Kickstarter fundraising campaign by Search & Restore (NY Jazz Organizers)!
Text by Adam Schatz (Search & Restore)
Archive for the ‘About music’
Some Thoughts About a guitar legend: Tell the Children that Jimi Hendrix Once Walked the Earth!
Text by Dawoud Kringle
On November 27th, 2011, Jimi Hendrix would have celebrated his 69th birthday. In honor of this, I offer some thoughts, observations, and meditations on the late master.
I will not waste your time with redundancies, nor repeat what has already been written about him (and if biographical information is needed, one has only to google his name, and the pages at your disposal will be saturated with all the information one could want. Instead, I want to explore the more arcane aspects of his historical significance.
Miles Davis’ Forgotten Electro “ON THE CORNER”!
Text by Rob Pulwer
Maybe it’s only fitting that one of the most influential musicians of all time had a hand in the creation of electronic music, even though it was nowhere near his scene. The oeuvre of Miles Davis is, yet, still cherished predominantly by hard bop fiends and fusion fans. Although he spent the majority of his career playing variations of those styles, there is one record that stands out from the rest of his catalogue by virtue of its mission, accomplishments, and subsequent oblivion from accolade and popular memory: On the Corner.
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The record, released in 1972, was Davis’ attempt to lure young, African-American city dwellers back to the jazz they had forsaken for other genres (among which was the funk that his own fusion escapades helped to engender). Although the record features a variety of canonical jazz musicians (Jack Dejohnette, Chick Corea, and Herbie Hancock, among others), much of the music is anchored by rhythms very similar to today’s drum-n-bass. Davis and his producers, themselves innovators in electronic music, experimented with looping and splicing tracks, making OTC one of the first records to prominently feature these now-widespread audio manipulation techniques. Interestingly, Davis himself is only sparingly on the record, and then mostly as background noise.
John Coltrane’s “Giant Steps” Revealed
Text by Sohrab Saadat Ladjevardi
As a horn player I have never tried to play this song. Why? Because I am too lazy to play other people’s music. But in case of GIANTS STEPS I felt that it would take me 10 years to master this song. So being lazy and also not willing to play other people’s music I decided to leave this to other horn players around me. Does it make sense?
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Roberto’s Wind’s and DooBeeDooBeeDoo proudly announce their collaboration!
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Text by Jim Hoey
Roberto’s Wind’s and DooBeeDooBeeDoo proudly announce their collaboration, a connection that wll unite the musicians who pass through Roberto’s doors with the visitors to DooBeeDooBeeDoo around the world who get their music and culture updates from this site.
Search & Restore and BOOM Collective unleash the inaugural Undead Jazzfest companion magazine…The Undead Jazz Review!!!
The Full issue will be released on Monday June 6th!
Search & Restore continues to super-charge the audience for new jazz & improvised music with the inaugural magazine: The Undead Jazz Review. Teaming up with fellow organizer BOOM Collective, Adam Schatz and Search & Restore aim to change the perceptions what’s possible in the jazz scene with a bit of DIY energy and creative programming, demonstrated first to the world with their successful $75,000 Kickstarter campaign last winter. And now in its second year the Undead Jazzfest presents adventurous jazz being made today in a setting that is as accessible for the seasoned veteran as it is for the curious potential fans who have heard so much about the scene but never knew where to start. In line with that attitude comes the Undead Jazz Review, a 32 page companion magazine for the festival, featuring interviews with Nasheet Waits, Melvin Gibbs & Brandon Ross, editorials from Jamie Saft & Matt Wilson, artist profiles, a maze and 14 song CD sampler. And it will all be FREE, distributed throughout the city at shows, venues and record stores. Read More
GrammyWatch – the voice for all dropped Grammy catagories!
Text by Sohrab Saadat Ladjevardi
Here is an update to the Latin Grammy fight with NARAS from an email recently sent by GrammyWatch.info. DooBeeDooBeeDoo supports the complete reinstatement of all dropped catagories!
Check out the GrammyWatch.info’s petition!
LATIN JAZZ Category rrrrrremoved from the GRAMMYS!!!!!!!!!!!!!!
Text by Sohrab Saadat Ladjevardi
Last week the National Academy of Recording Arts and Sciences (NARAS)T, the organization that overlooks the GRAMMY Awards has announced a consolidation of categories resulting in deleting the Latin Jazz Category. NARAS decided to reduce the number of Grammy prizes from 109 to 78. Why? “…that the Grammy remains a rare and distinct honor, and continues to be music’s most prestigious and only peer-recognized award,” said NARAS president Neil Portnow. Watch video below which shows you the New York Chapter meeting of NARAS on April 11, 2011 and how NY Latin Jazz fans and musicians reacted to this decision.
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Is Rock Dead? 6 Acts That Could Save Rock?
Text by Sohrab Saadat Ladjevardi
Miles Davis declared Jazz is dead (it’s) the music of a museum. Frank Zappa said Jazz isn’t dead. It just smells funny. How about rock music?
The Guardian (UK) said in January: “It is a claim made before by, among others, Lenny Kravitz and the Swedish garage band the Hellacopters. But today, after years of struggle, came evidence to support the fearsome claim: rock’n'roll is dead.” Read more.
Anyway I don’t care whether certain music styles are dead. On the contrary, I only care about bands which play emotional and passionate music. I mean, music that really feels alive and speaks to me.
The Center for Jazz Studies at Columbia University presents: The Creative Music Studio: A Symposium with Karl Berger, moderator
During the 1970s and 1980s, the Woodstock-based Creative Music Studio was widely considered as the premier center for the study of contemporary creative music.
This full-day colloquium will capture many oral histories concerning the Creative Music Studio years and the variegated impact of those experiences on the musical outlook of its participants and the larger world of music and culture.