# Elena Pinderhughes | Explore Tumblr Posts and Blogs

danbenzvi · 4 months

Text

On The Jukebox: "American Fiction (Original Motion Picture Score)"

Original music composed by Laura Karpman, Elena Pinderhughes and Patrice Rushen.

#american fiction #laura karpman #elena pinderhughes #patrice rushen

0 notes

burlveneer-music · 11 months

Text

aja monet - when the poems do what they do - the poetry hits, the jazz backing from top players is a bonus

aja monet’s poems are a work of gravity. A surrealist blues poet, storyteller, and organizer born and raised in Brooklyn, NY, aja won the legendary Nuyorican Poets Cafe Grand Slam poetry award title in 2007. In 2018, she was nominated for a NAACP Literary Award for Poetry and in 2019 was awarded the Marjory Stoneman Douglas Award for Poetry for her cultural organizing work in South Florida. Her work moves, constantly, between origin and outcome, allowing them to exist in converse. In her debut album when the poems do what they do, releasing June 9 via drink sum wtr, we glimpse her indefatigable commitment to speak. Those thematic origins of this album at times center around Black resistance, love and the inexhaustible quest for joy. In when the poems do what they do, aja monet appears as a woman of letters and storm, her poems do not roar in pentameter - but rather in storm surge because, “Who’s got time for poems when the world is on fire?!.” And this work isn’t one to pull apart into one liners, these are poems of things felt. There is a fullness here that can’t be encapsulated in even the boundaries that language offers. aja is joined in effort on this album by musicians Christian Scott (trumpet), Samora Pinderhughes (piano), Elena Pinderhughes (flute), Luques Curtis (bass), Weedie Braimah (djembe) and Marcus Gilmore (drums). Together, creating music that is insistent and unrelenting. When you finally reach the end of this album, you are left with a similar feeling you get when heartbroken, the gravity of barrelling back down to earth, sopping wet with tears, out of breath, overcome with love, despair, hope, and all too aware that all of this, is over far too soon. When the poems do what they do, they do absolutely everything.

#Bandcamp #aja monet #poetry #hip hop #jazz #female vocal #soul #folk #brooklyn #2023

13 notes · View notes

therealdjashb · 2 years

Text

such a bop ✨

#SoundCloud

6 notes · View notes

blog-marisamarko · 2 months

Text

0 notes

mynoisycollectionstarlight · 2 months

Text

youtube

This is amazing.....

*****

Samora Pinderhughes: vocals, piano, keyboard

Nio Levon: vocals, vocal arrangements

Elliott Skinner: vocals, guitar

Jehbreal Muhammad Jackson: vocals

Dani Murcia: vocals

Elena Pinderhughes: flute

Clara Kim: violin

Giancarlo Latta: violin

Carly Scena: viola

Saul Richmond-Rakerd: cello

#Youtube

0 notes

rad-review-of-gigs · 4 years

Text

Herbie Hancock

Barbican, 17.11.2019

Fusion’s voyager continues to push the outer limits

At seventy nine Herbie Hancock is still stargazing and looking to the future. “The joy is in the striving,” he said in 2018 and he expresses reverential awe of the young musicians he has assembled to disrupt a set of his standards, spinning them into new and intricate orbits. It’s not stretching things to say there were distinct nods to Radiohead amongst the ballads, funk and Southern African vocal harmonies. Bassist James Genus is “always doing something unexpected, yet in the groove.” Guitarist Lionel Loueke is “nine people in one body. Voices, guitars, pianos.”

There is something of a school’s most beloved and respected teacher about Hancock, underpinned by his conversion to Buddhism following crack addiction. He has said in the past that jazz is about sharing and he calls on the “citizens of this planet” to “fix things.”

The first half is full of electrifying quantum leaps. Loueke’s thrilling lead guitar sounds like a conduit for a keyboard. James Genus’ bass has the tone of lead guitar in an extraordinary solo on ‘Secret Sauce’; gurgling, rubbing , a gathering storm of insect wings, which he records at the same time and then overlays with a standard bass line. It’s as if we are in the studio. Only percussionist, Justin Tyson, “borrowed from Robert Glasper”, plays trad.

The whole of 1978’s Sunlight was sung through a vocoder and ‘Come Running With me’ begins with flautist Elena Pinderhughes’ Minnie Riperton-esque vocals and ends with what feels like an emotionally intelligent robot’s dying words “You don’t have to be afraid anymore. I’m no good without you” from Hancock. This can seem cheesy and akin to Marvin the Paranoid Android to 21st century sensibilities, but like most things with Hancock, he’s somehow able to pull it off.

Those who may not have appreciated the fresh takes on the back catalogue are eventually rewarded with straightforward renditions of his most famous crowd pleasers in the second half. Elena Pinderhughes’ flute gives ‘Cantaloupe Island’s melody a more laid back feel, evoking the amble of a contented man whistling down a street. Hancock struts the stage like Chuck Berry with his keytar for the encore ‘Chameleon’ , accompanied by a great echo on Justin Tyson’s snare.

Some of the interstellar veerings cut the night’s best grooves too swiftly, leaving a sense of a present being snatched out of the hands, but, in sum, this was still vintage Hancock and no one could begrudge him the handshake with every member of the front row as he vacates the stage.

0 notes

audiomatiquecfou · 10 months

Text

Audiomatique 05-07-23 feat. : Delrei - Suuns - Medicine Singers - Christian Scott aTunde Adjuah - The Chameleons - Pro>Tech - Insurgent - Theremyn_4 - Architect • Sonic Area • Hologram - Arcade Fire

L’émission de radio Audiomatique du 5 juillet 2023 Transmission 453 présentée de 17 h à 18 h sur les ondes de CFOU 89,1 FM animée par Les Sonoristes

Radio show Audiomatique July 5, 2023 Transmission 453 aired from 5 PM to 6 PM on CFOU 89,1 FM hosted by Les Sonoristes

1) Delrei : « Into The Wasteland » (Desolation and Radiation)

2) Suuns : « Breathe » (Fiction)

3) Medicine Singers : « Shapeshifter » (Medicine Singers)

4) Christian Scott aTunde Adjuah : « Completely (Feat. Elena Pinderhughes) » (Diaspora)

5) The Chameleons : « Truth Isn’t Truth Anymore » (Why Call It Anything)

6) Pro>Tech : « Pheromne » (Orbiting Cathedrals)

7) Insurgent : « Citadel » (Supercollider)

8) Theremyn_4 : « Barry Extended '21 » (Mi Vida En Infrarrojo 20-A)

9) Architect • Sonic Area • Hologram : « Primordial Soup » (We Are The Alchemists)

10) Arcade Fire : « In The Backseat » (Funeral)

Écoutez en différé / Listen : https://archive.org/details/audiomatique-05-07-23 https://www.tumblr.com/audiomatiquecfou Contact : [email protected] Facebook : www.facebook.com/audiomatiquecfou

#alternative #cfou #electronic #music #radio #jazz

0 notes

showcasemains · 2 years

Text

Apple music song bar

Do what you do, do what’s right, be legendary, and leave your mark in life. Especially as a Black man in America,” added Curry, who contributed “1ST Quarter” featuring Reason to the project. “It’s an accomplishment to make it through the first quarter of my life. “We continue our annual efforts with a new collection of Black Music and stories from artists across an array of genres aimed to amplify the conversation, inspire reflection, and celebrate freedom.” “As the awareness and mainstreaming of Juneteenth continues to rise, our team at Apple Music is committed to commemorating the holiday while ensuring that its historical significance is not lost,” said Ebro Darden, Apple Music’s Global Editorial Head of Hip-Hop and R&B. You want to switch from Apple Music to Spotify but you dont want to lose your Apple Music playlists and favorites songs Using TuneMyMusic you can easily move your entire Apple Music library to Spotify in the most convenient way. If you dont subscribe to Apple Music or iTunes Match, you won’t see an option to turn on iCloud Music Library. Go to the General tab and select iCloud Music Library to turn it on. From the menu bar at the top of your screen, choose Edit > Preferences. This simple little fix worked for me however: When one opens the Get Info window on an album, or by selecting a list of songs, there is a check box for 'use work and movement'. To turn on iCloud Music Library: Open iTunes. Sort your favorite playlist, albums, and songs by your preference, right from your wrist. Choose Listen Now to quickly start listening to your top picks, recently played, suggested stations, and more. Search for music using Scribble and dictation. There is a way, however, but easy it is not. While it also seems like it should be an excellent way to keep track of songs you enjoy in the wild, theres no clear way to view all of your loved tracks in one convenient list. Denzel Curry, 6LACK, Alex Isley, Brittney Spencer, Moliy, Lupe Fiasco, Koryn Hawthorne, Bun B, and Elena Pinderhughes are among those to contribute to the release. It only recently started happening and I followed some the of the suggested fixes to no avail. Apple Watch Features: Listen to radio stations right in the Music app. In Apple Music, loving and disliking songs is a great way to teach Apples subscription service what type of tunes you like and which you dont. The Apple Music Voice Plan offers subscribers access to the service’s catalog of 90 million songs tens of thousands of playlists, including hundreds of brand new mood and activity playlists, personalized mixes, and genre stations as well as the. Ahead of Juneteenth, Apple Music is celebrating the holiday with a new compilation of original songs and covers entitled Juneteenth 2022: Freedom Songs.įeaturing 16 tracks from artists across a wide array of genres, the project is now available via a playlist on the streaming service. CUPERTINO, CALIFORNIA Apple today announced the Apple Music Voice Plan, a new subscription tier for Apple Music designed around the power of Siri.

#Apple music song bar

0 notes

emonstrosity · 4 years

Photo

Herbie and friends (Mystery Monster, 2019)

#herbie hancock #kamasi washington #elena pinderhughes #christian scott atunde adjuah #thundercat #james genus #vinnie colaiuta #terrace martin #robert glasper #lionel loueke #hollywood bowl #super pack #los ángeles #mystery monster

2 notes · View notes

goodmusicsavedourlife · 5 years

Video

youtube

Lupe Fiasco - Cripple (Feat. Elena Pinderhughes)

#lupe fiasco #music #rap #hiphop #video #elena pinderhughes #jazz

4 notes · View notes

chrishinxmcgee2 · 5 years

Video

youtube

#lupe fiasco #cripple #elena pinderhughes #respiration #mos def

2 notes · View notes

hiiglediggle · 2 years

Text

Songs of The Week 3.26.22

We are back with another Songs of The Week list! Take this musical trip with me into playing with romantic doubt.

Um…I Guess I Have a Podcast Now Ep. 7 Welcome to Songs of The Week. This is a little thing I like to do to keep myself sane. Every week I curate a list of songs that are new, old, in between but usually just not celebrated enough. This will be available as a podcast episode and will be linked when it drops. This week we seem to have a theme of love songs. But not lovey-dovey songs, the type…

View On WordPress

1 note · View note

sinceileftyoublog · 2 years

Text

Immanuel Wilkins Album Review: The 7th Hand

(Blue Note)

BY JORDAN MAINZER

Almost half of The 7th Hand, the incredible second album from alto saxophonist Immanuel Wilkins, is its final track, “Lift”. It’s a free jazz tune on an otherwise metered record; while John Coltrane’s Ascension has been an obvious point of comparison for many music journalists, the song’s inspirations actually hark back about another century. With bendy, squeaky playing atop Micah Thomas’s jagged piano, drummer Kweku Sumbry’s popping snares, and Daryl Johns’ bowed and plucked bass, “Lift”, according to Wilkins, is an exercise in radical empathy. Its various explosions are meant to emulate speaking in tongues and recall Black Pentecostalism. “To the slave owner, Aunt Hester’s screams were just screams,” Wilkins writes. “But to the other slaves, those screams carried messages to flee, to sing, to run, to keep working — a host of things.” Wilkins knowingly explores forms that “listeners might not understand.” Indeed, even when “Lift” quiets down over its 26 minutes, or Wilkins’ saxophone drones, the song remains breathless.

Wilkins’ lack of fear in not just challenging the listener but purposefully bypassing their understanding is what makes The 7th Hand a monumental album. His debut Omega was just as socially conscious, a record about the Black experience in America. But The 7th Hand breaks the rules while establishing some of its own. The first track, “Emanation”, ends in the middle of a vamp. Each track from then on out relates to the next by a triple meter, going down and then back up until the free “Lift”; if, in Biblical terms, 6 represents man and human weakness, 7 represents divine intervention, a concept represented at first by an instrument and later by the freedom of the album’s final track.

Throughout the album, Wilkins plays with the idea of his band as a vessel, in the spiritual sense, possessed by greater powers to deliver music and messages. “Don’t Break” features the Farafina Kan Percussion Ensemble, with which Sumbry often performs, on djembe drums. Juxtaposed with the band’s traditional jazz instrumentation, the song not only explores music of the African Diaspora but explicitly references the Yoruba drumming and dancing tradition, where the drums call down a deity that then possesses a dancer. Elsewhere, a minimal track like “Shadow” takes inspiration from Wayne Shorter’s composition “Fall” from Miles Davis’ Nefertiti, while “Fugitive Ritual, Selah”, is a hymn to the Black church. If selah means “pause,” giving space to a holier spirit, the band provides that space. Johns’ bass introduces the latter track, eventually calling in Wilkins’ and Thomas’ soulful playing, while Sumbry shows his true versatility, with gentle, yet off-kilter drumming. And if “Lift” represents divine intervention--the ability for a higher power to come in and offer freedom--it’s foreshadowed by “Witness” and “Lighthouse”, two tracks that feature flutist Elena Pinderhughes. It provides timbral differences to Thomas’ mellotron and Wilkins’ improvisations on the respective tracks, allowing “Witness” to sway to a calm, appearing vocal and angelic on the skittering “Lighthouse”. Though intentional in its references and inspirations, The 7th Hand is the type of album destined to play that same role as a benchmark for future jazz masters.