A Paler Shade of White.(American pop music)
The News Review:
- A Paler Shade of White.(American pop music)
- … Gangster Shows For Early November – News Story | Music…
- Benny Carter Centennial – Jazz – Review – New York Times
- Ladies Singing the Blues
- Hendrix experience lives again at PPAC
- Rissi Palmer breaks color lines with ‘Country Girl’
A Paler Shade of White.(American pop music)
Free with registration – New Yorker – AccessMyLibrary.com – Oct 22, 2007
The band six men and three women shared the stage with half a dozen curved screens and slender red fluorescent lights which encircled the musicians like a ring of candles. In January at a less elaborate show in a small London church the band’s members had called to mind Salvation Army volunteers who had forgotten to go home after Christmas–their execution was ragged but full of brio–and I had spent the evening happily pressed against the stage. At the United Palace even though the music was surging in all the right places I was weary after six songs. My friend asked me “Do they play everything in the same end-of-the-world style?” Arcade Fire’s singer and songwriter Win Butler writes lyrics that allude to big potentially buzz-killing themes: guilt rapture death redemption. And because for the most part he deals convincingly with these ideas the band has been likened to older bands known for passion and gravitas including the Clash. (n tour Arcade Fire sometimes plays a cover of the Clash’s anti-police-brutality anthem “Guns of Brixton. “) By the time I saw the Clash in 1981 it was finished with punk music… It had just released “Sandinista!” a three-LP set consisting of dub funk rap and Motown interpretations along with other songs that were indebted–at least in their form–to Jamaican and African-American sources. As I watched Arcade Fire I realized that the drummer and the bassist rarely played syncopated patterns or lingered in the low registers. If there is a trace of soul blues reggae or funk in Arcade Fire it must be philosophical; it certainly isn’t audible. And what I really wanted to hear after a stretch of raucous sing-alongs was a bit of swing some empty space and palpable bass frequencies–in other words attributes of African-American popular music. There’s no point in faulting Arcade Fire for what it doesn’t do; what’s missing from the band’s musical DNA is missing from dozens of other popular and accomplished rock bands’ as well–most of them less entertaining than Arcade Fire. I’ve spent the past decade wondering why rock and roll the most miscegenated popular music ever to have existed underwent a racial re-sorting in the nineteen-nineties. Why did so many white rock bands retreat from the ecstatic singing and intense voicelike guitar tones of the blues the heavy African downbeat and the elaborate showmanship that characterized black music of the mid-twentieth century? These are the volatile elements that launched rock and roll in the nineteen-fifties when Elvis Presley stole the world away from Pat Boone and moved popular music from the head to the.
… Gangster Shows For Early November – News Story | Music…
MTV.com – Oct 22, 2007
)” the first two tracks to surface from the LP the savvy rapper decided to take it to the road to quench his thirsty fans. n Monday (ctober 22) Def Jam announced Hovito’s first dates in support of the LP. Jay has lined up five dates at intimate venues across the country beginning with a show at the House of Blues in West Hollywood California the date American Gangster hits shelves. Immediately after the California stop Jay will make a quick jaunt to the Midwest with a show in Chicago (November 7) also at the House of Blues. After that he’ll rally for an East Coast swing through Baltimore at Rams Head Live! (November 9); New York’s Hammerstein Ballroom (November 11); and the Fillmore in Philadelphia (November 12). Jay is currently putting the finishing touches on the album which he has said.
Benny Carter Centennial – Jazz – Review – New York Times
New York Times – Oct 22, 2007
Even with the introduction of a few singers (Cynthia Scott on “When Lights Are Low” and the orchestra’s trombonist Vincent Gardner singing the ersatz cowboy lyrics in “Cow Cow Boogie”) most of them reflected the compression of the recordings. They made their point as quiet glides or rubbery riff tunes or saxophone-section bonanzas then vanished. The second section of the concert opened the music up a little more. “Doozy” a stylish Carter blues from his 1961 record “Further Definitions” is three and a half minutes on the recording; on Friday it ran longer and deservedly so. They cracked it open. Bob Wilber appeared as a guest soloist and in the middle of the tune traded solos on sopranino saxophone with the baritone saxophonist Joe Temperley little horn against big horn. Then the focus shifted to the alto saxophonists Ted Nash and Sherman Irby Mr.
Ladies Singing the Blues
Jazz-Quad – Oct 22, 2007
Rasmussenn Monday ctober 22 2007 at 7PM Community Works in association with New Heritage Theatre Group and Columbia University’s Center for Jazz Studies continues the highly acclaimed harlem is Music – Ladies Singing The Blues Concert Series with the phenomenal Sandra Reaves-Phillips in her one woman show The Late Great Ladies of Blues & Jazz at The Schomburg Center for Research in Black Culture (515 Malcolm X Boulevard at 135th Street). Sandra Reaves-Phillips has appeared in such well known television shows and films as Law & rder Another World and the classic film Lean on Me. The Late Great Ladies of Blues & Jazz conceived and created by Ms. Reaves-Phillips captures the essences of the legendary Bessie Smith Ma Rainey Ethel Waters Billie Holiday Dinah Washington and Mahalia Jackson. These one-of-a-kind ladies put their hearts and souls into songs spreading joy and excitement.
Hendrix experience lives again at PPAC
Providence Journal – Oct 22, 2007
In the early going the guitar players who stood up to take the Hendrix mantle were lesser-known citizens of Planet Guitar and their results were mixed. (The hard-working rhythm-section players included luminaries such as Chris Layton and Tommy Shannon of Double Trouble best known for backing Stevie Ray Vaughan and bassist Billy Cox of The Band of Gypsies. ) Eric Gales began the show with some nice squalling solo tones particularly on “May This Be Love” but his chordal playing lacked the rhythmic drive that set Hendrix apart. Mato Nanji sounded scarily like Hendrix on “Little Wing… Doyle Bramhall II set his own tone particularly on “Rock Me Baby” with a particularly expressive bend from one note to three different pitches in the course of a chorus. Andy Aledort didn’t add much guitar-wise in his stints on stage but the muted swinging shuffle of “Up From the Skies” put the focus on Hendrix’s songwriting skills like little else in the show. After that the blues-jam mentality that had hitherto loomed over the proceedings broke out in full force with Gales Kenny lson and Robby Kreiger formerly of The Doors pulling triple duty on “Red House. ” If having three guitar players team up on a song made immortal by a single guitarist’s rendition seems to miss the point you get the point. And the sight of Krieger a legend of his own with nothing to prove effortlessly outdoing his stagemates with an eerie non-Hendrixian slide was a portent of the ethos of the evening. (Kreiger’s work on “Manic Depression” was similarly confident and powerful. )Mick Taylor formerly of the Rolling Stones showed up to play on “Catfish Blues” with Cox and Jimi Hendrix Experience drummer Mitch Mitchell whose abilities have not held up well to the ravages of time.
Rissi Palmer breaks color lines with ‘Country Girl’
Roanoke Times – Oct 22, 2007
She recalls how Nashville music executives would gush over her demos then back off when they discovered she was black. Palmer doesn’t blame racism just the realities of the market. “It was a question of ‘Is this marketable? Is this something country listeners will buy into?’ “Despite its roots in blues and gospel country music may be the whitest of musical genres. Aside from Charley Pride it’s tough to name a single black country star. Harmonica wizard DeFord Bailey was a Grand le pry favorite but that was back in the ’20s. Ray Charles had success on the country charts but country wasn’t his primary milieu. More recently country rapper Cowboy Troy made waves but radio treated him more as a novelty than a legitimate hitmaker.
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