The News Review:
- … : Howlin’ at the Moon a fundraiser for a Mississippi…
- Where Tom Sawyer meets Elvis Presley
- The Reinvention of Jazz
- Patrick Yandall-New York Blues :: eJazzNews.com : The Number ne Jazz…
- Double bill at House of Blues
- Youthful Sensations in Cincinnati
- Jim Morrison | Music Videos News Photos Tour Dates Ringtones and…
… : Howlin’ at the Moon a fundraiser for a Mississippi…
Northeast Mississippi Daily Journal – Apr 18, 2007
“It’s in honor of Howlin’ Wolf. We need to raise the money for the marker – that thing’s going to be super cool for our area” Ramsey said. The markers from the Mississippi Blues Commission highlight an area important to blues music in the state. For the fundraiser Willie King Flathead Ford Big Joe Shelton Blind Mississippi Morris and Willie James Williams with the Black Prairie Blues Kings will provide the blues while 2 Brothers Barbecue Sauce will whip up the barbecue. Howlin’ at the Moon will take place at Waverly Waters about five miles east of the Waverly Golf Course. Waverly Waters will be transformed into “Wolf’s Juke” for the evening. Ramsey suggested folks bring their lawn chairs.
Where Tom Sawyer meets Elvis Presley
Traverse City Record Eagle – Apr 18, 2007
Louis Memphis Clarksdale and New rleans. Memphis stands out. It is known as the birthplace of rock and roll as well as the home of the blues. It also helped plant soul and gospel music in the American conscience. Elvis Presley is the best known local icon but there were many others who made it big through the recorded sounds of Sun Records the Memphis-based music studio known for discovering American idols long before the popular television show. Johnny Cash Ike Turner Carl Perkins B.
The Reinvention of Jazz
Atlantic nline – Apr 18, 2007
His recent Pulitzer Prize in Music awarded for his 2006 album Sound Grammar provides a fitting occasion to look back at two Atlantic essays that shed light on Coleman and his unconventional music. In “rnette Coleman and the Circle with a Hole in the Middle” (December 1972) Robert Palmer recounts a visit to Coleman’s SoHo loft. Coleman had just completed Skies of America a full-length work for soloist and symphony orchestra. ver a game of pool Palmer listened to Coleman speak about art race and the way his music had been received in America. Coleman told Palmer that the “tragedy of America” was a racial tragedy and that he was “so tired of feeling that being black in America has something to do with not being white in America… The jazz world was still trying to come to terms with Coleman’s legacy in the mid-1980s when Francis Davis penned “rnette’s Permanent Revolution” (September 1985). Davis recalled the frenzied responses both positive and negative to Coleman’s East Coast nightclub debut at the Five Spot Café in Greenwich Village on November 17 1959. As Davis noted musicians themselves rejected Coleman’s blues-inspired raggedness as well as his disregard for the rules: “What must have bothered musicians still more than the unmistakable southern dialect of Coleman’s music was its apparent formlessness its flouting of rules that most jazz modernists had invested a great deal of time and effort in mastering. ” Davis elaborated as follows: It has often been said that Coleman dispensed with recurring chord patterns altogether in both his playing and his writing. The comment is not entirely accurate however. Rather he regarded a chord sequence as just one of many options for advancing a solo.
Patrick Yandall-New York Blues :: eJazzNews.com : The Number ne Jazz…
eJazzNews – Apr 18, 2007
Both albums were light-years ahead of their time and proof that what Beck did still leaves people with their jaw dropping to floor particularly musicians with a penchant for jazz-rock-fusion. Yandall pulls out all the stops on ?Cause We Ended As Lovers? and strangely enough I find myself listening to the original version as I write this now. Music provides passionate inspiration and a great album like New York Blues had me reaching into my archives for more music of the same not to mention having the desire to hear this album repeatedly. Another barn burner is an Allman Brothers favorite ?In Memory of Elizabeth Reed? one of the best sessions Dicky Betts ever produced. Again Yandall does it justice. I think the one track that really shows off his chops is ?Deception Point. ? It runs just shy of five minutes but every second of it is a crescendo of instruments assaulting your senses albeit in very pleasing way.
Double bill at House of Blues
Las Vegas Review-Journal – Las Vegas Review-Journal – Apr 18, 2007
18 2007Copyright © Las Vegas Review-Journal NEN WEDNESDAYDouble bill at House of BluesIf Chantal Kreviazuk’s music reminds you of Avril Lavigne there’s a direct connection. Kreviazuk and musician husband Raine Maida have contributed to albums by Lavigne and Kelly Clarkson… films and TV shows. She shares the stage with Five For Fighting in a 7:30 p. show at the House of Blues at Mandalay Bay 3950 Las Vegas Blvd. Tickets are $27; call 632-7600.
Youthful Sensations in Cincinnati
NPR – Apr 18, 2007
A few years back 17-year-old Christoph Sassmannshaus had to come to terms with almost every cellist’s nightmare—arm surgery. He had to put down his cello for a year but that didn’t stop him from playing music. He discovered the blues and learned how to play the music on the harmonica. He bought several of the instruments which he found to be quite handy and easy to take along on his many skateboarding expeditions. After recovery Sassmannshaus began playing his cello for kids with special needs. “It’s such a special feeling to come into the class and have one of the kids who was not very social at the beginning of the year grab your hand and want to sit next to you” Sassmannshaus explains “being able to bring live music into that setting was really special to me. “Christoph Sassmanshaus plays “Prayer” by Ernest Bloch.
Jim Morrison | Music Videos News Photos Tour Dates Ringtones and…
MTV.com – Apr 18, 2007
Unlike other psychedelic artists who tended to favor whimsy or mysticism Morrison saw expansion of consciousness as a way of gaining access to the subconscious mind’s dark unacknowledged desires; his rampaging id dominated his songs with a lust for violence sex alcohol drugs self-destruction anything forbidden for any reason by the authority of conservative middle America and he tried to live out that lifestyle as best he could. Some of Morrison’s work has been criticized — both during his lifetime and afterward — as too melodramatic and calculatedly outrageous but even at his most frustrating Morrison’s ideas have achieved a lasting resonance with newer generations as well as his initial fans and his best material remains some of the most original and visionary rock music ever recorded. James Douglas Morrison was born on December 8 1943 in Melbourne FL. His father was a rear admiral in the U. Navy and the family thus moved around a great deal… Petersburg Junior College and Florida State University for a year apiece Morrison moved to the West Coast to study film and theater at UCLA in 1964. He became infatuated with the poetry of William Blake and the writings of philosopher Friedrich Nietzsche and he gradually drifted away from school to work on his poetry and experiment with drugs particularly LSD. In 1965 Morrison so greatly impressed film-school classmate Ray Manzarek (a classically trained keyboardist and member of a local blues band) with his early attempts at lyric writing that the two decided to form a band. Robbie Krieger and John Densmore were soon recruited from the Psychedelic Rangers and. Morrison was a tentative frontman at first avoiding eye contact with the audience and sometimes even singing with his back to them but he soon came out of his shell flinging his mike stand around and using it as a phallic symbol.