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JJ Johnson - Willies Escapes. Review Here's the latest in the series of double albums that round up rare original B-Boy breaks, the kind that found greater fame as samples much later. As ever, selections largely hail from the 70s soul and funk worlds and include the lazy boogie stomp of "Checkin Out Your Love", the groovy percussive freak-out of "Drummer Man" and the crazy Moog-fest of "Tryin To Get Over".
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This title of this generous CD anthology is a bit of a misnomer: While it includes several blaxploitation film themes, it is much more than just a strict genre compilation. Although there are the expected soundtrack picks like "Shaft" by Isaac Hayes and "Superfly" by Curtis Mayfield, this album also includes plenty of non-soundtrack items to create a convincing urban atmosphere.
The producers wisely layer in some interesting obscurities along with the obvious choices, and this helps to keep things fresh and interesting. Some of the unexpected highlights in the soul arena include Esther Phillips' intense but controlled reading of the Gil Scott-Heron message song "Home Is Where the Hatred Is" and Bootsy Collins' "I'd Rather Be With You," a lovely ballad that reins in his tendency for cartoon wackiness to create a moody and genuinely romantic atmosphere.
There are also plenty of extended jazz-funk selections like "Expansions" by Lonnie Liston Smith and Deodato's famous remake of "Also Sprach Zarathustra," which keep the good grooves rolling as they enhance the compilation's soundtrack feel. If there is a downside to the compilation, it is that the different styles of music it contains are not mixed together in a balanced fashion.
For instance, three lengthy jazz fusion cuts all play out back to back on the first disc; they might have been more effective if interspersed with some of the vocal-oriented tracks. Just the same, this an admirable package that effectively blends favorites and left-field choices to create a distinctive musical experience.
A slick booklet, which mixes pictures of the artists with cheeky yet informative liner notes and photos designed to resemble blaxploitation film stills, rounds the package out nicely. Anyone with an interest in the classic soul sounds of the s should definitely check Blaxploitation. More Blaxploitation. Can You Dig It?
Trombonist Anderson has assembled quite a quintet for this tribute to the blues, dubbed the Lapis Lazuli Band. Keyboardist Amina Claudine Myers, mostly on organ, electric guitarist Jerome Harris, electric bass guitarist Lonnie Plaxico, and drummer Tommy Campbell are the funkifiers. Anderson and Myers sing on several cuts, sometimes kitschy or jive, but mostly in a good-time spirit. Anderson's trombone playing is always interesting to listen to as he is able to exploit all the smearing, plungered, and wailing techniques of a 'bone to full effect.
It's also a treat hearing Myers and Harris getting down in this context. Jackie Raven contributed the lyrics to four of nine tracks, with all the music written by Anderson.
Of the vocal cuts, "I'm Not a Spy Blues" is pleading but convincing, and very cute. Less enjoyable are the overt pop-funk of "Mirror Mirror" with some good call-and-response singing from Anderson and Myers, while "Damaged But Good," a play on "damaged goods" is a slow, stealthy, late-night blues groove, with Anderson and Myers admitting their faults amidst a wah-wah bridge, and trombone and guitar observing the confessions under a full moon.
The instrumental pieces are extra hip. While not quite terrific, "Funkorific" is quite enjoyable, a fun loving romp through various phases of blues-cum-jazz expressionism by musicians who feel it in their bones.
Not sure if Lapis Lazuli is a one shot -- hopefully not, because this band has a deep well to mine. Funkorific Kenny Dorham - Jazz Trumpet. Bocato - Jazz Brazil.Samba rose from outlawry in the s to become an icon of Brazilian unity, offering the black and the poor symbolic compensation for material exploitation. Since the s, however, some have found in African-American soul and funk an antidote to the ideology of subaltern integration.
Funk cariocathe first Brazilian genre of electronic dance music, was born in MCs earn their living from live performances, whereas DJs can also count on studio production as a source of income.
Also known outside Brazil as baile funk funk dancethe music Brazilians call funk carioca funk from Rio de Janeiro city derives not directly from African-American funk but from a variety of US hip-hop known as Miami bass.
Bailes funk in turn relate to the bailes black black dances of the s, which had themselves been fed by US soul and funk. The huge popularity of both bailes black and bailes funk can be judged from some estimates of those attending. Some of them reached an attendance figure of as many as 15, Frias1. When, in the s, electro and Miami bass replaced funk and soul as the soundscape of choice for the marginalized youth of Rio, the anthropologist Hermano Vianna estimated that bailes funk were taking place every weekend in the greater Rio area, each attracting from a failure to 1, the average2, no less than one hundred dances to as many as 10, funkeiros funk carioca funkstersmaking a total of at least one million young people every Saturday and Sunday Vianna In DJ Marlboro estimated that every week in the Rio de Janeiro state bailes were each bringing together an average 2, funkeirosamounting to at least one and a half million young boys and girls each week Matta and Salles The appropriation and resignification by Brazilian artists of African-American music from the United States is as old as the recording industry itself.
But whereas in his recording Johnson, despite being African-American, caricatures the behaviour of a black man according to white stereotypes, Neves, also of African descent, mocks bootlicking, which he presents as a widespread trait of Brazilian society.
Resignification follows from a fundamental property of phonography: a sound produced at one time at one place resounds here, now, and acquires thereby inherently new meanings. In Brazil, the military shut down the Congress and gave the de facto president legislative and judiciary powers.
The forceful appearance of unheard-of year old Clementina de Jesus surrounded by the elite of samba in the musical Rosa de Ouro Golden Rose in could have provided the blueprint for radical African-Brazilian vocality. Instead, Brazilians turned to soul and funk as signs of freedom. Recorded in the previous February, the single of the song had been waiting in the drawers of the censorship service; now, in June, it was finally released. Despite these popular successes, the sight of undomesticated Afro-Brazilian showmanship triggered a multimedia war: two years later, Tornado was driven away from the country, Simonal brought to court and slandered; deeply wounded, Chaves died of heart attack in Any unsettling feelings that the image of a white woman singing her surrender to a black male body on prime time TV might arouse were conveniently deflated by her characterization as a clown.
The contemporary cultural press viewed such novelties as threats from the foreign music industry.Aproveitem, escutem, divulguem! Muhammad was an endorser of Istanbul Agop Cymbals. He died aged 74 in Power of Soul House of the Rising Sun Turn This Mutha Out Boogie to the Top Make It Count All Music on Valvulado!!!! Croce 1 A. Salim 1 A.
Skhy 1 A. Reed 1 A. Brown 1 Dr. Duke Tumatoe 1 Dr. John 1 Dr. Cale 2 J. Hankey 1 Mr. Where Are YOU???? Contatos imediatos. Blogs recomendados. With The Song Of Life. Instrumental Music Cafe.
False Memory Foam. Egroj World. Cun Cun Revival Rock liquias. Only Good Song. Muro do Classic Rock. Willie Said Zero G Sound. Manifesto Underground. Funk My Soul. Schnickschnack Mixmax. Jazz Rock Fusion Guitar.Press ESC to exit. Email or Username.
Password Forgot login? Discover Featured Music Videos People. Sign up Sign in. All rights reserved. Filter Stream Select the types of content you would like to see. Top 8. Uma Chance. Jingle Black. Good Bye. Mandamentos Black. Funk Brother Soul Ao Vivo. Similar Artists Anna "Luna" Lucas. Info Connections Comments Shares. Search Myspace Start typing Please try again. Photo from. You're now in slide show mode. Forgot password? Keep me signed in. Your email? The email you used to create your account.
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Use this to log in to your account, receive notifications and get handy updates from us. Date of Birth? Please enter the account owner's birth date here. We based it off your Facebook details.Aproveitem, escutem, divulguem! Gilbert "Gil" Scott-Heron April 1, — May 27, was an African-American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the s and s.
His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron.
His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His music, most notably on the albums Pieces of a Man and Winter in America in the early s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul.
His recording work received much critical acclaim, especially one of his best-known compositions, "The Revolution Will Not Be Televised". All Music on Valvulado!!!! Croce 1 A.Gerson King Combo + Banda Black Rio + Quarteirão do Soul - "Uma chance"
Salim 1 A. Skhy 1 A. Reed 1 A. Brown 1 Dr. Duke Tumatoe 1 Dr. John 1 Dr. Cale 2 J. Hankey 1 Mr. Where Are YOU???? Contatos imediatos. Blogs recomendados. With The Song Of Life.
Instrumental Music Cafe. False Memory Foam. Egroj World. Cun Cun Revival Rock liquias. Only Good Song. Muro do Classic Rock. Willie Said Zero G Sound.General Comments. December 25, This is the place for any comments you have that don't relate to a specific post. This is a place where you can leave any requests, suggestions and opinions that you have about this blog.
It will always remain at the top of the blog so that it is visible to everyone. We can use this as a forum for an open discussion on music in general, as well as just simply saying hi.
Let's get the ball rolling. Read more. March 29, I realized that the last time I posted was exactly three months ago, so it's somewhat serendipitous that I decided to post today. I have been teleworking the past couple weeks once the company discovered that there were two employees in our building that tested positive for Coronavirus. Considering this, I have chosen to completely sequester myself to my domicile, and am happy to report that I have not exhibited any symptoms of the virus.
I can't remember the last time I stepped outside when it wasn't for a trip to the mailbox or a quick stop at the grocery store. Is there really an outside? Is it going to feel like I've landed on the moon when my feet finally hit the ground knowing that I can actually interact in close proximity with others. Imagine what that first concert will feel like, engaging in communal activity with those who, like me, have been isolated for a very long time.
In reality, I've maintained a somewhat hermetic existence even when the planet h…. Favorite Albums of December 29, As I sit here banging away at my keyboard, I'm reminded that another year has practically transpired right before my eyes. It's been an eventful year for me in the way of dealing with one downfall after another, but uneventful in just about every other facet of life. When I say it's been a struggle, that's the understatement of the year.
For the icing on the cake to this shit storm of a year, I have been gifted with a head cold that has had me up all night hacking up a lung throughout my entire Christmas break.
If I'm being honest, I'd give anything to go back in Doc Brown's Delorian tochange the results of the election so the cataclysmic events that have happened since are reversed and all is well in the world. Alas, that's not how life works, but music will always be there for me. Even, when music appears to be letting me down, it still manages to boost my endorphins to a level that makes me smile. I went through a phase of a month this years ….
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