#classic jazz club convos

[senblades]

Distortions, and ways to see the world

[rocksibblingsau]

I was playing games and i went to a jazz club with this smug bitch and he has the most psychological deep convos and i think some Branch’s are like that

Canon Branch with troll equivalent of a soft drink :Talk about happiness and what is it and the concept

Funk Branch with Troll equivalent of Non-Alcoholic drink: Family and how to familiarize whos is family

Rock Branch with ROOT BEER: Difference of themselves

Classical Branch with Troll equivalent of Wine: in snobby bitch voice: Confidence

Techno Branch with Soda: Anger and Resentment

Country Branch with Juice: Leadership or Work and how to separate

I like to think most Branch’s are aware of their problems and when they talk about it really just turns your head like these guys know why they are talking about it but refuse to actually work on it

I'll be honest with an opening like "i went to a jazz club with this smug bitch" I thought this would be about Chaz but I like the direction you went.

[sharkpuppyofficial]

I feel like shark puppy's general vibe for music is a mix of green day and the dear Hunter, can you confirm?

honestly, the other night there was convo abt the genre, which is Quite Eclectic (richie likes everything—-he’s classically trained, had a BIG ska phase (thanks @richsbian​), and says shit like, “dude that’s not punk rock” when he’s talking abt melted frozen yoghurt; ben obviously likes new kids on the block, but also writes songs like regina spektor, except make it corny (whereas stan writes songs like regina spektor, but make it horny); bev has a mix of ‘angry girl music’ and skater-punk vibes in what she tends to create but tends to adapt pretty easily to other genres depending on who she’s writing with; stanlon together tend to go for a mix of jazz, hozier, horny!spektor, lorde & mary milne which just. objectively should not work. but it fucks; stan does every sound from hozier to BANNERS to james bay to bruce springsteen and he excels at all of them and has a Very Deliberate Point with all of them; mike can genuinely fuck with any genre and it is why him and richie writing together is a powerful yet vastly unpredictable combination (stanlon is always quality, bevchie are always in sync, but with mikechie you could get anything from a modern remix of hallelujah to an indie ballad about the power of emily dickinson eating pussy); unfortunately some of eddie’s earliest sound influences were, like, coldplay, and it initially showed, but then he like. discovered classics and also, like, hard rock, and now his songs tend to sound like they’re queen- and prince-influenced (no he doesn’t have a monarchy kink, shut up, richie) but then they’ll have an absolutely fucking absurd riff, like, should be impossible to create sonically, and it fucks; bill likes dad rock & @notfine-mp3 said the losers club should do a country album and honestly. given that bill probably fucks heavily with the eagles and dire straits. maybe it happens.)

all this to say that there are definitely songs in their discography that fit that vibe, but also, stan refuses to be boxed in by genre or comparison, and the funniest thing abt them is how much they confound reviewers who feel like they finally understand the band’s sound when an album that sounds like a mix of mgmt and lorde comes out, and then the next album has the same energy as an abba tribute band but with a lot of literary references and also a track that is just a loop of eddie laughing and stan singing “gay rights” in sixty five different languages while mike’s bassline runs through the background

- jane/billdenbrough

[abiolatv]

Goddess Afua: African Goddess Initiation Fest Kickoff! from The AbiolaTV Overflow Channel on Vimeo.

GODDESS GLOBAL ANTHEM ✨����‍♀️�✨|| We got our party � on at the high vibe African Goddess Initiation launch & Goddess @justafua came to SANG!!! Her song is the official song of my new � book, African Goddess Initiation: Sacred Rituals for Self-Love, Prosperity and Joy. � Find her full BIO below.

I also shared 10 magical things about Yoruba orisha, Goddess Yemaya and we had giveaways. The full replay will be posted at AfricanGoddessClub.com tonight. �

afua danso is a Ghanaian-American artist, musician, singer-songwriter, producer and classically trained Chanteuse. SANGIN’ (as opposed to just “singing”) since the age of four, this SOUL songstress is vocally versed in musical genres including Blues, Jazz, R&B, World, Hip Hop & "Pop Opera". With the ability to SANG in 13 languages and counting, afua has performed at New York City’s legendary Carnegie Hall as part of Alexander L’Estrange’s "Zimbe!" in "Vocal Colors", as well as in world renowned venues including Ronnie Scott's Jazz Club in London, United Kingdom; Prachtwerk in Berlin, Germany; Cafe Barge in Paris, France; and The Bitter End in New York City. With the release of her début single “NO MO’” (inspired by the soulful sounds of Aretha Franklin and Etta James in the 1960s), afua looks forward to returning to the stage, and recording MO’ music.

See you live tomorrow 6pm EST on Hay House when we celebrate Goddess Asase Yaa!! Login now to AfricanGoddessClub.com free for a sacred convo with Goddess Anita Kopacz, author of Shallow Waters, a novel based on Yemaya.

Whoo hoo!!

[umusicians]

UM Track By Track : : Jimah, El Cézar & Quantum Flush -‘Rice & Stew’

Afro-Latino Trio made up of Jimah, El Cézar, Quantum Flush released their debut EP 'Rice & Stew' last month. Stream the EP here.

The trio was kind enough to write a Track by Track for the EP exclusively for UMusicians!

Stress-Free (Abeg) JIMAH: This is a song about focusing on yourself and your goals. It’s about not letting anyone deter you from the path you’re on. This song really just keeps me focused and reminds me to stay on my game.  CZAR: This song, to me, is about living stress free, of course, but it’s also about mobbing with your homies and trusting that they have your back, resulting in a stress free life.  FLUSH: This record is a fusion of African riddim and deep psychedelic tones. I like to use legendary synthesizers and blend them with syncopated drums. I use 909 bass sounds because I feel like it’s the future. We had just started dabbling in psychedelics so I wanted to express that in the sound. People had been putting unnecessary pressure on us and we were really tired of it. I just wanted to focus on myself and forget about the expectation put on me. I can’t stress myself I got money to make.

17 Hrs JIMAH: This song to me is really an anthem about your roots.  It celebrates where everyone comes from and it also talks about taking someone you care about back home to see where you come from. CZAR: This song is about grabbing your significant other, taking them back to your motherland, and showing them how you grew up & what made you, you.  FLUSH: The song utilizes extended chords played in jazz music. Jazz is one of my favorite genres and it comes second nature to me when I’m creating. I constructed the chords and altered the notes to hit at a specific time to emulate someone playing the guitar live. I love to use natural sounds and tweak them to my liking. When it comes to rhythm I like to play them out by hand, because I can capture the humanized sound I’m looking for. 

Mami Nyanga  JIMAH: This song to me is about the beautiful women in the world. It’s an song that really appreciates all different types of women and champions them for who they are CZAR: This tells the story of a fine woman at the party who has the eyes of everyone in the room.  I compare her to a beauty pageant candidate who ends up winning the show.  FLUSH: The process for making Mami Nyanga was pretty interesting. I wanted to embody the sound of the tropics, but on a galactic level. I always pictured alien women dancing to the music and enjoying it on a beach far far away from Earth. The flute is one iconic part to this record because it carries a nostalgic feeling and reminds me of older west African music. 

La Zorra JIMAH: This song to me is a high octane record that’s meant to get everyone’s energy up.  It’s about a sexy lady who is a hustler and about her paper.  CZAR: Direct translation: “The Vixen”.  This song is about all the women who make their money using what God gave them - i.e. stripping, onlyfans, etc.  It’s also about a carefree woman who’s really not afraid to show herself off at the club.  FLUSH: During the making of La Zorra, I was going through some relationship problems and it really made me feel dark inside. When constructing the chords, I felt the need to use dissonance because it matched my emotion. The drums hit harder than usual and it satisfied my needs to make that trunk shake.  At the same time, I really wanted to get a** shaking too.  I knew if it played at a party the sound would get hips moving.  The sound made me feel like I was in a foreign trap house and I loved it.  It’s definitely one of my favorite records. 

Picante  JIMAH:  This is another high energy record really focused on the ladies that are spicy “picante”.  It’s about the sexiest lady in the room who’s the center of attention and about how she raised the temperature of the room when she walked in CZAR:  Direct translation: “Spicy”.  This track is about another stripper or go getter.  This one in particular has a boujee and condescending attitude towards men.  She’s spicy, and she’s not for just any man.  FLUSH: One day I was tripping on shrooms and I watched a scene from “The Matrix” where everyone is in a room dancing naked. I always wanted to be at that party and I felt the need to produce something that puts me in that space every time I press play   The sounds I used are deep and galactic when blending it with my iconic Flushy drums.  The energy of this record hits in a way never heard on Earth. 

Vuelo Alto JIMAH: This is a song about the non-believers. It’s really about not worrying about them and doing what makes you happy at all times. CZAR: Direct translation: “I Fly High”.  This song was inspired by another convo I had with my mom about pursuing a “real career”.  It’s also about all the non-believers and how they’re missing out because we’re gonna be flying high soon.  Finally, there’s a lot of talking ourselves up in this and how we’re not like the others.  FLUSH: This record is a signature Afroton classic.  I used the legendary Dembow rhythm and blended it with African embellishments. The sound is made to push the use of the Dembow by fusing it with an African sound. I want to bring people together and Flushing genres is my way of doing it.  

Outta Line JIMAH: This record is about that special someone.  Every time you’re around her,  she gets you out of character in a good way.  This is a record to get you on your feet and on the dance floor for sure.  CZAR: This song is about the one girl on the dance floor that’s pretty much just asking for it by the way she’s dancing on me. We all know how these nights end.  FLUSH: At this time, I had just purchased a mandola and was way too excited to play it.  This song is the first one I produced with it.  I played the rhythm out with my hands and felt out the perfect chords.  I love the sound of Rhodes keys because it is a known sound in jazz music.  Once I established the vibe of the record I played my mandola to glue everything together. 

Freaky Freaky Friday JIMAH: This song is about the relationship you have with a special someone.  Y’all make Fridays “freaky friday”when you link up on the lowkey and have a good time. CZAR: This song tells an imaginative story that takes place in Miami.  It’s about a woman who’s clearly with me because she’s interested in what I have, either money or fame.  She’s not ashamed to admit it,  and I’m ok with that because I have an abundance of everything she wants.   FLUSH: I was having a conversation with my boys about getting that surprise message from your crush on IG.  At the time, we were all making songs through conversation.  I felt like we needed to tap in on that feeling of finally linking the woman of your dreams.  I had to use the Dembow for this one because it just feels sexy and it brings out the happiness in me.  Jimah started singing “Freaky Freaky” and my eyes lit up because it sounded so catchy and fun to say.  Before you know it, women just find themselves singing the hook over and over.  I feel like my boys narrate my emotions on these records.

Check out the official visualiser for “Freaky Freaky Friday” below:

Stream ‘Rice & Stew’ here and connect with Jimah, El Cézar, Quantum Flush on the following websites: Jimah: @jimahlegar (Instagram), @Jimahlegar (Twitter) El Cezar: @elcezar_ (Instagram), @elcezar_ (Twitter) Quantum Flush: @quantumflush (Instagram), @quantumflush (Twitter)

[jazzworldquest-blog]

USA: "Solidarity," New CD Due Nov. 8 from Drummer/Composer Jerome Jennings, Addresses Concerns About Political & Social Justice

Jerome Jennings

Reintroduces Himself as a Composer

On "Solidarity,"

To Be Released November 8 on Iola Records

        Acclaimed Drummer's Second Album

Addresses Social Justice Through Seven Originals,

Four Self-Written Arrangements

With a Unit Featuring Bassist Christian McBride,

Trumpeter Josh Evans, Saxophonist Stacy Dillard,

Trombonist Andrae Murchison,

Pianist Zaccai Curtis, & Special Guests

  Residency at Peabody Institute, Baltimore, 10/31-11/1;

CD Release Shows at Sistas' Place, Brooklyn, 11/2, &

Dizzy's Club Coca-Cola, NYC, 11/12

            October 7, 2019

Drummer-composer-educator Jerome Jennings puts the spotlight on his writing chops for Solidarity, his rousing second album as a leader, set for a November 8 release on his own Iola Records. Featuring as its core unit trumpeter Josh Evans, tenor and soprano saxophonist Stacy Dillard, trombonist Andrae Murchison, pianist Zaccai Curtis, and Jennings's friend and mentor, legendary bassist Christian McBride (along with special guests, including saxophonist-flutist Tia Fuller, tenor saxophonist-vocalist Camille Thurman, bassist Endea Owens,and percussionist Carlos Maldonado), the album also features seven original compositions and four covers with fiercely inventive new arrangements.

  As its title implies, Solidarity is deeply concerned with the state of political and social justice in the United States on the cusp of the 2020s. It particularly focuses on the experiences of African American women, examining them through the prisms of the Black Lives Matter and #MeToo movements, among others. "Black women have traditionally been the conscience of the country," Jennings explains. "Solidarity means...being present, not walking away. Being an ally, in a very overt way. 'I got you. I hear you. I'm with you.'"

  Indeed, most of Jennings's originals place him in solidarity with specific individuals. Heroic women from intersectional feminist philosopher Audre Lorde ("Theory of Difference") to sharecropper and defiant self-advocate Recy Taylor ("Recy's Lament") to transgender activist Marsha P. Johnson ("Pay It No Mind") are the subjects of his compositional tributes. On "Convo with Senator Flowers," the drummer makes himself almost literally present; he provides solo accompaniment to the outspoken Arkansas State Senator's viral speech against open-carry laws in her state.

      That said, Jennings also considers the cover songs on Solidarity to be within social-justice parameters. His hip-hop-laced arrangements of Dizzy Gillespie's "Bebop" recalls that the titular music had revolutionary implications of its own. Meanwhile, pieces like the R&B/pop classic "I Love Your Smile" (featuring Fuller on alto and flute and Thurman on vocal) are less about revolution than recreation. But they're not frivolous: "People who are oppressed also need a space where they can smile, laugh, and have a good time," Jennings observes. "That's part of resistance as well."

  Jerome Jennings was born in October 28, 1980 in Cleveland, Ohio, and began playing drums at age ten when he saw Sheila E. perform on the Arsenio Hall Show. After studying the instrument through high school, Jennings enrolled at Ohio State University as a jazz studies major, then transferred to Rutgers University in New Jersey, where he studied with Ralph Peterson and Victor Lewis.

  Jennings also hit the scene in nearby New York City, where he impressed people with both his technical skills and his wholehearted commitment. "I always treat every gig as if I'm playing at the Vanguard," he explains. He was soon working with Sonny Rollins, Dee Dee Bridgewater, and Christian McBride, who eventually invited Jennings to join his celebrated trio.

  While working toward his master's degree at the Juilliard School, Jennings became the first ever jazz student to receive the Morse Fellowship, an elite program that fosters teaching artists by creating residency programs for them in New York City schools. The program lent him not only prestige, but a love of teaching; in 2017, Jennings returned to his alma mater to accept the position of Resident Director of the Juilliard Jazz Orchestra.

  In the meantime, his freelance credits grew steadily. It was while working with McBride that Jennings began to formulate a leadership concept of his own. The bassist joined him for the recording of The Beast, Jennings's 2016 debut, which was nominated that year for France's highly coveted Grand Prix du Disque.

  Jerome Jennings will serve as a featured artist in residence at the Peabody Institute of Johns Hopkins University, 1 E. Mt. Vernon Pl., Baltimore, on Thursday 10/31 and Friday 11/1. He will perform CD release concerts at Sistas' Place, Brooklyn, on Saturday 11/2, and at Dizzy's Club Coca-Cola, NYC, on Tuesday 11/12. Personnel for the Dizzy's show includes Zaccai Curtis, p; Devin Starks, b; Paula Winter, perc; Josh Evans, tpt; Andrae Murchison, tb; Stacy Dillard, ts/ss; Jorge Castro, ts/fl; and Melanie Charles, voc/fl.  

    Photography: John Abbott

        'SOLIDARITY' EPK

Convo with Senator Flowers

          Web Site: jeromejennings.com 

                   Media Contact:

Terri Hinte 510-234-8781 hudba@sbcglobal.net terrihinte.com  

via Blogger https://ift.tt/33Y88WL

[anakin89]

Why I STILL have a 'Love Jones's

1997 brought us, in my opinion, the best (black, no, more like Nubian) romantic movie in our time, and for so many reasons. Everything about this movie is beautiful. The cast, the story, the setting, even the neo-soul soundtrack which was perfect for this tale of black love. (Check out Maxwell's Sumthin' Sumthin' mellow smooth mix).

There's nothing cheesy about this one, no corny, goofy or cringey scenes, despite the storyline not exactly being the most original, but what romantic movie is?? And because of not just the initial plot of the movie, but everything around it. Based in Chicago, the city that usually doesn't get any positive press. It goes to show that everything has its beauties and that you can't dwell on the negative all the time. The friendships in the movie, again, no corny, cheesy convo's, but brothas and sistas talking bout real s**t.

No violence, no N bombs dropping every 3mins, no stereotyping, no one trying to be a rapper, no one dying. Again, this was set in Chi-town.

It wasn't hard for me to put this gem on top of my love movies category list. Runner up, and I mean just by a tad, is Brown Sugar. I did think hard on this. Thought so bad that my nose started bleeding.

I saw this movie when I was 19. I was a kid but an "old head". I liked the fact that it wasn't a "kids flick", the movie is for grown folks due to things Iike the music (jazz and neo-soul and even a lil funk played throughout) and there isn't many movies where you see people loungin at poetry clubs, which I truly loved. C'mon fellas, you know "A blues for Nina was dope!!! Oh and the scene where Darius and Nina go to the step club with all the grown folks was pure class!!

To this day I can't think of another love movie, besides Brown Sugar, that is near to Love Jones, and that's almost concerning. Back in the 90s there was some classic movies, all different from the next one. Of course there are some cool movies out now with a main black cast but let's be honest, they're not exactly on the 90s level. Mainstream Hollywood is pulling strings on certain movies. I guess that's what makes Love Jones a classic, cuz there's nothing else like it. Just don't do a remake!!