#Jazz Tumblr posts

  • Sweet Dreams - The Dance Complex
    Age 12 Jazz Large Group
    KAR Minneapolis 2020

    Music: Sweet Dreams (Are Made of This) [2018 Remastered] - Eurythmics, Annie Lennox, Dave Stewart

    #The Dance Complex #jazz#groups#2020#kar
    View Full
  • Beautiful Thing - @gracevanderwaal

    Esta es una de las canciones que me ha inspirado mucho, respirar, sentir etc. No todo es perreo amigos 🔥😍 extraño estos trips y los miércoles con axel

    Coreo: @axelgl_dancer 🔥
    Spot: @danzartecenter_mx
    #Dance #jazz #feelings
    #Dancer #technique #fouettes (en Danzartecenter)
    https://www.instagram.com/p/CCtcNL3h1U7/?igshid=d1l607q1c6nx

    View Full
  • On Ruler Rebel, jazz trumpeter Christian Scott stays the course he established on Stretch Music, his impressive 2015 album. Mixing trap-rap, West African percussion and New Orleanian Afro-Native American rhythm, Scott’s EP—the first in his three-part series (collectively titled The Centennial Trilogy) —addresses the social-political constructs still in place 100 years after the first jazz recordings.

    The series is, at its core, a sobering re-evaluation of the social and political realities of the world through sound. It speaks to a litany of issues that continue to plague our collective experiences. Slavery in America via the Prison Industrial Complex, Food Insecurity, Xenophobia, Immigration, Climate Change, Sexual Orientation, Gender Equality, Fascism and the return of the Demagogue.

    The first release in the trilogy, Ruler Rebel, vividly depicts Adjuah’s new vision and sound - revealing Adjuah to the listener in a way never heard before via a completely new production methodology that Stretches Trap Music with West African and New Orleanian Afro-Native American styles.

    View Full
  • #song of the day 2020 #gregory porter#jazz #yup it's that time of night #one thirty in the morning means it's time for something sad
    View Full
  • i am where i find comfort, chapter 1

    “I never expect to be back to my original self. That’s part of the beauty of it. It’s just like turning over a new leaf.” Thanom’s words continued on ringing inside Park’s head, clashing violently against the loud sound of the plane as it takes off towards home.

    But what if I’m fine with where and who I am, without an ounce of wanting to turn over a new leaf? Park thought to herself as she forced herself to sleep.

                                                            *      *     *

    Keep reading

    #to be continued #kyoto#japan#jazz bar#jazz#fukuoka #pics from my fukuoka trip i havent been to kyoto yet im sorry #short story#writing#fiction
    View Full
  • 1945

    As Long As I’m Dreamin’ (your mine)

    Claude Thornhill & His Orchestra 

    Vocal: Fran Warren

    View Full
  • image

    Herbie Hancock 1960s

    Photo: Gai Terrell

    View Full
  • Les McCann- “The Harlem Buck Dance Strut” - Les McCann is such a great Piano-jazz-Musican. He played with Eddie Harris. I love such funky Music!!!

    View Full
  • Recorded: Summer 1970

    Overview

    Artist: Demon Fuzz

    Album: Afreaka!

    Release date: November 1970

    Label: Dawn Records

    Genre:Jazz, Rock, Funk / Soul

    Style: Soul-Jazz, Afrobeat, Jazz-Funk, Jazz-Rock, Prog Rock


    Tracklist

    A1 Past Present And Future 9:50

    A2 Disillusioned Man 4:58

    A3 Another Country 8:28

    B1 Hymn To Mother Earth 8:10

    B2 Mercy (Variation No. 1) 9:20


    Credits

    Bass – Sleepy Jack Joseph

    Congas – Ayinde Folarin

    Congas, Flute, Saxophone, Arranged By – Paddy Corea

    Drums – Steven John

    Guitar – W. Raphael Joseph

    Organ, Piano – Ray Rhoden

    Producer – Barry Murray

    Trombone – Clarance Brooms Crosdale

    Vocals – Smokey Adams


    Fun fact : Afreaka! was the first album released by the English band Demon Fuzz. It was released in 1970 by Dawn Records. Afreaka! was a Billboard “4-STAR” selection in June 1971.

    View Full
  • FEEL with DJ Jeff Long - July 15, 2020

    and i said hello satan i believe it’s time to go

    The Rain - Eddie Gale
    Mexico Thing - Eddie Gale
    Conquistadores - Chico Hamilton
    Toro - The Art Ensemble of Chicago
    Haitian Fight Song - Charles Mingus
    A Ballad for Joe (Louis) - The Crusaders
    You’ve Got to Learn to Let It Go - (Studio Version) - Sam Waymon
    Me and the Devil (with Makaya McCraven) - Gil Scott-Heron
    Sci-Fi - Antoine Berjeaut and Makaya McCraven
    Deshominisation (1) - Alain Goraguer
    Rocket Number Nine - Sun Ra
    Black Satin - Miles Davis
    Heyjorler (live) - Eddie Harris and Les McCann (with Amoa)
    Song of Thanksgiving - San Francisco Christian Center 
    Soul to Soul (live) - The Voices of East Harlem
    Spiral - Lakecia Benjamin
    Indent: Second Layer, Part Two - Cecil Taylor
    Miss Thing - Hubert Laws
    Gymnopedie # 1 - Hubert Laws
    The Other Woman - Nina Simone
    Bridge Over Troubled Water - Roberta Flack
    Wrap Your Troubles in Dreams - Alberta Hunter
    Performance - Esther Phillips
    Black Narcissus - Joe Henderson
    Prints Tie - Bobby Hutcherson
    She’s Here - Les McCann
    Goodbye - Milt Jackson

    KTUH - 90.1 FM Honolulu, 91.1 FM North Shore, ktuh.org

    View Full
  • image

    20 Years Of Discovery.

    January 1st, 2000 came with such underwhelming results. Didn’t help that last summer I had to permanently cut ties with a Judas sorority cousin after a public screaming match in front of family, neighbors, and strangers. I also pissed away the ones closest to me, my circle of “friends” from Brentwood. The liars, narcissists, victim-blamers, and the ones who left me out to dry all alone in parking lots because they were too awesome having fun in groups. Now you see why I had to spend New Year’s at the neighborhood church, pining away three hours until midnight arrived and even I couldn’t have that. A mother arrived with two screaming kids at 11:30 PM and all the while she’s running around the aisles between the seats, shuffling around like crazy catching them to stay put and she acted like a stereotypical soccer mom in the process. The most anti-climactic way to celebrate anything ever.

    As my former friend Victoria said: “sometimes you have to go through the worst to get to the best.” Nice one, sweetheart. The best isn’t guaranteed no matter what people suffer through. The following summer saw myself dealing with even more fallouts and the unpleasant surprises kept delivering. What became of a summer job working at the pool supply store with my friend Dede became a weekend bully convention. Dede, who got me the job, showed his true colors when he stood and laughed at me as two co-workers swung boxcutters at me. Store managers who heard my concerns nodded their heads and promised action but in the end did zero. Showing up five minutes early for my shift wasn’t enough for Dede, however, and the Ever-Controlling One wanted me to work more days. Who cared about my well-being, he argued, because according to him it was all about him and his job. After daily dealings with his elitist prima-donna starfucker attitudes and half of the store talking about me behind my back, I no-showed him and shut him out for good. The next morning, he called my house while I was sleeping. “Why did you quit on me?” he asked. No “hello”, no “what’s wrong”, no “hey, everything OK?”. I answered by hanging up on him. Good-bye and good riddance to a self-important muckety-muck. But I still had one out left in the deck. That out was Anna.

    Anna and I had plans to meet up at Ocean City where she lived. Eight months of weekend online chats, pictures, cassette trades, hand-written letters (!), and Sunday night calls in the making. Here was a 5’8” pale Polish girl of straight neck-length brunette hair, green eyes, mid-cut shirts and tight jeans. Cute, flirtatious, charming. She came across so amorous and complimentary in such a way I never felt from anyone before. We’d trade notes about my struggles dealing with prima-donna underground musicians and asshole writer-critics and her own drama with friends, co-workers, and exes- around recapping last night’s episode of Saturday Night Live. It was one of the few shining points of a dismal few semesters at community college. All fucking week I looked forward to those two hours talking to her on the phone. The time was right for me to come visit. She wanted it to happen. We made plans well in advance in what would be a unique event for me. To meet someone in a different state via Greyhound and experience something totally new would be exceptional.

    Sunday night comes and I get a phone call from her to verify that it’s a go…it’s not happening. She broke the news to me in a sad let-down tone. Our plans were canceled. What was it? Was it because I was quiet about her mixtapes she sent me? Or was it because I saw no indication that she didn’t keep base with her folks that I was coming over and maybe her cover was blown? To this day I don’t even know. She never gave me a reason. They usually don’t. Real nice how some people show their interest in you, take it all back at the last minute and ultimately string you along for a few more miles before leaving you on the side of the road and drive away, never to be heard from again.

    It’s June 19th and summer was on life support. After spending the only saving grace that was the 4th of July at a friend’s house, it finally died. I had close to nothing. No job, no pursuits, no movement, nada. Only a Playstation, bike rides to the library, and some trips to the bookstore to buy whatever music with what little money I still had. I was grateful in no longer having a selfish self-centered superstar for a friend, manager, and connection. On the other hand, Anna made me feel dejected because our plans were no more with no reason why. The season now became an excruciating waiting game for Autumn for a final unbearable semester at Suffolk Community.

    I was already one year into listening to WUSB. They were the only game in town that played industrial and underground hip-hop. I tried hard to distract myself from recently losing Anna, so radio was the drug of choice. I had plenty of blanks to run record on during my late-night shoot-’em-up sessions. Dubbing had been my weekly ritual since the Brentwood era. It was our way of capturing the moment. Downloading and streaming was in their infancy and we didn’t have the permanence of online archives or YouTube. If you missed it, that’s it. (I didn’t even think of the word “auditioning”, the act of narrowing these plays down from several tapes onto one, just like how downloads are deleted or go to playlists or be edited for Omega WUSB shows.) Four, five, six tapes were lined up for the record button with one set aside to be transferred on. That’s the beauty of dual tape decks, consolidation, and re-recording. Hit the red dot and let the chips fall as they may. Up on the itinerary: one of the four hip-hop slots our station had on the grid. Ghetto Radio, Street FM, The Basement, or Eminent Audio. Our slots never played the commercial -ish at the time, and those shows were four reasons why I returned to hip-hop after mostly abandoning it by senior year.

    Then this happened: two of Eminent Audio’s dee-jays decided to play some short snippets of Seventies’ jazz, fusion, funk, and groove. Some late Seventies’ groove-line, and some Eighties’ R&B. The classics spun in short 20-30 second bursts, one after the other. It all started with Gang Starr’s “The Planet” which sampled Taj Mahal’s “The Cuckoo”, followed by Steve Davis’ “It’s All Because She’s Gone”, then Galt MacDermot’s First Natural Hair Band’s “Ripped Open By Metal Explosions”. After throwing in Nas’ “It Ain’t Hard to Tell” and Michael Jackson’s “Human Nature”, then the Ace in the deck: Les McCann’s “Vallarta” played in the loudest tinniest quality, trying so hard pushing itself out of a drive-in movie speakerbox. It hit. It fucking hit like no other. Those feelings of watching those shows of big money and seeing an Indianapolis ginger mom deal with divorced life and her two kids as a Brooklyn youth. Richard ‘Groove’ Holmes’ “Onsaya Joy” hit in the exact same fashion, too. Then Bob James’ “Caribbean Nights”. I was absolutely stunned. The following week, Asmar from The Basement, always the one to keep it real and spit consciousness, played Lonnie Liston Smith & The Cosmic Echoes’ “Expansions” (‘75). Then the comedown: “Aspirations” and finally “Colors Of The Rainbow”. None more accurate sounds and tonality to describe an isolated and introverted down summer. At that point that week’s Basement ended and it hit. It was all over for me. Over.

    The sampling parade and Lonnie Liston Smith songs tied into an era, a Borough Park childhood of spending days sitting at home playing with an Atari 2600, watching game shows with surprised devils, computerized dragons, and lightning bols), and late Fifties’ Looney Toons on a RGB-lens projector television. The days of my Brooklyn years continued on as an Eighties kid on the island when some of the most memorable moments, believe it or not, were all the television station i.d.’s, opening and end credits, and production logos. 11 Alive, WGBH, WABC’s 4:30 Movie, WCBS’s The Late Show Intro, WPIX Channel 11 Film Festival, Magnetic Home Video, World-Northal, Viacom’s ‘V’ Of Doom and chuckling pinball sounds with peignot type…I can go on. They stayed with me all this time.

    From that point on I started keeping in touch with myself. I always missed those obscure years living in Brooklyn. You miss them because you feel you haven’t had enough of them. Take all those moments, connect the dots, connect the stars, and get everything out of what you can that had everything to do with the era. I began buying my own vinyl before the turn of the millennium, a little after I started going to record stores. Only after WUSB’s summer programming did I start pursuing the classics whenever and wherever I could. It was one way I had to keep up. A trip to what was Bay Shore’s Special Sauce, a skate and ski shop, once sold bins of vinyl records and was the first of many vinyl splurges. When I wasn’t crate-digging, I always referred to the-breaks.com, one of the first sampling sources on the net, way before WhoSampled took the lead it has now. Meanwhile, classic Seventies’ Saturday Night Live episodes followed and later discovered that my significant Yenny had GSN. You could imagine her level of tolerance to have her record these old shows for me on the regular. No, I lied. She was pretty cool about it.

    YouTube came halfway into my stay at Stony Brook and I re-discovered those i.d.’s, credits, and logos. It was when I got deeper into collecting and finding those key artists that matched where I came from.  John Tropea, Vic Juris, Chick Corea, and Esther Phillips. more Lonnie Liston Smith, Eric Gale, and Les McCann (again). Another very important kicker: my first foray into library music. Hello, KPM. Nice to meet you. It’s where I found Alan Hawkshaw, Brian Bennett, and Alan Parker. In fact, it was Parker’s “Unlimited Love” that was used for one of WABC’s movie intros-. Down the road towards the end of the Aughts, my vert first trip to High Fidelity’s old location in Amityville had me discover Phil Upchurch and Billy Cobham. That visit showed me to shop by year of release and gamble on artists I knew totally nothing about. That explains why I have two Karla Bonoff records, The Olympic Runners, Stuff, Maynard Ferguson, and Ramsey Lewis.

    After the turn of the last decade, I went back and got re-acquainted with KPM, and during Hurricane Sandy, I had an entire mixtape / playlist dedicated to nothing but these sounds. Just so happened that I listened to nothing but Seventies, jazz / fusion, funk, groove line, and soul sounds for that entire Autumn. The moment that was the ultimate point of no return was the summer after Omega WUSB started airing when I found two very essential groups, Vinyl Archeologie and Reef Ali’s Vinyl Frontier. Could you imagine all these rare and obscure finds for samplers, crate-diggers, and producers that their members unearthed? The sounds always featured on these groups, as well as Breaks & Samples and The Real Digging And Archeology, have shown me that it all goes to a whole new level. It’s the figurative time machine that takes me to places that no longer exist, ones which I’ve never experienced or been to but felt like I have. They’ve extended my interest in all of the above even more. It took nothing for me to give this class of music their own “bonus” broadcasts. To this day, they still do. This first-ever jazz, fusion, rare groove, obscurity, resonance, vinyl finds, and sampling showcase (as advertised) was not only part of a personal summer mixtape but symbolizes an all-too-important moment in my timeline with an addict ex-. Because of them, once-unknowns are now all-to-familiars to me. Gordon’s War, Starfire, Sass, Champaign, McNeal & Niles, and perhaps one of the most magical of them all, General Lee & The Space Army Band.

    Since then, my affinity for these sounds have all but solidified. In the last few years, I discovered the Music DeWolfe, Patchwork, and Themes International library labels. Vinyl Archeologie and Vinyl Frontier have continued to unearth classics, resuscitate legacies, and renew interests in original artists. Omega is still doing bonus sampling / crate-digger broadcasts, and I’m always returning to find those classic programming moments for myself. With the help of Shazam and YouTube comments, I finally bullseye’d Otto Cesana & His Orchestra’s “Hi!”, Syd Dale’s “Cuban Presto”, and Reg Tilsley’s “Hold The Road”. I’m still unearthing new finds in the form of Emily Remler, Eddie Russ, Teddy Lasry, Tomorrow’s People, and Walt Barr. And it seemed like only yesterday that I dropped $2,000 to all of the island’s record stores for a post-surgery shopping therapy. Should we get another round of stimulus checks in our hands, I might be looking at another record-store tour in a winner-take-all fashion.

    I can’t say that the unreliables above made for vinyl music to happen. They’re isolated incidents. The sounds that our hip-hop dee-jays made possible happened regardless. I just happened to catch it. I still have the original recordings and plan on digitizing them later this year when the final CD-r archive audit is finished. How wild is it that the summer has been salvaged from being a total bust for being in the right moment at the right time? How wild is it that one moment has carried on and still thrives to this day? It will continue to keep going because there’s always be something waiting to be discovered all over again. And as long as that does, the self-discovery continues, the broadcasts continue, the spending sprees continue, I continue. Here’s hoping you’ll do the same in your own right.

    View Full
  • View Full
  • Ebi Soda - Ugh - new album from Brighton (UK) jazz fusion group

    Following the aptly-named ‘Bedroom Tapes’ EP comes 'Ugh’, a collection of tunes from Ebi Soda’s first ventures into professional recording. The band have made sure to carry their DIY-centric identity with them, creating a beautifully-produced record with the band’s raw energy still at the forefront. Explosive drum grooves and a heavy-usage of electronic effects characterise the fluid jams we hear on 'Ugh’, with the project’s opener 'Ecchi’ setting the tone straight away as the song moves from upbeat dancey rhythms to a nightmare-inducing dub soundscape.

    The ten-track project was recorded over a year from numerous different sessions, leading it to carry an air of sporadicity to it, with its genre-switching nature leading the band to consider it more of a mixtape than an album. Ebi Soda seek to surprise and alarm listeners with this project.

    Sam Schlich-Davies - Drums
    Louis Jenkins - Keys
    Conor Knight - Guitar
    Hari-Lee Evans - Bass, & Keys (2)
    VVilhelm - Trombone & Synths

    Featuring
    Beth Hopkins - Alto Saxophone (1,3)
    Jonny Poole - Tenor Saxophone (1,3)
    Dan Gray - Trumpet & Flugelhorn (1,3,6,9)
    Chloe Bodur - Vocals (4)
    J Harli - Vocals (8)

    Artwork by Azee Gumi
    Design & Layout - C.O.Turner    
                                                                           

    View Full
  • #la tragedia del pato duke #chuflai#comic#jazz#bacile#amigos
    View Full
  • Callan Waite - Marry The Night
    Age 9 Jazz
    Platinum
    Williams Center Rhythm Factory
    Hall of Fame The Big Midwest/West Virtual Competition 2020

    Music: Marry The Night - Lady Gaga

    #queue #Williams Center Rhythm Factory #juniors#jazz#2020#dancemakers inc
    View Full