It features prominent usage of Ament's string bass guitar, which is pivotal to the sound of the introduction and end of the recording. Main article: Ten Tour. Retrieved February 1, Retrieved September 5, Guitar World. December Retrieved February 20, Albums: Swift's Birthday Present". Retrieved December 17, Rolling Stone. Archived from the original on April 14, Retrieved June 23, Archived from the original on July 19, Retrieved June 22, August 20, August Bass Player magazine.
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Retrieved April 6, Entertainment Weekly. Mojo : March Archived from the original on February 22, Retrieved March 11, In Brackett, Nathan; Hoard, Christian eds. March 19, The Village Voice. New York. Retrieved May 20, Melody Maker. Stereo Review : Guitar World: Nirvana and the Seattle Sound.
Kurt Cobain". Christgau's Consumer Guide: Albums of the '90s. Retrieved on April 27, Funky Editor (Instrumental) - NAME (2) - Artist Of The Yeah (The Definitive Radio EP) (Vinyl), Retrieved September 16, February The Times. October Rock and Roll Hall of Fame. Pause and Play.
Archived from the original on March 28, Retrieved May 6, Spin July Nieuwe Revu. April 21, We think of our professional lives and our passions as separate things from our Funky Editor (Instrumental) - NAME (2) - Artist Of The Yeah (The Definitive Radio EP) (Vinyl) and activism lives. What we actually need, and what really meditation and yoga and all of it helps us remember, is that it's all about integration and union and when we do that, we can all really help. I think it comes back to what I was saying in the beginning, that ultimately what I want with this book, and what I believe meditation is calling us to do right now, is to not just sit our asses on our meditation cushion and send love and light.
That's important. But more importantly, what it's calling us to do right now is to do something. The reason why meditation is such an important precursor to doing is because we first drop into our hearts and do it from that space versus doing from our heads and ego. What I keep finding, like you said, especially with this book and not expecting it to be this way, is when you drop into this heart space and you show up, the universe has a plan that's bigger for your life than you could have ever dreamed of.
We just have to take the step and let it lead us forward, and remember we're enough. I love you. Paak and a loyal, ever-growing fan base. As he recently told us, the album has been a long time coming and now the timing is just right. The "Crush" artist also talks about his vision for creating more Black animations watch the music video for "Find A Way" below and how the entertainment industry can better support Black artists.
That would be major. For me, I'm not heavy on pop, listening to pop all the time, but I do understand the importance of seeing a Lizzo in pop. It doesn't have to be this conversation of, 'Oh, you can't put them there because they're Black. After their romantic relationship ending in and the other members leaving the band inAlisa Xayalith and Thom Powers recentered and reinvented the project's creative flow, even Funky Editor (Instrumental) - NAME (2) - Artist Of The Yeah (The Definitive Radio EP) (Vinyl) the sound to somewhat sunnier territory.
The result is Recovertheir fourth studio album, released today, July Across its 15 tracks, the duo explores themes of death, mourning, heartbreak, recovery and identity, all with an unwavering sense of honesty and lightness. Throughout the project, there is a powerful feeling of the pair exploring and creating space for all emotions. There's even unbridled gratitude and joy, with an ode to Xayalith's dog on the effervescent "Sunseeker.
They also spoke candidly about staying grounded during a pandemic and how the music industry can better support Black artists, among other important topics. Your new album Recover comes out in July.
What are you most looking forward to about sharing this project with the world? Xayalith : I think I am just really excited to get it out there. I mean Thom and I have gone on a journey the last two years to get to this point. For me personally, I'm just relieved to just finally get the work out there so people can listen to what we have been working on.
And I really hope that during this time it helps people escape from the current state of the world. I also hope people can see it and enjoy it.
Recover is out now everywhere. A record of resilience and patience and pain and love. When did you start the album and what was the seedling of the beginning of the album? Also, what was the creative process like along the way? Powers : We began recording this one aroundwhich is right about when our other band members left. Alisa and I began doing what we usually do; we start writing songs and we make demos. Regardless of what we are doing, we are often making demos. But we didn't really hit our stride, really figure out what we were doing until the summer of Everything up until that point was trial and error, we were trying writing positions, working with other people.
Some of them came out okay, but we were looking for a new sound, a new direction, a new framework. We had this exceptionally productive burst of creativity in the summer of The first song that was written for the new album was "Recover," which is one of the reasons we advocated for it to be the name of the album and the first track because it was really symbolic. It was this turning point. The way that song was written, I was waiting at Alisa's house in her studio with a friend of ours who was doing some co-writing and co-producing with us, his name is Simon Oscroft.
He's an old friend of mine from childhood and he does songwriting and producing in L. Alisa was out, running an errand. She comes storming into her house while we're having coffee, like "I've written this song in the car. That was the moment when we hit our stride. The bulk of the album was written then, in summerI want to say two-thirds of it.
And the remaining third, was the good songs from the time prior to that that we hung on to, but we had to wait until we had the new direction to re-approach and re-conceptualize them. That is the short version of how this came about. I would love to hear a little bit more about what finding that new sound felt like. Powers : Yeah it was definitely a eureka moment with that song.
It was an obvious turning point, and right after "Recover" we dove right into the album. There were a handful of other songs like "Sunseeker," "Come As You Are," "Easy," "Everybody Knows," that we were just churning out over the course of the month. In the first two weeks most of them came out. It was very clear to us when we had "Recover," that we had something new.
And then "Sunseeker" followed it up very promptly, we knew we'd found our new direction. We had found our new way to complete this album, which was great. Xayalith : When we wrote "Recover," originally it was very traditional sounding, kind of a soft folk song. We recorded it with guitar, some piano and vocals. And Thom was like, "How about we record it this way and then reverse engineer it, drop it into a session and then add some electronic production.
How Simon and Thom produced it prompted how they would continue to work together on writing in the days after. I think that alone added some evolution to the production of the songs that you hear on the record. Where did the idea for the "Bury Me" video come from? And was as fun shooting it as it looked.
Xayalith : Thom has been wanting to direct music videos more, and it was like the perfect opportunity for him to jump in. The minute I read [the treatment,] I just cracked up, I thought it was absolutely hilarious.
We finished it out with our creative director, who helped us organize everything and put it together, but it was Thom's hilarious brainchild of the video treatment. Powers : I came up with it one night at a bar. I had the idea that Alisa just kept killing people, and then I would cover it up. I got worried along the way that it was going to be sort of a male savior complex.
It made more sense to have me equally as responsible for all the catastrophes in the video. We tried to combat that [complex], I cover up her mistake and I am driving the car and the first thing I do is run Luna [Shadowswho co-wrote and co-produced the track with them] over. So hopefully I got rid of that angle and parodied it a bit. I loved making that video, it was a lot of fun. I don't usually have fun making videos per say. I do enjoy being on set and there is a joy that comes from doing it, it is exciting with all the drama and fuss of making videos.
But it can be kind of anxiety inducing because it is very difficult to make something satisfying on a low budget. We don't have millions of dollars to spend on a video. And fortunately, that video had so much planning that went into it that it came out really well for not having a massive budget. We are really proud of it. We had an amazing team on it as well that made it come to life. They are all in the credits on YouTube, we always want to direct people to check them out.
Xayalith : If we go back and look at the music videos, we've never really gotten in them as much. We really took the opportunity to make music videos to tune in on an identity that wasn't really there before.
And this music video, I feel like it gave Thom and I a chance to not take ourselves so seriously and so people can see another side of us that they have never seen before. I think that has been something really fun and new for ourselves and people who have been a longtime fan of the band. The one scene where I have blood splattered on my face, we only had one shot for that, one shot because we only had just enough blood for one squirt, so I had two people on either side of me on their knees with their hands held up to my face and they squeezed it and I was like "Okay, I cannot laugh.
On the album, the messages on "Recover" and "Death" feel especially poignant during these trying times. Can you speak to the story behind "Death," what it meant to you recording it then and how it feels listening to it now? Powers : Thank you, that is such a flattering question.
That song has an interesting story about how it was put together, and the starting point particularly. But the line that I stole, again, stealing more of Luna Shadows' creative content.
We live together and she has this gorgeous, secret solo project which she just keeps on voice memos. And then Alisa, Simon and I wrote this love song Funky Editor (Instrumental) - NAME (2) - Artist Of The Yeah (The Definitive Radio EP) (Vinyl) it was fun for me to get an opportunity on this record to be a topliner.
For that song, I got to switch roles. Usually I am the one sitting at the computer and doing the tracks. Like on "Recover," and you can hear it is very much Alisa's story, her lyrics. You couldn't create that on a committee, which a lot of Los Angeles songwriting is like—very impersonal and without a universality to it, weirdly, even though it is written that way.
With "Recover," Alisa is the topliner, and Simon and I were the producers and the co-writers, so we might fill in lyrics and suggest melodies and lines, but the narrative is coming from one person.
My belief is you really need that in a song. I got the opportunity on this album to do that, where Simon was running the computer and Alisa was my co-writer. I haven't had an opportunity to do that on other albums because we haven't worked with someone like Simon who I trusted enough to run the session. I am not a happy person, I am someone who is consumed by thinking about death and ethics and mortality and the pointlessness and meaninglessness of existence.
I wanted to try and write a song about that. But it ended up being really—I don't want to say fun, but it's groovy and it has a gentle quality to the song which is really beautiful and satisfying. The song is kind of challenging ideas that people have about finding meaning in life. There is this silly idea that if you don't believe in a higher power, or something superstitious, or don't have magical thinking, then why do you get up in the morning?
I think there is a deeper meaning in that this is all you have, this is it—it is even more precious. All the meaning you can get in life is right in front of you. I am really proud of it. Xayalith : I am a huge fan of The Weeknd. So when he released it, it was just something I was listening to a lot. Out of a few choices we had, it was the one that made the most sense.
If you listen to the song, and the album, he's taken a lot of '80s pop and synths on this record. It was kind of exciting for us to take that. Thom just nailed, just whipped up the demo really quickly. We turned it around pretty quickly. In the history of the band, we normally go over everything for a while. It was just like, "cool, the music is done, let's go.
We have never done a Triple J "Like A Version" before, so we wanted to make sure it was a song that we enjoyed. I absolutely adore that song. If we were to record another, that would be the next one. So, it's now been a decade since you released your dreamy debut album, Passive Me, Aggressive You. If you could go back and give that version of yourself any advice, what would it be? I really fought with myself.
I put a lot of pressure on myself when I was younger to get things done, without realizing that part of the process is the work and going through the motions of coming up with an idea. I would get frustrated at myself because I didn't like the pace at which I was creating.
If I could go back in time, I would just tell myself to not fight the process and to just flow through it. Powers : Oh my god. I feel like it's things I would correct myself on. We've been talking about this a lot in interviews lately because of the time period. I guess for some reason it's a symbolic check point. And it feels long enough as a measurement to want to ask "What is different now, how do you feel now? I am a person who is self-loathing by nature anyways.
I think that looking at myself 10 years ago, I hold myself responsible for so many things that I am unhappy with about my life now. I think I can really see the faults in myself and in the life I have and the things that I am unhappy about as being a product of me. I think I could teach myself a few things that I am really happy our culture has created.
I am a fan of PC culture. I think it is better than what we had before, better than being able to say something casually sexist, casually racist. I think for all its faults, at which I do believe there are many, I am really happy that words like toxic masculinity exist now. They shine a bright and important light on human psychology. I think it's helpful in our daily lexicon.
I think if I could give myself an insight into the way our culture has changed, I would be a better person for it earlier on. I am sure everyone feels this, but the older you get, the wiser you get; the more you realize how ignorant you are. With wisdom comes the sense of the extent of your own ignorance. I wish I could've taught that to myself earlier on. I would've made some more well-informed decisions and some less-arrogant ones. We have put so much of our lives into this music, and we feel very resilient.
I would love to hear a little bit about each of your musical backstory; how you got into making music initially and how you two met. And my dad was in a Lao community band, so I would often go and see him play. And I love singing, and really loved it at a young age.
Music was something that I found myself finding so much joy in compared to anything else. I found ways to be a part of it; I was in the talent competition, choir, I would join a vocal group and drama classes so I could participate in the musicals. I was always searching for some ways to be a part of it. I also took up guitar, I taught myself how to read music. Then I enrolled into this musical college where I met Thom and Aaron, who was in the band, and we started making music together.
It was my first band ever, and it's been the only one. It was pretty unreal. Bu my search for wanting to pursue music I think I really followed my instincts and didn't give up on it.
I think my instincts are pretty spot on most of the time. I was pretty tuned in to what I found joy in, and I felt it without knowing. Powers : I mean, my musical history, is pretty standard to be honest, it is not super interesting. My dad played guitar, he is a musician. I think it runs in my family; we're very musical. I became a guitar player, a little metalhead at age Little white suburban kid gets a guitar and you know, gets dreadlocks by I was a typical—we would call them like a bogon down in New Zealand, which is like an Australian version of Bevis and Butthead.
When I hit about my teenage years, about 15, I started getting into more alternative music. And then I met Alisa, we were both still discovering alternative music culture. So the early Naked And Famous songs, they are somewhat a reflection of the things we were listening to at the time, the bands we were obsessing about. When we started making music we were still discovering ourselves as musicians and discovering what we liked and the kind of music culture that we wanted to participate in.
We both worked at a record store and we were so involved in the music scene back then. Every gig that would come to Auckland, we would go to see.
It is funny because I was just writing a list before of potential covers that I want to do. I was trying to put down songs that were influential around that time. Romantic Fugue — Lifestyle Jazz Vintage Sound. So for any jazz fans who have neither the time or budget to track down the originals, this compilation is a great shortcut as well as a opportunity for beginners to dip into the rich sounds of this country's past. Chet Baker In New York. InPollack recorded for Victor.
September 7, at PM. Cannonball Adderley Quintet in San Francisco Born: in London, England, UK. Design and layout of the site Creamusic. A surprisingly generous bio appears on discogs: British arranger, producer, composer, band leader, and saxophonist.
By the time of this recording, the London Jazz Composers Orchestra had produced an exemplary collection of recordings, captured by the adventurous Swiss label, Intakt.
Power Of Death Terumasa Hino - Ode to Workman 9. Streetwize - Smooth Urban Jazz torrent. Crooked Officer Brian Auger born 18 JulyBihar, Indiais a jazz and rock keyboardist, who has specialized in playing the Hammond organ. City, Country, City Bireli Lagrene Blue Eyes rar 0 1 6 years 55 Mb. Next inline is composer, pianist and singer Matt Dennis. Extraordinary musicians from the U. A community of generous musicians sharing their tab collections Because sharing is caring!. First up is the hugely influential fusionist Mulatu Astatke with the Latin-meets-Afro jam.
VideoFromYou 1, views. A belated swinging 70th birthday party with an all-star guest list is planned for pop-jazz songstress Nancy Wilson at this year's JVC Jazz Festival. Adele — Daydreamer Turkish, Arabic, Balkan, Greek, Romanian and international styles, sounds, performances and pads are available for your Korg Pa 50, 80,1x, 2x, 3x, and 4x pro keyboards. Miles Davis — Miles Davis, Volume 1. Mulatu astatke - afro latin soul vol 1 and 2 download from 4shared.
On the Run 3. I hope everyone that visited here enjoyed the stay as much as I enjoyed putting it together. One More Day 7. Christine Jensen Jazz Orchestra: Habitat Justin Time — Like a technology start-up company in stealth mode, Montreal-based composer and alto saxophonist Jensen has quietly developed into a bandleader to be considered in the same terms as Maria Schneider and John Hollenbeck, which is to say that her big band has a book full of exceptionally.
Similar to their previous album '2 Leaving Demons', 'Mushroom Jazz' is an album of spacey, funky grooves, but with more jazz and lounge in the mix and a much better production, allowing these bright and breezy workouts to breathe. Download special software at bottom of this post, open zip archive and install program on your computer. Fascinating Rhythm 2. The Blue Note Blog gives an in depth and behind the scenes look at our world class artists through interviews, concert reviews, sound check reports, pictures, and other exclusive content.
If anybody has a problem with any links being provided here then please contact me and the link will be removed. To celebrate, this edition starts with some 80's soul, moves to some 00's RnB and Neo Soul, takes a hip hop diversion to Timbaland territory, then melds some broken with some classic Jazz Funk. U Brown gives an effortless, flowing performance on Funky Editor (Instrumental) - NAME (2) - Artist Of The Yeah (The Definitive Radio EP) (Vinyl) back end of Keep On Knocking not to be confused with the heavy, minor key, Augustus Pablo produced cut of the same nameWelton Irie rides the new style heavy dancehall rhythm of Keep On Running, and Killer Brown's mellow musings are.
Smooth Jazz Internet Radio station. Romantic Fugue - Enjoy the band that is responsible for initiating the punk movement in the UK!. The Dawn Introduction featuring Vanessa Freeman Acid jazz also known as club jazz is a musical genre that combines elements of soul music, funk, disco, particularly looping beats and modal harmony.
A specialist in jazz, and in jazz guitar in particular, he con-tributed the guitar history entry and 14 biographies to The New Grove Dictionary of Jazz. As diverse and eclectic as ever, here's hoping you find something new to your ears. We rely primarily on venues, festivals and musicians to promote their events through our platform.
It's a relatively small kit--a kick, snare, two toms, and two cymbals--just like something a jazz drummer would play at a gig or low-key recording session. Blog Community About. Nero 8 Full. Cannonball Adderley Collection. Time Of Libra - A2. By Cam Scott. Delirious Fever - B2. Don't Start Cryin' Now Crime driven, blaxploitating discoid jazz funk fusion soundtracks at its best!
The JazzLoverZ ,is the new internet project,that comes to satisfy all fans of jazz,blues,soul,lounge,relax and chill music. The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. An accomplished author, he wrote the recently re-published Music Outside a polemical study of British jazz in the early s Later, he wrote the definitive musical biography of Miles Davis, widely regarded as among the finest jazz musical biographies.
Freedom Records Jazz Jazz albums in mp3 and flac. Pada posting kali ini saya cuma ingin berbagi mp3 yang sudah saya arsifkan menjadi. About the Game: primitive third-person shooter without artifice of any exciting gameplay. Josh Milan propels the listener to a satisfying build-up using his signature spiritual afro Jazz sound.
Too Marvelous for Words 3. Stay Calm is a surprising work from four outstanding musicians that separately are amazing but in this somewhat supergroup bring a variety of influences that shine perfectly across the thirteen glorious tracks. Priestess Harper Tohru Aizawa Quartet - Dead Letter 3. Funky Frolic regular blunderspublik has been busy on Mixcloud putting together what he calls the "Metameric Mix: Centipede Radio".
Dansk blog om jazz, med anmeldelser og andet relevant. Downhome Blues. For example the club-night "Kyoto Jazz Massive" is one of a real legend! Their regular club-nights in Tokyo, Osaka and Kyoto exist since the early nineties, and their concept of playing old and new full spectrum sets was and still is a similar concept to regular jazz-orientated club-nights like the Mojo-Club HamburgBar Rhumba, the old. Many of these recordings were made on fragile, RPM, shellac discs and exist only in the collections of some contributors to this website.
Throbbing Gristle were pioneers of early industrial music, who evolved out of the performance art consortium COUM Transmissions. Maintain - instrumental, with The Strange Fruit Project Oh My God Andromelos - Andromelos. Blog about all sort of jazz genres and sub-genres. Please consider the artist by buying albums, concert tickets and merchandising.
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