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jazzdailyblog · 9 months

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Billy Taylor: A Jazz Luminary, Educator, and Advocate

Introduction: Jazz pianist, composer, educator, and broadcaster Billy Taylor impacted the jazz and music education worlds. Taylor’s achievements as a musician, composer, and supporter of jazz extended far beyond the stage during a career spanning more than six decades. Taylor’s influence on the jazz scene and beyond is tremendous, ranging from his avant-garde compositions and dazzling piano…

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#Ann Ruckert #Art Tatum #Avant-Garde #Ben Webster #Billy Taylor #Duke Ellington #Henry Grant #Herb Storfer #Jazz Composers #Jazz Educators #Jazz History #Jazz Pianists #Jazzmobile #Phoebe Jacobs #The Jazz Foundation of America

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7amaspayrollmanager · 1 year

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Or like why we don't have PalAction here like they do in the UK bc destroying property is according to american liberal politics is equal to terrorism. The forest defenders fighting cop city just got terrorism charges and that barely broke the news.

#theres still police surveillance and brutality and all that jazz in france but idk different #but france has always been a country where workers rights and unions are better protected theres no foundation for that here #everyone in america is scared of losing their job or goijg to prison #anyway thoughts?

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hammondcast · 8 months

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“A Hammond in the House!” Organizing Director's column Volume 123, No. 8 September, 2023

Big thanks to Local 802 AFM's John Pietaro MA Director of Organizing, Mikael Elsila Communications Director Allegro Journal and longtime 802 Attorney Harvey Mars - Good news: “A Hammond in the House!” in Local 802 Club Room, the real deal dating back to 1939 folks! Jon Hammond https://www.local802afm.org/allegro/articles/john-pietaro-september-2023/ Organizing Director's column Volume 123, No. 8 September, 2023

JOHN PIETARO [email protected] Local 802 member Jon Hammond playing on Local 802’s newly-acquired Hammond model D organ at a recent Monday night jam session

Serving as Local 802’s director of organizing encompasses many aspects beyond those assumed when I initially accepted the job, not the least of which is that my office is the destination for calls our switchboard operator Judy might otherwise not know how to dispatch. One such call that came up recently was from longtime member Brien Brannigan. His outreach was singularly welcome: “Hello, I have a 1949 Hammond Organ model D with bench, bass pedals & J-20 tone cabinet that I’d like to donate.”

As a resident amateur historian in these parts, I made immediate plans to visit this fine instrument which, as Brien explained, had been a gift from his father many years before. “I’m a guitarist,” he explained, “but he purchased this organ for a recording studio I owned.” And it followed Brien to several such locations before landing in one within the Times Square area. “The studio has been sold and the new owners aren’t interested in keeping the Hammond. I guess times changed,” he stated, thoughtfully, “but I couldn’t rest until I knew it would get a good home.”

For those versed in organ lore, Hammond is legendary, its rich, all-encompassing sound reigning over countless jazz, R&B, and rock recordings. While the model B-3 was and remains the top of the line, the company manufactured several models that maintained the quite magical inner workings with differences only of size and ornamentation. Which brings us to 802’s latest acquisition. “The model D had all of the features of the B but was simpler,” Brannigan informed me “because it was designed for the military.” Wow. Well, clearly not on the frontlines; imagine Jimmy Smith (the pioneer), Brother Jack McDuff, Larry Young, Shirley Scott, Jon Lord (Deep Purple), Al Kooper or Booker T. tearing down and setting up this instrument for each battlefield advance. Regardless, our model D has much in common with the B-3. While we have the original tone cabinet (check out those woofers), Hammond hadn’t yet purchased the Leslie company when our instrument was made. Like the earlier instruments, our organ has settings for vibrato and other effects, as well as a wealth of sounds.

Long-time Local 802 member Jon Hammond may not be part of the organ-manufacturing family, but he is one of the masters of the instrument, performing over decades here and in LA, among other locations. Many thanks to Jon for giving our wonderful Hammond model D a basic tune-up.

The instrument’s powerful majesty was on full display on August 21st at the first Jazz Foundation Monday Night Jam Session we’ve hosted in several years. The crowd was filled with improvisers and the response to the instrument was wonderful.

“I’m real happy JFA Monday nights are back at the good old 802 Club Room!” Hammond remarked. Looking over his handiwork, Jon explained a bit more about the instrument: “The organ dates back to 1939; it’s built like a Sherman tank – a real piece of history, no doubt about it.”

In this article, I’ve listed a handful of Hammond giants already. For your listening pleasure, please check out these musicians and their wealth of brilliant recordings. And while we’re at it, here are more wizards of the instrument: Alice Coltrane (the visionary!), Joe Zawinul (pre-synth with Cannonball Adderly), Lonnie Smith, Gregg Alan Rolie (Santana), Isaac Hayes, Richard Groove Holmes, Rod Argent (the Zombies), Fats Waller, Joey DeFrancesco, Vincent Crane (the Crazy World of Arthur Brown), Sly Stone, Ray Manzarek (the Doors), Paul Shaffer, Ken Pearson (Janis Joplin), and far too many others to even fit within this column.

On behalf of Local 802, greatest appreciation to you, Brien Brannigan, and in turn, to your father.

NOTE: The Jazz Foundation of America MONDAY NIGHT JAM series returned to Local 802’s Club Room as of August 21 and we will continue to cherish this time-honored tradition on the third Monday of each month. Live the history — join us for this series as well as our own 802 JAZZ NIGHTS (on the second Monday of each month). The full calendar is at www.local802afm dot org/events " #afmlocal802 #musiciansunion #americanfederationofmusicians #hammondorgan #jazzfoundationofamerica

#WATCHMOVIE HERE: Jon Hammond Show 09 02 2023

Jon's archive https://archive.org/details/jon-hammond-show-09-02-2023

Youtube https://youtu.be/2C4j9jaPbsk?si=2dwAu6ln0ABvZNA7

Jon Hammond Show 09 02 2023

by Jon Hammond

Topics Jon Hammond Show, Public Access Television, Manhattan Neighborhood Network, Music, Travel, News, Jazz, Blues, Hammond Organ, PhotographyLanguage English

Jon Hammond Show 09 02 2023 from organist Jon Hammond

Music, Travel, News - Jazz Blues featuring international soloists

40th year on Public Access Television - air time 01:30 AM EST

Manhattan Neighborhood Network MNN

#HammondCast

#HammondReport

#jonhammondshow

#afmlocal802 #musiciansunion #americanfederationofmusicians #hammondorgan #jazzfoundationofamerica

AFM Local 802, John Pietaro, Hammond Organ, Jazz Foundation of America, Monday Night Jazz, Jam Session, Musicians Union, 322 W. 48th St.,

Posted 6 minutes ago by HAMMONDCAST

Labels: 322 W. 48th St.AFM Local 802Hammond OrganJam SessionJazz Foundation of AmericaJohn PietaroMonday Night JazzMusicians Union

#John Pietaro #322 W.48th St.#AFM Local 802 #Musicians Union #Jazz Foundation of America #Hammond Organ #Jazz #Jam Session #Monday Night

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stardust-swan · 1 year

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rrcraft-and-lore · 21 days

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Monkey Man and why I loved the heck out of it

At it's core, it's a Bollywood flick presented to the West with familiar nods to previous action films - I definitely picked up hints of Tony Jaa's influence on Asian action flicks throughout.

It's heavily focused on police corruption, something commented a lot about in India, and here, more importantly, Indian films. Just like America has its love affair with mobster flicks, Bollywood has a long history featuring films that showcase police corruption, sometimes tied into political extremism, fanatical or greedy religious leaders, and Monkey Man comments on all this as well and pays nods to that commonality. We've got televangelists and religious leaders in the states funnelling money, preaching prosperity gospel, and using it to influence politics and fund lavish lifestyles here.

Monkey Man shows this happening in India, and is filled with Indian culture and symbolism through out. The focus on Hanuman, the god and one worshiped by the strong, chaste, wrestlers, champions, and fighters. It's a common thing to have a household deity if you will. Some families might choose to focus worship on Ganesh, others Hanuman, some might do Mata Rani or Lakshmi. Here, it's the divine Vanara (monkey people race) - one of the Chiranjivi - immortals/forever-lived.

Hanuman. Themes of rebirth, common in South Asian history and mythology are present from Kid being a ringer, beat up fighter getting whooped for money to being reborn and facing his trauma through a ritual/meditate process that I don't want to get too much into to not spoil the movie. Post that, he begins his own self alchemy to really become the true Monkey Man. Nods to Ramayama, and an unapologetically Indian story featuring dialogues throughout in Hindi - don't worry, there are subtitles.

And of course a love for action flicks before it, all the way back to Bruce Lee. A beautiful use tbh of an autorickshaw (and you might know them as tuk-tuks in Thailand) which are popular in India with an added kick...I swear, that thing had to be modified with a hayabusa motor. Which is an actual thing people do - modding those dinky rickshaws with motorcycle engines, and considering they weigh nothing at all, they can REALLY FLY once you do that.

Monkey Man brings to the big screen other elements of India people might not know about, such as the gender non conforming and trans community that has a long history in India, presenting them as action stars as they go up against a system of corrupt elites oppressing part of the city, marginalized communities, and minority voices as depicted in the film. I'm not sure if people are going to get all of that without having the context, but I love that it does it without holding anyone's hands.

It's a fun action flick to see in the age of superhero films, and I say that as an obvious superhero/sff nerd. Also loved that Dev included a little bit about Hanuman's own story in the film, and the loss of his powers - almost mirrored by Kid's own loss of self/skills, strength until he confronts his trauma and is reborn, and in fact, remade (not necessarily the same). Also, the use of music was brilliant, including one scene with a tabla (the paired hand drums of south asia) - and Indian music is central to Indian stories.

This is a culture with evidence going back to the Paleolithic with cave murals showing art of Indian dance nearly 30,000 years ago. Yeah, that far back. As well as Mesolithic period art depicting musical instruments such as gongs, lyres, and more.

Indian music is some of the earliest we can find that has high developed beat and rhythm structures such as 5, 7, 9 and now the extremely common and known 4/4 and 3/4 - which so much of Western music is built upon. The foundations and experimentation of/in Jazz. John Coltrane and John Cage were heavily inspired by Indian music and incorporated a lot from it into their works. And Monkey Man blends Eastern and Western music through the narrative as comfortably as it does an Indian story in a very familiar Western accessible structure.

Dev did a wonderful job. And thanks to Jordan Peele for bringing it to screens.

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dustedmagazine · 27 days

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Rail Band — S-T (Mississippi)

“Marabayasa” is a groove that transcends time and geography, a monstrous monolith of funk that follows a pied piper’s sax through strutting, swaggering, stop-motion syncopation. The singer, Malian legend Mory Kanté leads an exuberant call and response, his fluid, note-bending salvo met with an echo so rhythmic, so hip swaying that it commands motion. The guitars are high and golden-toned, the piano insistent on the offbeats. When Kanté launches an instrumental break with a reverberating “waa-aa-aah,” you feel that you’re there in the heat of it, sweating and grinning.It’s the standout track on the Rail Band’s 1973 debut, a record of scorching power and body-tingling joy, performed train-side at the Buffet Hotel de la Gare. The Rail Band, you see, was the state-sponsored musical outfit of the Malian railroad.

That 1970s band included both Kanté and Salif Keita singing, Tidiani Koné on trumpet and saxophone, Djelimandy Tounkara on guitar and numerous drummers, merging traditional African sounds with mambo from Cuba, and funk, soul and jazz from America. They played five nights a week at a café in the rail station in Bamako to locals, expats, visiting businessmen and travelers. To judge by this album, it was a hell of a way to while away the hours until departure, much better than airport CNN feeds, so good that you might decide not to leave.

Consider, for instance, the fluid big-band wallop of “Moko Jolo,” this one with Koné on trumpet and sax both, both horns floating in a haze over an impacted, side-shifting beat. Percussion, on the kit and played by hand, takes the foreground in “Nantan,” setting a wandering rhythm for guitars to snake through, a shifting, phantasmagorical foundation for shadowed group vocals, the sound of distance, heat and longing baked in. It’s all very fine, intricate but physically stirring, full of skill but inflamed with feeling. Still after a while, you might find yourself turning to “Marabayasa” again, because it cooks so hard.

Jennifer Kelly

#rail band #mississippi #jennifer kelly #albumreview #dusted magazine #mali #salif keita #bamako #funk #afro-beat

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shamandrummer · 6 months

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Music as a Political Act

Cree singer Sandy Scofield sees her music as a pathway for raising awareness and celebrating culture.

Sandy Scofield is a multi-award winning composer, musician, musical director, singer, songwriter and performer. She has studied classical, jazz, African, Indonesian gamelan and electro-acoustic music. Leader of the all female Cree band of singers, Iskwew, Sandy started making music before she can even remember and has played and sung in many bands over the years. From Cajun to rock, classical and folk, the foundation she had before coming into Cree Aboriginal music incorporated a wide variety of sounds and instruments. She plays piano and guitar in addition to being a singer.

Scofield came to Aboriginal music later in life, embracing her heritage through song. She says, "I went to the Banff Centre for the Arts in 1995 and did a ten-week intensive with Sadie Buck from Six Nations in Canada -- she had this residency for urban women who grew up without oral tradition and she brought in women elders from all around Turtle Island (North America) to teach them their traditions, songs, and song traditions."

When asked whether she feels that what Iskwew does is political, Sandy said, "We have many educated people holding their PhDs and working as doctors and this and that who are changing how society views First Nations people, but largely people still think of them as the drunks down on Skid Road, and that's all part of… So, in answer to your question -- Yeah."

What we're doing is politically showing people the pride in our culture. The fact that we come out and wear regalia, just to show very basic cultural teachings, we're trying to present through the songs. I have a floating group of women based on who's available that comes with me, but some of the other women who've gigged with me are just as vocal as I am onstage. It isn't like I'm leading every song and I'm talking all the time. Some of the other women get in there and talk and talk about teachings and talk about what we're wearing and talk about our role as women in our culture and how we're esteemed.

So that's what we do, and when we get to go play international festivals it's really important because, you know, one of the girls that sings with me, she went to Italy and some guy said to her, 'Where are you from?' and she said, 'Well, I'm Cree Indian from Canada,' and he was just aghast, he was saying, 'No. They were all extinct. They don't exist,' and she's going 'You're crazy!' You know?

But there's crazy ideas out there, so especially if we're on the international stage, we're trying to show the very best of who we are. And in Canada, half of our work is in what we call Indian Country, which is all of the country except dominant society doesn't see us. So we perform for other native people or we perform for dominant society, and so when we perform for dominant society, it's the same thing again. We're trying to show the really fantastic things about our cultures, our collective culture which really concerns community, egalitarianism to a certain extent, just pride, culture, the interconnectedness of all life and that we’re interconnected with one another -- things like that."

#aboriginal music #native american artists #native music #indigenous cultures #cree nation #indian country

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mmfan1 · 7 months

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@kehlana-wolhamonao3 and @autumnrose11, thank you so much for tagging me for the six sentences of Sunday challenge. So here is a Tuesday contribution.

This is a random idea. Mary and Matthew have not yet met, it’s 1922, Mary is a recent widow with a son, who is the heir to Downton. Matthew is a widower, having lost his wife to the Spanish Flu, shortly after their wedding 3 years ago.

Matthew did not know what he was doing at this London club. He was not known for frequenting any social establishments since the war and the death of his lovely sweet Lavinia. He had buried himself in his work and when Reggie Swire, his father in law and partner in Swire and Crawley, passed and left him all his worldly goods, which turned out to be quite the fortune, he further enveloped himself in the Firm and now managing his vast wealth. He was in the process of setting up a foundation to memorialize both Lavinia and Reggie, but he had not quite selected which charities would benefit from Reggie’s fortune.

So what was he doing here? Matthew had come with several of the solicitors from his law firm to celebrate the closing of a profitable deal they had brokered. These new clubs were all the rage and he had felt obliged to indulge his staff who had worked so hard. As his employees danced to the sounds of the new jazz band from America, Matthew, sitting at a table nursing one of those new cocktails, noticed a group over at the next table. Several women and men ranging from 20’s to perhaps even 50’s dressed for the evening, though no two appeared to be a couple.

Only one of the women wore a wedding band. And that was a pity. She was beautiful, perhaps the most beautiful woman he had ever seen. She looked nothing like his Lavinia, but she was intriguing. Dark brown tresses, elegantly worn up, very aristocratic! When she stood, he could see that she had a sleek beautiful figure. And then she looked at him and he saw the most beautiful brown eyes he had ever seen. He locked eyes with her, the most magnificent women he had ever seen, but quickly looked away. The feeling was too powerful, too intense, he had never felt anything like it before.

#mary crawley #Matthew Crawley #AU #six sentence sunday #turned into preview Tuesday #1st writing in almost a year #all written on my morning commute #thank you for the challenge #@autumnrose11 #@kehlana-wolhamonao3

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filmnoirfoundation · 1 year

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youtube

James Ellroy - April 12, 2018

On April 14, 2018, the Film Noir Foundation bestowed its Modern Noir Master award on author James Ellroy during NOIR CITY: Hollywood. No artist of recent times has been more influential in bringing a truly noir vision of America into the cultural mainstream through bestselling novels such as The Black Dahlia, White Jazz, and American Tabloid, haunting and harrowing memoirs My Dark Places and The Hilliker Curse, and the many (not always successful) screen adaptations of his stories. It was for a screening of the best of these—L. A. Confidential (1997)—that Ellroy returned to Hollywood's Egyptian Theatre to accept the FNF's award from Eddie Muller. In a raucous, ribald, and sometimes controversial conversation with the Czar of Noir, Ellroy once again proves why he is the self-proclaimed "Demon Dog of American Literature."

#youtube #film noir #noir city #noir city hollywood #james ellroy #eddie muller #l. a. confidential #interview #egyptian theatre #the black dahlia #white jazz #american tabloid #the hilliker case

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shrimpmandan · 7 months

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I don't think the post is saying "these things weren't made by WASP Americans so they aren't really American art." It's more just pointing out that the foundation American media at large is built on started with minorities who are still largely discriminated against in America.

Which is absolutely true, given how Native Americans have been treated. But 1) it's still fucking braindead to say that comics and jazz are the only "original American arts" and 2) it still very much came off to me that they were tryna act like these things aren't actually original American contributions because they were invented by minorities. Or almost that it's like. Embarrassing for them to have been invented by minorities.

I also saw several people in the notes talking about how "oh, Americans have no culture and never contributed anything original!" because they literally think "American" is a stand-in for "White" and that nonwhite American culture just doesn't exist.

It'd basically be like if people drew attention to LGBT people's contributions to various arts exclusively as a way of undermining America's contributions to the art world instead of being an enrichment of it. Our culture is made far richer by the contributions of minority Americans, and that's not something to be embarrassed over. Tbqh the only reason it SHOULD be embarrassing is because like you said, the fact that people eat up our community's contributions to their culture but continue to shun the people themselves (like how people will spew colonialist nonsense but ramble on and on about how cool Native American culture is).

So yeah. Even if I misread the tone of the post, it's still objectively incorrect to say that America only has like, 4 original contributions to the arts. Or that America has no culture. Or that the contributions of minorities only exist as a gotcha as opposed to being part of the "melting pot of cultures" that America (tries) to present itself as.

#asks #hopefully this all makes sense i didnt proofread it a whole lot #even giving OP the most charitable interpretation it's still a dumb post even if the info contributed by other people on it is cool

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jaisdiary · 1 year

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Music: The House

A house would be nothing without foundation. A foundation is so integral because it keeps the home stable and leveled and is the base of all things to be built. The same thing can be said about music. Without years of artists setting the foundation for artists to come, nothing could have been built, let alone built to last for as long as it has.

Luther Vandross was a famous musician during the early eighties up until the moment he passed in the early 2000s. He is most famously known for his rendition of Dionne Warwick's "A House is Not A Home." A slow-tempo ballad based on a house being an inanimate object but the makings of that particular person making a house a home. This song set the foundation later for Kanye West, a rapper who became popular during the late 2000s, to sample this song in his song"Slow Jamz," featuring Jamie Foxx and Twista. This song samples the pre-chorus of the song and then interpolates Vandross singing, "Well, well," instead of the original blues touch and slow tempo of the original song. West uses an upbeat tempo yet with the song's primary consonance. These two songs are an excellent example of music from the past influencing music for years to come.

Speaking of strong built houses, one of the most solid homes you can ever build is one made up of brick. The Commodores use this fact as apart of their analogy for a nicely "built" woman in their funk hit "Brick House." Consisted of elements of jazzy instruments and bass guitar elements, this funk song talks about a woman's physique and compares it to a brick house and its solid nature. The song's chorus is extremely catchy, and the band makes excellent use of its instruments to create a funky sound. This song is one that has stood the test of time and will continue to for years to come.

House is not a only building it is also a subgenre of Electronic music. House is a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute. It was born in Chicago when DJS were experimenting at a club called "The Warehouse." During this time, the Disco scene was dying out and Black DJs were looking for something to boost the party scene. A notable artist Jesse Sauders was one of the originators of the House scene. His mix On&On is one of many popular mixes he created and a staple in the House genre. Merged with many different elements of disco, jazz, and funk. The House genre is also a great example of foundation setting in music. Not only does genre interpolate many other genres and past music. Artists later used it down the line. Artists such as Azealia Banks, Drake, and Beyonce have recently used house music in their artistry. In her most recent album titled "Renaissance," Beyonce brought many of those touches back to the forefront. In songs such as "AMERICA HAS A PROBLEM," and "I'M THAT GIRL," she really channels the electronic and almost robotic feel of the original house feel. The foundation House music set has allowed for beautiful projects to be created. The house music foundation will continue to be used in many different ways as well. It has become an important part of music and culture and will continue to be for years to come.

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lboogie1906 · 1 year

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Roy Owen Haynes (born March 13, 1925) is a jazz drummer. He is among the most recorded drummers in jazz. In a career lasting over 80 years, he has played swing, bebop, jazz fusion, and avant-garde jazz and is considered a pioneer of jazz drumming. "Snap Crackle" was a nickname given to him in the 1950s. He has led bands such as the Hip Ensemble. His albums Fountain of Youth and Whereas were nominated for a Grammy Award. He was inducted into the Modern Drummer Hall of Fame. His son Graham Haynes is a cornetist; another son Craig Holiday Haynes and grandson Marcus Gilmore are both drummers. He was born in Boston to Gustavas and Edna Haynes, immigrants from Barbados. His brother, Michael E. Haynes, became an important leader in the community of Massachusetts, working with Martin Luther King Jr. during the civil rights movement and for forty years serving as pastor of the Twelfth Baptist Church. He made his professional debut in 1942 and 1945 began his full-time professional career. He worked with saxophonist Lester Young and was a member of saxophonist Charlie Parker's quintet. He recorded at the time with pianist Bud Powell and saxophonists Wardell Gray and Stan Getz. He toured and recorded with singer Sarah Vaughan. He lent his voice to the open-world video game Grand Theft Auto IV. He was awarded the Danish Jazzpar prize, and the French government knighted him with the Chevalier de l'Ordre des Arts et des Lettres. He received honorary doctorates from the Berklee College of Music, the New England Conservatory, as well as a Peabody Medal. He was inducted into the DownBeat magazine Hall of Fame. He was awarded the Mid Atlantic Arts Foundation's BNY Mellon Jazz Living Legacy Award. His album Birds of a Feather: A Tribute to Charlie Parker was nominated for the 44th Annual Grammy Awards as Best Jazz Instrumental Album. He was named a recipient of a Grammy Lifetime Achievement Award by the National Academy of Recording Arts and Sciences and he received the award at the Special Merit Awards Ceremony & Nominees Reception of the 54th Annual Grammy Awards. He was given the Lifetime Achievement Award by the Jazz Foundation of America. #africanhistory365 #africanexcellence https://www.instagram.com/p/Cpuo_c-uV4r/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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ooccoo · 1 year

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WHY did they pick jazz btw. i mean i know the answer ok they wanted to set korra in 1920s-30s america and jazz is an integral part of that era, but it has its roots in *checks notes* BLUES and BRASS BAND and SHOWTUNES, all of which are quintessentially american traditions. jazz obviously exists in east asia and southeast asia but if you dont have america in your setting im sorry but jazz music just does not make sense. there are so many cool musical traditions in china, japan, indonesia, veitnam, the philippines... u cld absolutely think about what kind of musical traditions would emerge after the colonization of the earth kingdom by the fire nation!!! but u cant. u wont. bc atla, and lok, are americanized versions of these cultures. theyre all muddled up with american pop culture and literary and musical traditions. so when u think post-industrial revolution, u think early 19th century america, u think abt the cultural foundation of america and europe and then mix in east/southeast asian influences. avatar is not fundamentally asian, its fundamentally the creation of two white american dudes with a fascination for asian culture!!! its that fucking simple

#so yeah i dont think the new series will be any good

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hammondcast · 8 months

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Local 802 Anointing Hammond Model D Organ Monday Session Early Bird Jon Hammond

#WATCHMOVIE HERE: Local 802 Anointing Hammond Model D Organ Monday Session Early Bird Jon Hammond

Jon's archive https://archive.org/details/local-802-anointing-hammond-model-d-organ-monday-session-early-bird-jon-hammond

Youtube https://youtu.be/6dlTP3d1j_c?si=XFmOh0U9gQbiEfPt

FB Bill Wurtzel guitar - Jon Hammond organ

Instagram https://www.instagram.com/p/CwRtt-TJwl7/

Local 802 Anointing Hammond Model D Organ Monday Session Early Bird Jon Hammond

by Jon Hammond Publication date 2023-08-22Usage Attribution-NonCommercial-NoDerivs 4.0 International Topics Jazz Jam, Monday Night, Jazz Session, 1939 Hammond Organ, Model D Hammond, Jazz Foundation of America, Local 802, AFM, Jon Hammond, Organist, Free AdmissionLanguage English

Big honor to do the honors on this 1939 model D Hammond organ last night, Local 802 AFM's latest acquisition in the Club Room - the Monday Night Jazz Jam's are back at 802 sponsored by the good folks at Jazz Foundation of America - free admission! 3rd Monday's, 322 W. 48th Street NYC - Jon Hammond #jazz #jamsession #jazzfoundationofamerica #local802musicians #FreeAdmissionAddeddate 2023-08-23 06:08:45Identifier local-802-anointing-hammond-model-d-organ-monday-session-early-bird-jon-hammond

Topics Jazz Jam, Monday Night, Jazz Session, 1939 Hammond Organ, Model D Hammond, Jazz Foundation of America, Local 802, AFM, Jon Hammond, Organist, Free AdmissionLanguage English

Topics, Jazz Jam, Monday Night, Jazz Session, 1939 Hammond Organ, Model D Hammond, Jazz Foundation of America, Local 802, AFM, Jon Hammond, Organist, Free Admission, Language English

Posted 4 minutes ago by HAMMONDCAST

Labels: 1939 Hammond OrganAFMFree AdmissionJazz Foundation of AmericaJazz JamJazz SessionJon HammondLanguage EnglishLocal 802Model D HammondMonday nightOrganistTopics

#jazz #1939 Hammond Organ #Free Admission #Local 802 Musicians #Jazz Foundation of America #Hammond model D #Monday Night #Jazz Session #Organist #Language English #Blues

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systementcorp · 1 day

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Introduction African-American music has played a significant role in shaping the cultural landscape of America and the world. From the spirituals and work songs of enslaved Africans to the blues, jazz, gospel, and hip-hop of today, African-American music has been a powerful force for resilience and resurgence. This article explores the enduring influence of African-American music and how it continues to inspire and uplift people of all backgrounds. The Roots of African-American music The roots of African-American music can be traced back to the African continent, where music was an integral part of everyday life. Enslaved Africans brought their musical traditions with them to America, where they found new ways to express themselves through music. The spirituals sung by enslaved Africans were a form of resistance and a way to find solace in the face of oppression. These spirituals laid the foundation for the development of other genres of African-American music, such as the blues and gospel. The Blues and Jazz The blues, with its raw emotion and soulful lyrics, emerged in the Mississippi Delta in the late 19th century. African-American musicians used the blues as a way to express their pain and struggles, but also their resilience and hope. Jazz, which grew out of the blues, became a symbol of freedom and creativity. Jazz musicians like Louis Armstrong and Duke Ellington broke down barriers and paved the way for future generations of African-American musicians. Gospel music Gospel music, with its powerful vocals and uplifting messages, has been a source of strength and inspiration for African-Americans for generations. Gospel music grew out of the spirituals sung by enslaved Africans and evolved into a vibrant and dynamic genre that continues to resonate with people of all backgrounds. Artists like Mahalia Jackson and Aretha Franklin brought gospel music to the mainstream and helped to shape the sound of American music. Hip-Hop and R&B Hip-hop, with its roots in the Bronx in the 1970s, has become a global phenomenon and a powerful form of self-expression for African-American youth. Hip-hop artists like Tupac Shakur and Notorious B.I.G. used their music to speak out against social injustice and inequality. R&B, with its smooth melodies and soulful vocals, has also had a profound influence on the music industry. Artists like Beyoncé and Marvin Gaye have used R&B to connect with audiences on a deep and emotional level. The Enduring Influence of African-American music African-American music continues to be a powerful force for resilience and resurgence in today's world. Artists like Kendrick Lamar and Beyoncé are using their platforms to address issues of race, inequality, and social justice. African-American music has the power to bring people together, to inspire change, and to uplift the human spirit. Its influence can be seen in all genres of music, from rock and pop to country and classical. FAQs What is the significance of African-American music? African-American music has played a crucial role in shaping the cultural landscape of America and the world. It has been a powerful force for resilience and resurgence, inspiring and uplifting people of all backgrounds. How has African-American music evolved over time? African-American music has evolved from the spirituals and work songs of enslaved Africans to the blues, jazz, gospel, and hip-hop of today. Each genre has its own unique sound and message, but all share a common thread of resilience and hope. Who are some influential African-American musicians? There have been many influential African-American musicians throughout history, including Louis Armstrong, Duke Ellington, Mahalia Jackson, Aretha Franklin, Tupac Shakur, Notorious B.I.G., Beyoncé, and Kendrick Lamar, among others.

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hannahsheppardsblog · 20 days

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“What Is the Blues?” BBC Bitesize, www.bbc.co.uk/bitesize/articles/zkbh2v4#:~:text=The%20origins%20and%20birth%20of%20the%20blues&text=Although%20the%20blues%20evolved%20in. [Accessed 8 Apr. 2024.]

evolved in the southern states of america in the late 19th century

musical influences from africa, because african enslavary brought new music when transported to north american colonies: spiritual and work songs

spiritual songs would be sung in church and work songs in the plantations. these combined with african rhythms would form the foundations of the blues

work songs would be call and response in time with the task at hand

when this combined with the folk music in america from the european settlers, this would produce a new style of music

country blues was the first version, usually a solo singer with a guitar or piano and sometimes a harmonica or drums

majority of blues musiccians are descendents from africa who were brought to america during the slave trade

country blues musicians include: lead belly, blind lemon jefferson, robert johnson

early blues:

the delta blues first recorded in 1920s and originated in missisippi in the delta (this place was full of poverty and plantation workers were living in harsh conditions)

traditional songs handed down my word of mouth, lyrics often changed.

this style is very rhythmic with strong vocals and powerful lyrics

blues music is characterised by sad melodies

bessie smith and robert johnson made the blues popular in 1920s.

by 1940s/1950s the style had developed into rhythm and blues (rnb) and was introducing new instruments like electric guitar and bass

social changes:

in early 20th centrury large numbers of people started moving to industrial cities.

after the civil war and emancipation of enslaved people, the blues spread along side the people who played it, who moved up north to places like chicago where the blues became hugely popular

new styles of blues emerged, like city blues and urban blues.

city blues was popular in black clubs and bars.

some blues styles were influenced by jazz music and had amplified bands

city blues musicians include: elmore james, howlin' wolf, t-bone walker, b.b. king

blues guitarist t-bone walker pioneered the rock guitar sound and technique

by the 1960s bl;ues had spread beyond america, to uk and western europe, eric clapton and stan webb

features of blues songs

4 beats in a bar

built on the 12 bar blues form

use 3 four-bar phrases

blues lyrics:

raw and full of emotion, dwelling on love and lonliness

about injustice and hopelssness with the longing for a better life

use slang and double meanings

passed on from musican to musician through oral tradition

impact:

the blues have impacted almost every popular musical style

the simplicity of the 12 bar structure has given artists to express within a frame work that can be interpreted in many different ways

This has helped me to get a better understanding of blues music which i need if i am to successfully relate to the Belgium&Blues bar as well as to create successful branding for them.

There are already some connections i am making between beer branding and blues music, like the features of blues songs having '4 bars' which has links to both music and a 'beer bar'.

I want to look at how visuals for blues music have evolved over time to support this research in the hope it will lead me to some visuals

#research #contextual #final major

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