocky Rickaby✨ I’m not doing commissions yet since I’m still finding my footing on tumblr but feel free to ask any questions <3 I also have my main acc, @ariii-is-amazinggg and you can find my other socials there

Anyways here is my oc, Esther Nyx

She’s a calico and the trumpet player in the speakeasy’s band (I guess Sy doesn’t exist now lmao-) but alsoooooooo the oc who I ship with Rocky

I already started a fanfic aswell about Rocky and Esther buuuuut I had to put it on hold due to the fact I’m still burnout from writing thanks to a former account. Even though that sucks, I cAN STILL DRAW SOO-

Keep in mind I won’t be the most consistent with updates, this account is just to have fun and goof off with friends while sharing my ship with the worlddddd ✨

oH and one more thing: YES I KNOW THERE IS ANOTHER ROCKY SELF SHIPPER NAMED ARI BUT WE ARE NOT THE SAME PERSON PLS DONT THINK THAT (her art is rlly cool tho, go check her blog out lol)

That’s why I’m mainly going by the name Nyx on this account to clear up any confusion lmao

So that’s pretty much it! I’ll post more art definitely today (like Esther’s character profile or something) and I don’t have much else to say soooo I bid you ado! Remember to eat a pancake in honor of our beloved Rocky, and have a nice day :D

[pain-is-too-tired]

Camp Jupiter are ROTC kids and Camp Half-Blood are Band Kids

I say this a former band kid.

Now I'm imaging a Marching Band au

The Stolls are Trumpet players.

[burlveneer-music]

A new album from Kahil El’Zabar’s Ethnic Heritage Ensemble today as well - "Open Me, A Higher Consciousness of Sound and Spirit"

This is the new offering from Kahil El’Zabar and his Ethnic Heritage Ensemble, in conjunction with the legendary group’s 50th anniversary, Open Me, A Higher Consciousness of Sound and Spirit. Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it’s a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El’Zabar’s original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.  Open Me, El’Zabar’s sixth collaboration with Spiritmuse in five years, marks another entry in a run of critically acclaimed recordings that stretch back to the first EHE recording in 1981. The storied multi-percussionist, composer, fashion designer, and former Chair of the Association of Creative Musicians (AACM) is in what might be the most productive form of his career, and now in his seventies, shows no signs of slowing down. Few creative music units can boast such longevity, and fewer still are touring as energetically and recording with the verve of the Ethnic Heritage Ensemble.  The EHE was founded by El’Zabar in 1974 originally as a quintet, but was soon paired down to its classic form — a trio, featuring El’Zabar on multi-percussion and voice, plus two horns. It was an unusual format, even by the standards of the outward-bound musicians of the AACM: “Some people literally laughed at our unorthodox instrumentation and approach. We were considered even stranger than most AACM bands at the time. I knew in my heart though that that this band had legs, and that my concept was based on logic as it pertains to the history of Great Black Music, i.e. a strong rhythmic foundation, innovative harmonics and counterpoint, well-balanced interplay and cacophony amongst the players, strong individual soloist, highly developed and studied ensemble dynamics, an in-depth grasp of music history, originality, fearlessness, and deep spirituality.” With El’Zabar at the helm, the band’s line-up has always been open to changes, and over the years the EHE has welcomed dozens of revered musicians including Light Henry Huff, Kalaparusha Maurice Macintyre, Joseph Bowie, Hamiett Bluiett, and Craig Harris. The current line-up has been consolidated over two decades — trumpeter Corey Wilkes entered the circle twenty years ago, while baritone sax player Alex Harding joined seven years ago, after having played with El’Zabar since the early 2000s in groups such as Joseph Bowie’s Defunkt.  For Open Me, El’Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments — cello, played by Ishmael Ali, and violin/viola played by James Sanders. The addition of strings opens new textural resonances and timbral dimensions in the Ensemble’s sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.  Open Me contains a mixture of originals, including some El’Zabar evergreens such as “Barundi,” “Hang Tuff,” “Ornette,” and “Great Black Music” (often attributed to the Art Ensemble of Chicago but is, in fact,  an El’Zabar composition). There are also numbers drawn from the modern tradition, which El’Zabar uniquely arranges, including a contemplative interpretation of Miles Davis’ “All Blues.” As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El’Zabar’s healing vision of Higher Consciousness of Sound and Spirit.   All compositions by Kahil El’Zabar except tracks ‘All Blues’ by Miles Davis, ‘He’s Got the Whole World in His Hands’ spiritual folk by Unknown, ‘Passion Dance’ by McCoy Tyner and ‘Compared to What’ by Gene McDaniels All arrangements by Kahil El’Zabar Tapestry and Art Direction by Nep Sidhu

[whileiamdying]

A SERENE JAZZ MASTERPIECE TURNS 65

The best-selling and arguably the best-loved jazz album ever, Miles Davis’s Kind of Blue still has the power to awe.

MARCH 06, 2024

At a moment when jazz still loomed large in American culture, 1959 was an unusually monumental year. Those 12 months saw the release of four great and genre-altering albums: Charles Mingus’s Mingus Ah Um, Dave Brubeck’s Time Out (with its megahit “Take Five”), Ornette Coleman’s The Shape of Jazz to Come, and Miles Davis’s Kind of Blue. Sixty-five years on, the genre, though still filled with brilliant talent, has receded to niche status from the culture at large. What remains of that earthshaking year in jazz? “Take Five” has stayed a standard, a tune you might hear on TV or on the radio, a signifier of smooth and nostalgic cool. Mingus, the genius troublemaker, and Coleman, the free-jazz pioneer, remain revered by Those Who Know; their names are still familiar, but most of the music they made has been forgotten by the broader public. Yet Kind of Blue, arguably the best-selling and best-loved jazz album ever, endures—a record that still has the power to awe, that seems to exist outside of time. In a world of ceaseless tumult, its matchless serenity is more powerful than ever.

On the afternoon of Monday, March 2, 1959, seven musicians walked into Columbia Records’ 30th Street Studio, a cavernous former church just off Third Avenue, to begin recording an album. The LP, not yet named, was initially known as Columbia Project B 43079. The session’s leader—its artistic director, the man whose name would appear on the album cover—was Miles Davis. The other players were the members of Davis’s sextet: the saxophonists John Coltrane and Julian “Cannonball” Adderley, the bassist Paul Chambers, the drummer Jimmy Cobb, and the pianist Wynton Kelly. To the confusion and dismay of Kelly, who had taken a cab all the way from Brooklyn because he hated the subway, another piano player was also there: the band’s recently departed keyboardist, Bill Evans.

Every man in the studio had recorded many times before; nobody was expecting this time to be anything special. “Professionals,” Evans once said, “have to go in at 10 o’clock on a Wednesday and make a record and hope to catch a really good day.” On the face of it, there was nothing remarkable about Project B 43079. For the first track laid down that afternoon, a straight-ahead blues-based number that would later be named “Freddie Freeloader,” Kelly was at the keyboard. He was a joyous, selfless, highly adaptable player, and Davis, a canny leader, figured a blues piece would be a good way for the band to limber up for the more demanding material ahead—material that Evans, despite having quit the previous November due to burnout and a sick father, had a large part in shaping.

A highly trained classical pianist, the New Jersey–born Evans fell in love with jazz as a teenager and, after majoring in music at Southeastern Louisiana University, moved to New York in 1955 with the aim of making it or going home. Like many an apprentice, he booked a lot of dances and weddings, but one night, at the Village Vanguard, where he’d been hired to play between the sets of the world-famous Modern Jazz Quartet, he looked down at the end of the grand piano and saw Davis’s penetrating gaze fixed on him. A few months later, having forgotten all about the encounter, Evans was astonished to receive a phone call from the trumpeter: Could he make a gig in Philadelphia?

He made the gig and, just like that, became the only white musician in what was then the top small jazz band in America. It was a controversial hire. Evans, who was really white—bespectacled, professorial—incurred instant and widespread resentment among Black musicians and Black audiences. But Davis, though he could never quite stop hazing the pianist (“We don’t want no white opinions!” was one of his favorite zingers), made it clear that when it came to musicians, he was color-blind. And what he wanted from Evans was something very particular.

One piece that Davis became almost obsessed with was Arturo Benedetti Michelangeli’s 1957 recording of Maurice Ravel’s Piano Concerto in G. The work, inspired by Ravel’s triumphant 1928 tour of the U.S., was clearly influenced by the fast pace and openness of America: It shimmers with sprightly piccolo and bold trumpet sounds, and dances with unexpected notes and chord changes.

Davis wanted to put wide-open space into his music the way Ravel did. He wanted to move away from the familiar chord structures of jazz and use different scales the way Aram Khachaturian, with his love for Asian music, did. And Evans, unlike any other pianist working in jazz, could put these things onto the keyboard. His harmonic intelligence was profound; his touch on the keys was exquisitely sensitive. “I planned that album around the piano playing of Bill Evans,” Davis said.

But Davis wanted even more. Ever restless, he had wearied of playing songs—American Songbook standards and jazz originals alike—that were full of chords, and sought to simplify. He’d recently been bowled over by a Les Ballets Africains performance—by the look and rhythms of the dances, and by the music that accompanied them, especially the kalimba (or “finger piano”). He wanted to get those sounds into his new album, and he also wanted to incorporate a memory from his boyhood: the ghostly voices of Black gospel singers he’d heard in the distance on a nighttime walk back from church to his grandparents’ Arkansas farm.

In the end, Davis felt that he’d failed to get all he’d wanted into Kind of Blue. Over the next three decades, his perpetual artistic antsiness propelled him through evolving styles, into the blend of jazz and rock called fusion, and beyond. What’s more, Coltrane, Adderley, and Evans were bursting to move on and out and lead their own bands. Just 12 days after Kind of Blue’s final session, Coltrane would record his groundbreaking album Giant Steps, a hurdle toward the cosmic distances he would probe in the eight short years remaining to him. Cannonball, as soulful as Trane was boundary-bursting, would bring a new warmth to jazz with hits such as “Mercy, Mercy, Mercy.” And for the rest of his career, one sadly truncated by his drug use, Evans would pursue the trio format with subtle lyrical passion.

Yet for all the bottled-up dynamism in the studio during Kind of Blue’s two recording sessions, a profound, Zenlike quiet prevailed throughout. The essence of it can be heard in Evans and Chambers’s hushed, enigmatic opening notes on the album’s opening track, “So What,” a tune built on just two chords and containing, in Davis’s towering solo, one of the greatest melodies in all of music.

The majestic tranquility of Kind of Blue marks a kind of fermata in jazz. America’s great indigenous art had evolved from the exuberant transgressions of the 1920s to the danceable rhythms of the swing era to the prickly cubism of bebop. The cool (and warmth) that followed would then accelerate into the ’60s ever freer of melody and harmony before being smacked head-on by rock and roll—a collision it wouldn’t quite survive.

That charmed moment in the spring of 1959 was brief: Of the seven musicians present on that long-ago afternoon, only Miles Davis and Jimmy Cobb would live past their early 50s. Yet 65 years on, the music they all made, as eager as Davis was to put it behind him, stays with us. The album’s powerful and abiding mystique has made it widely beloved among musicians and music lovers of every category: jazz, rock, classical, rap. For those who don’t know it, it awaits you patiently; for those who do, it welcomes you back, again and again.

James Kaplan, a 2012 Guggenheim fellow, is a novelist, journalist, and biographer. His next book will be an examination of the world-changing creative partnership and tangled friendship of John Lennon and Paul McCartney.

[endlich-allein]

What do you know about the parents of rammguys?

Not much. I never did very extensive research on the boys' parents. I only know what I could read right and left.

Till's parents are Werner (07.10.1926 - 09.02.1993) and Gitta (11.04.1939). Werner was born in Wolfen about 50km north of Leipzig (where Till was born). Werner's mother was called Siegfried, alias Ziggy, and adored her grandson who returned it well. She made pasta for the boys from Rammstein when they came to Leipzig. Gitta was a journalist, her job sent her all over GDR, so the family moved quite often, until she stopped in Rostock. Werner was a children's writer. He and Gitta lived separately, she in Rostock and he in Wendisch Rambow. Werner died in 1993 in Zickhusen. Till has a sister six years younger than him, Saskia.

Schneider's parents were accomplished music lovers. His dad, Martin Schneider (17.03.1938 - 22.01.2021) was an opera director and university professor. Little Christoph learned to play the piano very early. He also learned to play trumpet in a music school and to play in an orchestra. Then his parents moved away and Schneider, against their will, wanted to start the drums. He had made a drumset himself before he could buy a real set. Faced with the "fait accompli", his parents allowed him to continue and take lessons. I don't know anything about his mom. Christoph has a sister two years younger than him.

Paul's parents are Anton and Erika Hiersche. Anton (born in 1934) was born in present-day Czech Republic and Erika was born in East Prussia, present-day Poland. Both had to flee their countries during the Second World War and settled in the GDR. Both are Slavists and described as fervent socialists. When Paul was eight years old and his sister eleven years old, they left with their mother to settle in Moscow because she was giving conferences at the University. They stayed there for a year before returning to Berlin.

Flake was born, raised and still lives in Prenzlauer Berg in Berlin. His father was an engineer at the VEB Elektro-Apparate-Werke Berlin-Treptow "Friedrich Ebert" (EAW) and his mother was an academic and a journalist. He is an excellent pianist and chose to play this instrument because one of his childhood friends played it from the age of three. His parents therefore sent him to a music school. Flake has a brother three years older than him, Auge, who is a writer and cartoonist (his Instagram if you want to see his work).

Ollie was born to very young parents and describes them more as friends than parents. He always had a good relationship with them. They were music lovers, his mother listened a lot to Bob Dylan. Oliver was very bad at school, and his mother thought it was because the teachers were bad, so she let him do sports instead of his homework. Ollie describes his childhood as normal and says he was extremely shy. He has no brother or sister. And according to Flake, he started the bass because in his first band there were already guitarists so they put a bass in his hands and said to play : "Supposedly it’s a trademark of bass players that they’re easygoing and play their stuff without saying much, but I don’t think it applies to him because I have heard that he actually wanted to be a guitarist, and only began to play bass because there was already a guitarist in his former band. A bass was pressed into his hand. Play that. I know that some bass players like to spend hours stoically playing a theme, but Olli is far too impatient for that, but I think that it's good because as a result he has ideas that wouldn’t come from the others. Whether these ideas are put into action is another story."

Richard was born in Wittenberg, he is the last of a sibling. He has two older sisters and a brother. He describes his early years as beautiful and carefree. But his parents' divorce shattered everything. Subsequently, his mother rebuilt her life and decided to take her children to live with her and her new companion. It is from there that life becomes difficult for Richard. He has a conflicted relationship with his stepfather. He speaks of a "difficult relationship" which led him to run away many times. During his runaways he sleeps in the street, on benches or takes refuge with friends, until the police bring him home. I don't know anything else about his parents.

If you have any other information, do not hesitate to complete these portraits or correct them.

[projazznet]

Randy Brecker – The Brecker Brothers Band Reunion

Though saxophonist Michael Brecker passed away in 2007, his brother, trumpeter Randy Brecker, keeps the jazz-funk fusion of the Brecker Brothers alive with the Brecker Brothers Reunion Band. While not a strict reunion of the original ensemble, the band does feature many of the players who have performed with the Brecker Brothers over the years, such as guitarist Mike Stern, drummer Dave Weckl, and keyboardist George Whitty, as well as new members including Italian saxophonist Ada Rovatti (Brecker’s wife), and keyboardist Oli Rockberger. The band played several shows beginning in 2011, and in 2013 released this album, which also featured such former Brecker Brothers’ associates as guitarists Dean Brown, Adam Rogers, and Mitch Stein, drummer Rodney Holmes, bassist Chris Minh Doky, and saxophonist David Sanborn (Matt Collar/AllMusic).

[dustedmagazine]

Charlie Kohlhase Explorers Club — A Second Life (Mandorla)

Saxophonist Charlie Kohlhase is a lynchpin of the New England jazz scene. He has led various configurations of Explorers Club live and on record as well as playing with luminaries such as John Tchicai, Roswell Rudd and Anthony Braxton. For A Second Life the group expands to an octet, anchored by the formidable rhythm section of bassist Tony Leva and drummer Curt Newton with Kohlhase on alto, tenor and baritone saxes, Seth Meicht on tenor, Dan Rosenthal trumpet and flugelhorn, Josiah Reibstein on tuba and trombonist Jeb Bishop. Guitarist Eric Hofbauer is the versatile wildcard of the group, providing both rhythmic support and brilliant coloratura. With Kohlhase at the helm, these adventurers dexterously balance density and space, structure and improvisation into a thrilling set that pays tribute to forebears and showcases each player’s talent.

On “Lennette,” a portmanteau of Tristano and Coleman, Kohlhase combines the harmonic complexity of the former with the latter’s free approach to structure and melody. Beginning with each player sounding off a two-note motif, the Explorers Club blasts off with a series of fanfares before breaking down into smaller units to duel. The interlude between Hofbauer and Bishop a particular joy. “Airport Station” strolls along on Newton’s lock step beat as Hofbauer bends his guitar through a mazy solo. The reed and brass players mingle and part in brief nocturnal encounters, those late night, cancelled flight consultations, the participants buoying each other.

The cover versions too provide plenty of space for celebration. Kohlhase’s arrangement of Ornette Coleman’s rare 1969 single “Man on the Moon” becomes an eleven plus minute cosmic blowout that references the double quartet of Coleman’s 1961 landmark Free Jazz. The octet hits the main theme hard between breaks for various combinations of interlocking solos with Leva and Newton working double time in support. The duel between Reibstein and Kohlhase a particular delight leading into a frantic revisitation of the main theme and an outro of rocket wake through space. Their reading of Tchicai’s “Berlin Ballad” retains the original’s tender lyricism and hint of “Yesterday” whilst capturing something of Tchicai’s freer side. They close with Roswell Rudd’s “Tetraktys.” After running through the theme, a series of brief interlocking solos, before the band members put aside their instruments one by one to sing the theme in growing unison, a sort “So Long, Farewell” in reverse that brings a wonderful album to a lovely end.

Andrew Forell

[mywifeleftme]

151: Black Renaissance // Body, Mind & Spirit

Body, Mind & Spirit Black Renaissance 1977, Baystate (Bandcamp)

At one time a laughably rare record (see: skullduggery surrounding master tapes being sent by the band to Japan, simultaneously bootlegged and lost by the label) with the one original 1977 pressing currently on Discogs going for a cool $2,800 USD, Black Renaissance’s Body, Mind & Spirit has thankfully been reissued a number of times since it was rediscovered around 2002 by SoCal label Luv N' Haight. Black Renaissance was the solo project of pianist Harry Whitaker, known for his work with Roy Ayers’ Ubiquity and Roberta Flack, but the term “solo project” seems inadequate to describe the work of 18 musicians: legend Woody Shaw on trumpet; former Jazz Messenger David Schnitter and Azar Lawrence (an alumnus of McCoy Tyner and Miles Davis’s early ‘70s bands) on sax; bassist Buster Williams (Herbie Hancock Sextet); James Mtume on percussion; a female choir, spoken word poets, and more. Though Whitaker is the primary composer and bandleader, he mostly plays the sideman, allowing Williams’ deep bass grooves to till the black soil while his three brass players simulate the birth cries of a new universe above.

Both side-long jams lock into grooves that could go on forever and nearly do, but side 2’s “Magic Ritual” is the more eventful number. It constantly builds, but not towards any frenzied crescendo—a better word might be that the composition thickens. Incantatory spoken word in the Last Poets-style gradually transitions from English back into an African tongue; drums and percussion work their way in from the margins until their insistent, ticking rhythms become a central concern; bassist Williams finally decides to wander off and take a solo with the looping cadence of an inflatable mascot drifting away in the wind. Like Sun Ra’s big band recordings, Black Renaissance has a cosmic sensibility, even as it consciously evokes the African roots of Black music (and therefore music itself). It’s a way of saying, “We have always been here, and always will be.” And also, of saying a few things that come through feel alone.

151/365