#Linda’s jazz trio | Explore Tumblr Posts and Blogs

milfjagger · 1 year

Text

my record collection 2023 :)

Vinyl

Scary Monsters & Super Creeps - David Bowie The Dreaming - Kate Bush Never For Ever - Kate Bush The Songs of Leonard Cohen - Leonard Cohen Wind on the Water - Crosby & Nash Crosby, Stills & Nash - CSN Songs of the Sea - Pete Dawson Ultraviolence - Lana del Rey Lust for Life - Lana del Rey Norman Fucking Rockwell - Lana del Rey Romance in 1600 - Sheila E. Liege & Lief - Fairport Convention Tusk - Fleetwood Mac Close up the Honky-Tonks - The Flying Burrito Bros Transangelic Exodus - Ezra Furman A Trick of the Tail - Genesis Godspell (original cast recording) Dookie - Green Day Hair (original cast recording) Live Through This - Hole Celebrity Skin - Hole Living In the Past - Jethro Tull Jesus Christ Superstar (1973 motion picture soundtrack) Greatest Hits (1974) - Elton John Joanne - Lady Gaga Court & Spark - Joni Mitchell On The Threshold Of A Dream - The Moody Blues The Black Parade/Living with Ghosts - My Chemical Romance Bella Donna - Stevie Nicks Songs for our Times - John O'Connor GP - Gram Parsons Raising Sand - Robert Plant & Alison Krauss Queen - Queen Queen II - Queen Sheer Heart Attack - Queen A Night at the Opera - Queen A Day at the Races - Queen News of the World - Queen Jazz - Queen The Works - Queen Live at the Rainbow 1973 - Queen New Again - Taking Back Sunday Man on Fire - Roger Taylor Goats Head Soup - The Rolling Stones Through the Past, Darkly - The Rolling Stones Metamorphosis - The Rolling Stones Get Yer Ya-Yas Out! - The Rolling Stones Linda Rondstadt - Linda Rondstadt It’s My Way! - Buffy Sainte-Marie Parsley, Sage, Rosemary & Thyme - Simon & Garfunkel The Sound of Music (motion picture soundtrack) Nebraska - Bruce Springsteen The River - Bruce Springsteen Below the Salt - Steeleye Span Stephen Stills - Stephen Stills Under Soil & Dirt - The Story So Far Grave New World - Strawbs Crime of the Century - Supertramp GLA - Twin Atlantic Hesitant Alien - Gerard Way Blunderbuss - Jack White _

Almost Famous (motion picture soundtrack) Little Earthquakes - Tori Amos Odelay - Beck Daisy - Brand New Grace - Jeff Buckley Hounds of Love - Kate Bush Let Love In - Nick Cave & the Bad Seeds Push The Sky Away - Nick Cave & the Bad Seeds Everybody Else Is Doing It… - The Cranberries Blue Bannisters - Lana del Rey Flowers of Flesh & Blood - Nicole Dollanganger Observatory Mansions - Nicole Dollanganger Ode to Dawn Weiner - Nicole Dollanganger I Told You I Was Freaky - Flight of the Conchords Ceremonials - Florence + the Machine High As Hope - Florence + the Machine Born This Way - Lady Gaga Wolfways - Michael Hurley A Creature I Don’t Know - Laura Marling The Mask & Mirror - Loreena McKennitt Elemental - Loreena McKennitt The Book Of Secrets - Loreena McKennitt The Visit - Loreena McKennitt Blue - Joni Mitchell Clouds - Joni Mitchell Jagged Little Pill - Alanis Morissette Three Cheers For Sweet Revenge - My Chemical Romance Danger Days - My Chemical Romance GP/Grievous Angel - Gram Parsons Trio - Dolly Parton, Linda Ronstadt & Emmylou Harris Meds - Placebo Band of Joy - Robert Plant The Bends - Radiohead OK Computer - Radiohead The King of Limbs - Radiohead Transformer - Lou Reed Darkness on the Edge of Town - Bruce Springsteen The Promise - Bruce Springsteen Western Stars - Bruce Springsteen Carrie & Lowell - Sufjan Stevens Suede - Suede Dog Man Star - Suede Dead & Born & Grown - The Staves Velvet Goldmine (motion picture soundtrack) Want Two - Rufus Wainwright Harvest - Neil Young

#posting so I can link to it on my nav!!!

12 notes · View notes

musicshooterspt · 13 days

Text

Westway Lab: um laboratório para novas descobertas

Tendo já começado o Espaço de Criação e de Conferências PRO em Guimarães, na passada quarta-feira, 10 de Abril, o Westway Lab começou o seu Festival no dia 12 de Abril. As hostilidades foram abertas no Centro Cultural Vila Flor (CCVF) por Luís Severo, seguindo-se Bardino, Silly, Riça e Capicua. No sábado, o dia começou com uma série de concertos abertos à comunidade e em diversos locais da cidade, nos quais se incluíram Remna, Sónia Trópicos, Grand Sun, debdepan, J.P. Coimbra, Corvo, Melquiades, Franek Warzywa e Młody Budda e Trigaida. A partir das 21h30, os concertos concentraram-se de novo no CCVF, começando com Júlia Mestre. Conferência Inferno, UTO, Unsafe Space Garden e NewDad foram os actos seguintes. Para encerrar, o Westway Lab organizou uma Festa de Encerramento, no CAAA, que contou com os DJ Sets de A Boy Named Sue, Rodrigo Areias e Jorge Quintela.

A honestidade de Luís Severo

Foi, então, no Auditório do CCVF que o Festival WestWay Lab teve o seu início e tomou forma pelas mãos de Luís Severo, que sozinho ao piano nos agraciou com a honestidade e sensibilidade com que escreve os seus temas. Após as duas primeiras músicas a solo no piano onde nos falou sobre amores e desamores, certezas e incertezas, angústias e felicidades, Luís Severo agarrou a guitarra acústica e Catarina Branco tomou o piano e apoiou na voz.

Foi em “Cedo ou Tarde” que se juntou um coro de duas vozes aos dois artistas já no palco para nos expressar que viver é um desafio, não só connosco mesmos, mas também face aos tempos que se impõem. Porém, como explicou Luís Severo antes de começar: “este é um daqueles dias que é bom” e, até ao final da sua performance sentida, o artista teve, ainda, tempo para estrear duas músicas novas, uma delas de nome “Insónia” que como disse “não a preciso de explicar, o seu nome fala por si mesmo”.

A conjugação inteligente e intrigante entre o jazz e a electrónica dos Bardino

No Café Concerto do CCVF, os Bardino subiram ao palco para nos fazer dar um ‘pézinho de dança’ fora da caixa. Foi para apresentar o seu último disco “Memória de Pedra Mãe”, mas não só, que o trio constituído por Nuno Fulgêncio (bateria), Diogo Silva (baixo) e Rui Martins (teclados e vozes) desafiou a ‘classificação em caixinhas’.

Caracterizando-se por uma fusão de eletrónica, rock e jazz com nuances de krautrock, fusion jazz ou ambiente electrónica, os Bardino fazem-nos viajar no passado, no presente e no futuro, mas estando sempre presentes no momento.

E, do mesmo modo que o seu recente álbum se inicia com a frase “Tenho uma história bonita, tenho uma história linda (…)”, o trio portuense ecoou perante uma plateia surpreendida e curiosa com a audácia que uma linda história contou.

Silly: um coração que tanto almeja e se agiganta a cada melodia

Foi com o “Intro” encaixado no segundo tema “Encontrar”, tal como acontece no seu álbum de estreia “Miguela”, que Silly iniciou a viagem por um coração que tanto almeja e se agiganta a cada melodia. Com uma aura complexa demais para ser colocada por palavras, Maria Bentes (Silly) e Fred – que também colaborou na concepção deste trabalho – fizeram-nos viajar com as rimas reflectidas e sentidas e com a conjugação perfeita entre as batidas, os teclados, a guitarra e todo o ambiente criado pelo inteligente jogo de luzes e fumos.

“Coisas Fracas”, “Silêncio”, “No Que Procurei”, “Água Doce”, “Solitude”, “Herança”, “Cavalo à Solta” ou “Inquietação” foram alguns dos temas percorridos pelos artistas, acrescentando-lhes sempre diferentes nuances ao registo do álbum e, assim, ganhando ainda mais vida. Entre “Miguela”, Silly presenteou o público com um cover de “Prognósticos” de B Fachada, um tema que a artista admite cantar como se tivesse sido da sua autoria, de tal sentir a canção como sua.

E, nesta espécie de bolha em que estivemos imersos imperou e prosperou a tranquilidade e a delicadeza mesmo quando a viagem relatava um mundo nem sempre feliz ou nem sempre leve ou o quão intranquilo, inquieto e perdido um ser humano se pode sentir. No entanto, a mensagem é evidente: em toda a parte é possível encontrar um pouco de amor e um pouco de compreensão e é a isso que nos devemos agarrar mesmo quando temos que seguir “em frente diante o vento forte”.

E foi mesmo com “Vento Forte” que Silly e Fred encerraram esta experiência imersiva que durou pouco mais de 45 anos, que nos permitiu estar noutra realidade e onde “Miguela” é mais e mais um pouco de nós e do que sentimos e nos é tão complicado expressar.

Os vegetais delirantes de Franek Warzywa e Młody Budda

Foi através de pouco mais do que um sampler, de uma guitarra e da voz que Franek Warzywa e Młody Budda deram uma performance surpreendentemente enérgica que cruzou os mais diferentes géneros musicais de uma forma “esquizofrénica”.

Tendo-se tornado virais no TikTok e tendo ganho notoriedade entre o público após um concerto explosivo no OFF Festival, o duo polaco não esconde que canta sobre temas como os vegetais, nomeadamente batatas, mas também sobre o seu computador que está constantemente a avariar. Havendo ainda tempo para falar sobre o sol e sobre o mau tempo que tanto se sente nas terras de onde são oriundos.

No CAAA apresentaram os seus visuais relativos a este tal computador que tanto avaria e durante cerca de 40 minutos cruzaram géneros musicais que rapidamente transitavam: num momento soava a pop, no seguinte estaríamos perante nuances de metal core e, no mesmo tema, poderia ainda existir tempo para uma sonoridade mais electrónica. Mas, rock, math rock, techno são também opções e energia e entrega não lhes faltou!

Trigaida: a herança búlgara cruzada com a electrónica

Bem sucedidos no Got Talent da Bulgária de 2022, Trigaida são um fenómeno recente na electrónica contemporânea da Bulgária. “Elate” é o álbum de estreia da banda e é uma fusão única entre o folclore tradicional búlgaro e a música eletrónica.

Parte das influências são também o drum‘n bass, o dubstep, o trip hop, oferecendo assim sonoridades que chegam ao jazz contemporâneo, à world music e ao neoclássico e, tal se fez sentir no CAAA, em Guimarães.

Com Ivan Shopov enquanto produtor e MC, Asya Pincheva na voz e Georgi (Horhe) Marinov na gaita de foles e didgeridoo, os Trigaida surpreenderam o público que não deixou de expressar o seu entusiasmo e de dançar ao som desta herança combinada com o contemporâneo.

Julia Mestre: uma contadora de histórias nata

Com um ambiente intimista, o público presente no Auditório do CCVF foi plateia atenta e deliciada perante a doçura de Julia Mestre. A vocalista de Bala Desejo fez-nos viajar pelos temas do seu mais recente álbum “Arrepiada” (2023), mas não só.

Acompanhada apenas pela sua guitarra e através da sua voz, a cantora brasileira contou histórias. As história que criaram as suas músicas e as suas letras, como foi caso de “Chuva de Caju” que nos fala sobre o encontro da artista com Ana Caetano; “do do u”, um romance da artista com alguém que esteve pelos Estados Unidos da América durante três meses e veio a falar um misto de português com inglês; ou “Deusa Inebriante”, que foi a forma que a Julia Mestre encontrou para lidar com o facto de não ter conseguido despedir-se de um familiar próximo que caiu num “sono profundo” em período de covid-19.

“el fuego del amor”, “Sentimentos Blues” ou “Sonhos e Ilusões” que, no álbum de 2023 tem a participação de MARO, foram mais alguns dos temas que Julia Mestre nos ofereceu com a gentileza e sensibilidade que lhe é tão intrínseca.

Conferência Inferno: um exorcismo às ansiedades

Foi para apresentar o “Pós-Esmeralda”, mas sem esquecer temas do seu primeiro LP, que o trio do Porto se juntou no Café Concerto do CCVF. Com o punk e o new wave no seu ADN, Raul Mendiratta, Francisco Lima e José Miguel Silva entregaram-nos as suas canções negras que exaltam os espíritos.

Com a energia punk sempre em crescendo e os ritmos new wave como uma constante, a ironia, a agonia e o êxtase que tanto é característica do trio não foram excepção nesta performance. Foi uma ode a este pandemónio em que vivemos que prova que, no desespero, entre chorar e dançar, dancemos e berremos e exorcizemos as ansiedades.

“Perdi a conta dos passos, não consigo contar. Encontro a múltipla no escuro sempre a pairar. Encosto os drunfos à parede, eu não consigo parar. Cedo-te múltiplo futuro sem vacilar. Somos todos corpos. A distopia pródiga”, ecoaram os Conferência Inferno para encerrar o ritual.

O je ne sais quoi dos UTO

Presenciar os UTO foi como entrar num espaço celestial. Neysa Mae Barnett e Emile Larroche constituem a dupla parisiense que, como tem vindo a ser habitual neste festival, não é simples classificar. Não é só pop, mas também não se reduz a vagas noções de electrónica.

Assim, o trip hop, o dream pop, o techno ou o synth pop ajudam a criar um ambiente fantasmagórico e alienígena deste duo que teve como seu álbum de estreia “Touch The Lock” (2022) e que, segundo o Pitchfork é “prismático”, no sentido em que é uma introdução perfeita ao maravilhoso e estranho mundo de Neysa e Emile, onde a imaginação e a liberdade imperam.

Através da voz, dos sintetizadores e da guitarra, os UTO abriram-nos a porta ao seu mundo vasto e preenchido de coisas que não se vêem, mas tanto se sentem.

A exaltação humorística dos Unsafe Space Garden

Oriundos de Guimarães, os Unsafe Space Garden tratam as confusões existenciais de forma peculiar e entre os ingredientes estão o humor, a energia, a cor, o absurdo, o caos e a intimidade e, tudo isto, faz que o momento seja muito mais do que só um concerto.

Alexandra Saldanha, no sintetizador e na voz; Nuno Duarte, na guitarra e na voz; Filipe Louro, no baixo e na voz; Diogo Costa, no sintetizador e nos samples; José Vale, na guitarra; e João Cardita, na bateria tornam a sua sonoridade única, percorrendo sonoridades mais electrónicas com timbres mais jazz que chegam ao rock, post-rock e, até mesmo, ao post-metal.

Em cinco anos, lançaram quatro trabalhos discográficos: o EP “Bubble Burst” (2019), o LP “Guilty Measures” (2020), o LP “Bro, You Got Something In Your Eye - A Guided Meditation” (2021) e, o seu mais recente, “Where’s the Ground” (2023) e somaram uma avalanche de concertos em território nacional, incluindo o Tremor e o Primavera Sound Porto. E a ideia é simples: comunicar o que se sente sem pudor e com uma pitada de ironia e de humor, pois faz parte aceitar toda a confusão e arrebatamento que na vida acontecem e de que tanto falam nos seus temas. O concerto no Café Concerto do CCVF não foi diferente.

NewDad: comunicar o que não tem outro modo de ser expressado

Da Irlanda directamente até Guimarães, os NewDad vieram apresentar o seu novo e álbum de estreia “Madra” (2024), uma fusão magnífica entre o dream-pop, o post-punk e o shoegaze que pretende comunicar aquilo que não tem outro modo de ser expressado e os NewDad fazem-no de forma exímia, como se sentiu na Box do CCVF.

É explorando emoções profundas que a cantora e guitarrista Julie Dawson expressa o que lhe corre dentro da alma: serena, mas ciente do furacão que se pode viver por dentro. A ela se junta Sean O'Dowd (na guitarra solo), Cara Joshi (no baixo) e Fiachra Parslow (na bateria) que ajudam na criação de um ambiente que nos faz entrar numa catarse para também nós lidarmos com as nossas lutas emocionais: “See, it's easy for you. It's easy for you to forget. Because you're not in my head. You're not in my head”, exalta “In My Head”, por exemplo.

“Madra” (a palavra irlandesa para cão) foi apresentado de fio a pavio e demonstrou a evolução sonora da banda que existe desde 2018, explicando na perfeição os concertos lotados na sua tour no Reino Unido e na Irlanda. Porém, na sua estreia em Portugal, Julie quis fazer algo novo e ofereceu-nos uma versão mais intimista de “White Ribbons”: apenas ela e a guitarra, encerrando uma performance que comprova que os voos elevados de NewDad ainda estão apenas a começar.

Galeria Completa

Fotografia e Texto: Catarina Moreira Rodrigues

#musicshooters_pt #live music #portugal #2024 #reportagem #westway lab

0 notes

wiredtoheart · 18 days

Text

main trio. HEADCANON GAME.

finn weiss.

WHAT THEY SMELL LIKE: lavender and orange, from his apartment. ivory soap, aftershave, and paco rabanne pour homme (top notes are rosemary, clary sage and brazilian rosewood; middle notes are lavender, geranium and tonka bean; base notes are oakmoss, honey, musk and amber). faintly of tobacco, from toby. a bit like the kitchen, too, when he’s been in there for a good portion of the day. basically, he smells really nice. HOW THEY SLEEP: one hundred percent a cuddler, and not too picky about whether he’s the big or little spoon. when alone, on his side, usually his left. WHAT MUSIC THEY ENJOY: classical, particularly mozart’s requiem, showtunes, jazz standards, sixties/seventies pop, and the folk revival of the sixties. he loved the baroque pop era. soft spot for the cheesy teenager songs of his youth. HOW MUCH TIME THEY SPEND EVERY MORNING GETTING READY: depends! give him about thirty minutes, minimum. FAVORITE THING TO COLLECT: records, paints, cookbooks, restaurant take-out menus. LEFT OR RIGHT HAND: right-handed. FAVORITE SPORT: cricket and horseback riding! he played golf with malcolm once or twice, but he found it boring. then toby radicalized him against golf, so he’s never doing that again. enjoys baseball games. he went to a few of greta’s softball games when she was younger. does not like american football. FAVORITE TOURISTY THING TO DO WHILE TRAVELING: art museums, trying restaurants, bar-hopping. he stayed in hostels and locals’ homes the first few times he went overseas. FAVORITE KIND OF WEATHER: warm, midsummer nights right as the sun starts to go down. he loves sitting outside and listening to the city. quiet mornings after it has snowed, and the sky is still overcast and grey, but in a pleasant way. FEAR THEY HAVE: getting dementia and forgetting everything and everyone he knows. THE ONE CARNIVAL / ARCADE GAME THEY ALWAYS WIN WITHOUT FAIL: for carnivals, ring toss. for arcades, pinball.

toby aldshaw-sharif.

WHAT THEY SMELL LIKE: ivory soap and english leather (top notes are bermagot, lavender, lemon, rosemary, and orange; middle notes are honey, iris, and rose; base notes are leather, musk, cedar, vetiver, and tonka bean). tobacco and brandy. HOW THEY SLEEP: curled in on himself, on his side. big fan of falling asleep sitting up. WHAT MUSIC THEY ENJOY: country. god, he’s crazy about the western aesthetic. he knows it’s weird to be in a cowboy bar and hear his accent, the novelty hasn’t worn off. all like genres, such as bluegrass and honky-tonk. his favorite artists are johnny cash, john denver (who looks a little like finn, so), george jones, linda martell, patsy cline, and charley pride. what little he got to hear him, he also likes randy travis. he also likes the blues. sister rosetta tharpe, lead belly, etc. he has a big fat crush on teddy pendergrass. HOW MUCH TIME THEY SPEND EVERY MORNING GETTING READY: like maybe five minutes. sometimes he combs his hair, sometimes he doesn’t. FAVORITE THING TO COLLECT: dumb graphic tees and sweaters. finn sometimes makes him the latter. also big on records. matchbooks. toby’s a big guitar pick guy – they have a big jar in their apartment they’re always adding to. LEFT OR RIGHT HAND: left-handed. FAVORITE SPORT: rodeo sports. soccer. FAVORITE TOURISTY THING TO DO WHILE TRAVELING: checking out the local music scene. FAVORITE KIND OF WEATHER: he wishes every day could be about 65f / 18c and sunny, with a little wind to cool off. FEAR THEY HAVE: above all, being alone. THE ONE CARNIVAL / ARCADE GAME THEY ALWAYS WIN WITHOUT FAIL: for carnivals, anything that involves aiming – think shooting games, darts. for arcades, pac-man.

june elbus.

WHAT THEY SMELL LIKE: like the woods, but (usually) pleasantly. some really generic deodorant. sometimes, very rarely, love’s baby soft (musk, lavender, vanilla, rose, jasmine, geranium, patchouli), which smells vaguely powdery. HOW THEY SLEEP: on her stomach. WHAT MUSIC THEY ENJOY: classical. art pop, like kate bush, her favorite artist of all time. new wave and alternative, because she’s an eighties kid. HOW MUCH TIME THEY SPEND EVERY MORNING GETTING READY: not very long. she often sleeps in her braids, and doesn’t bother redoing them every day. she doesn’t wear makeup. it’s usually just putting on what she’s going to wear that day. FAVORITE THING TO COLLECT: books on medieval history, art, and society. d&d dice. LEFT OR RIGHT HAND: right-handed. FAVORITE SPORT: she likes the demonstrations they do at the ren faire. so, like, jousting. falconry. she wants to be a falconer. archery. FAVORITE TOURISTY THING TO DO WHILE TRAVELING: art museums. trying restaurants. going to theatres. basically, whatever she did when she was with her uncle ❤️ FAVORITE KIND OF WEATHER: crisp fall days, preferably a little cloudy. the woods are best when it is cold. even better when it has snowed. FEAR THEY HAVE: losing loved ones. you can imagine how she’s feeling right now. THE ONE CARNIVAL / ARCADE GAME THEY ALWAYS WIN WITHOUT FAIL: she doesn’t. hope this helps.

#hc.

0 notes

isleofskyeafclub · 22 days

Text

April 2024

The April meeting of the Club started on a sombre note with a tribute to Club member – Steve Bremner – who had sadly passed away on 20 March 2024. Steve was an excellent guitarist who belonged to Wick in Caithness but had lived on Skye for almost 60 years. Steve had played with many bands over the years and latterly with Calum MacAskill at the Club here in Portree. A large turnout of family and friends attended the funeral service in Portree Church of Scotland on Wednesday, 3rd April, which culminated with Calum MacAskill and Carina Campbell playing the beautiful tune “The Gift of Time” composed by the late Jim MacKay. The sympathy of everyone connected with the Club is extended to Steve's daughter, Linda, son, Stephen and other members of the family.

To start the musical proceedings Fox Brendon took to the stage and played a lovely selection on the Scottish Small Pipes followed by his 7 year old son, Kiro, on the fiddle, playing the “Bonnie Lass O' Fyvie” and “Uist Tramping Song”. Next to perform was Kiro's big sister, Leela, on fiddle with “Flatwater Fran” and “Walking on the Moon”. Kiro was then quickly up and played a couple of tunes on his Dad's Small Pipes to great acclaim from the large audience.

A regular visitor to the Club, Dennis Hurst from Munlochy, then produced his two row button box and gave the audience a great selection of Scottish tunes which had the feet tapping finishing up with “Bonnie Naver Bay”.

It was then the turn of Club Chair Julia to pick up her fiddle to play “Shetland Shells” followed by “Farquhar and Hetties's Waltz” and “Waltz for Kylin” before finishing up with “Neil Gow's Lament for his second Wife”.

Accordionist Emily Matheson from Staffin then made a welcome return featuring the beautiful waltz “Margaret Ann Robertson” followed by lively sets of jigs and marches which brought us up to guest artist time.

A truly family band from Inverness, the Colin Donaldson Trio, featuring Colin on accordion, his wife Heather on drums and their 14 year son on piano were warmly welcomed on stage as they played a great set of jigs. This was followed by some fine marches, French tunes, waltzes, an Irish twostep and the set of reels - “Polharrow Burn”, “Rakes of Malow”, “Sword of St Columba” and

“Archie Menzies” - finishing the first half with some jigs.

After the usual short break for tea and sandwiches and a 'comfort stop' Dennis got the second half under way with some cracking tunes getting the audience clapping and singing along. The applause continued as Emily returned to the stage to entertain us with “Redwing”, “All the way to Galway” and two beautiful Runrig tunes. Haste ye back, Emily!

The raffle was then drawn and Julia welcomed the guest band back on stage and they started with a lively set of Irish Jigs followed by the lovely Jazz feature - “Autumn Leaves”. They continued with

a selection of marches, a quickstep from Jungle Book - “I Wanna Be Like You” and “The Bare Necessities” and the waltzes “Sandy and Helen Gardiner's Golden Wedding Waltz”, “Della's Waltz” and “Anne Muir's Waltz”. A popular set of Scottish tunes had everyone singing along before they rounded off the evening in fine style with another grand set of jigs. An excellent mixture of music from three great musicians with special credit to the talented young pianist, Fraser.

The next Club night – the final event 0f this season – will be held in the Royal Hotel, Portree, on Thursday, 2nd May 2024 with the guest band still to be confirmed.

0 notes

theloniousbach · 1 month

Text

ALMOST LIVESTEAM: TERRI LYNE CARRINGTON’s NEW STANDARDS (Melana Casado, Angelica Sanchez, Issac Coil, and Charlene Hunt), JAZZ ST LOUIS, 7 MARCH 2024

I had some solace that the show I would miss for my travel to the Galapagos (appropriately on International Women’s Day) could be replaced by this stream from the night before. TERRI LYNE CARRINGTON is leading an ambitious project to curate a NEW STANDARDS fake book, lead sheets from a hundred women composers. She recorded an album of some of them with Kris Davis and Linda May Han Oh.

On Thursday night she performed an almost completely different program with Angelica Sanchez whose album last year made several lists and a younger band of which Melana Casado’s trumpet and flueglhorn stood out. Sanchez was rich but could go spiky whereas Charles was rich and steady grounding the swirls around her. Issac Coil was active and strong on bass. Charlene Hunt’s dance, interpretive and modern, like the poetry recitations were nice enough but added little to my sense of the performance.

Carrington is a wonder, completely authoritative behind the kit driving the music. She is crisp and to the point, but then you realize that something unexpected was in there and how did she do it. She is equally forceful in this project, not bitter but pointed about the contributions women composers, herself, her friends, her forebears have made and that they must be appreciated.

The only repeat from the album was the opener, Marilyn Crispell’s Roads which she acknowledged would be the most out there. But its coherence and logic was to the fore and Casado’s fluegelhorn showed the way through. It segued into a Charlie Parker tribute from Connie Carroll who had been new even to Carrington. Kris Davis and later Linda May Han Oh from the album each got tunes. Davis too can be spiky but hers had a dance segment; LMHO’s had the expected bounce and was the backend of a medley with one of Sanchez’s. Alice Coltrane’s Blue Nile was the closer and it was rich, modal, and engaging.

But the center of the set for me and, I think, Carrington was Geri Allen’s magnificent Unconditional Love. Compelling and simply gorgeous on the original (on my playlist of compositions to savor already) and on this night as well. The original is a trio tune and that’s how she, Carrington, and esperanza spelling did it on many nights. Here it had Casada’s horn leading the way and Coil’s rich pulse.

It’s a wonderful tune and a fitting emblem of what this project is celebrating.

I would have wished to have been in the house on Friday to see, perhaps a completely different set. Instead, I saw this stream in three segments in airports and on planes waiting for wifi shutdowns that never came and finally in my hotel room. But through those stressors, the music came through for me yet again.

#concert review #jazz #livestream almost #jazz st louis #2024

0 notes

parkerbombshell · 2 months

Text

Rules Free Radio Feb 27

Tuesdays 2pm - 5pm EST Rules Free Radio With Steve Caplan bombshellradio.com On the next Rules Free Radio with Steve Caplan, we’ve got some new releases with a retro sound. One is a new band called The Electromagnates, one is a new release from an obscure 60s Garage Rock Psychedelic band called The Mystic Tide, and one is by The Weeklings. Other new music by J. Robbins, Lime Garden, El Perro Del Mar, whistler Molly Lewis, Crawlers, William Doyle, Levitation Room, Les Amazones D'Afrique, and one or two more. The Searchers, Dave Edmunds, The Lemon Twigs, Dot Allison, Jimmy Page, Carla Olson, The Troggs, The Motels, Beck, Fountains of Wayne, and others. In the third hour, we’ll hear some new Jazz releases by Joel Ross and John Surman mixed in with Nina Simone, Horace Silver, Charles Mingus, and Bill Frisell. The Weeklings - All The Cash In The World The Searchers - Hearts In Her Eyes The Wonders - That Thing You Do! Dave Edmunds - Girls Talk The Lemon Twigs - Ghost Run Free The Sensitive Drunks - There She Goes The Electromagnates - Airwave Hello Dolph Chaney - Cool In The Sunshine Spygenius - Metamorphosis Foo Fighters - Learn to Fly J. Robbins - Old Soul Fountains of Wayne - Bought for a Song The Mystic Tide - Frustration Carla Olson - I Can See For Miles The Mystic Tide - Why Jimmy Page - She Just Satisfies Lime Garden - Love Song El Perro Del Mar - Between You And Me Nothing Camera Obscura - Tears For Affairs Dot Allison - Shyness of Crowns Molly Lewis - The Crying Game The Troggs - Love Is All Around Crawlers - Call It Love The Motels - He Hit Me (And It Felt Like a Kiss) Bill Baird - Night of the Living Dad The Asteroid No.4 - I Want to Touch You William Doyle - Now in Motion Beck - Mixed Bizness Les Amazones D'Afrique - Mother Murakoze Levitation Room - Cool It, Baby Ghost Note - Dry Rub Nina Simone - African Mailman Steve Herberman Trio - Delilah Vijay Iyer, Linda May Han Oh, Tyshawn Sorey - Free Spirits/Drummers Song Horace Silver - Lonely Woman Joel Ross - Mellowdee Charles Mingus - Goodbye Porkpie Hat John Surman - Flower in Aspic Bill Frisell - Invisible Read the full article

#rules

0 notes

kickmag · 2 years

Text

Terri Lyne Carrington Curates Carr Center & Midtown Detroit Jazz Crawl October 14th-28th

Terri Lyne Carrington is the curator of The Carr Center and Midtown Detroit's Jazz Crawl on October 14-28th. The New Standards Jazz Crawl, Shifting The Narrative: Jazz and Gender Justice kicks off its inaugural series of free concerts at eight of the city's cultural and educational institutions this month. Carrington, who is also a Grammy-winning jazz drummer and composer is among the list of performers that includes vocalists Lisa Fischer, Carmen Lundy, Jazzmeia Horn, Lizz Wright, Daryn Dean, and Charenée Wade, saxophonists Tia Fuller, Nicole Glover, and Camille Thurman, bassists Linda May Han Oh and Marian Hayden, pianists Andy Milne and Paul Cornish, drummers Susie Ibarra and Savannah Harris, flutist Nicole Mitchell, percussionist JoVia Armstrong, guitarist Matthew Stevens, and The Gathering Orchestra Nonet.

The Jazz Crawl is part of The Carr Center's yearlong 30th-anniversary celebration and the opening of the new Carr Center performance studio. Oliver Ragsdale Jr. President and CEO of The Carr Center says, “The opening of the Performance Studio is the pinnacle of our anniversary celebration. As we move closer to the opening, we are honored to work closely with partners Midtown Detroit Inc., and our Artistic Director Terri Lyne Carrington, who is not only expanding her artistry with compelling publications, visual arts, and film, but she continues to provide high-level and innovating programming and is a great collaborator for the Carr Center."

The New Standards Installation opens on October 14th and is a four-part interdisciplinary look at jazz through the lens of gender equality. There are works created by jazz artists Cécile McCLorin Salvant, Carmen Lundy and Jazzmeia Horn and contributions from visual artists Monica Haslip, Joe Diggs, Yesmin Tosuner and Ramsess. Sherry Rubel has a portrait of 30 influential women instrumentalists and Lizz Wright will present a recipe inspired by the New Standards theme.

Carrington's first-ever children's book Three Of A Kind will be introduced. The story revolves around the musical partnership of comprised of Carrington, the late Geri Allen, and Esperanza Spalding (ACS Trio). The book is written by Carrington, illustrated by Ramsess and designed to inspire young women to play instruments. The installation also includes a New Standards film documenting the creators, and the purpose of the book and album.

On Friday, October 14th the Carr Center will present a panel discussion, “Jazz and Gender: Forging a New Legacy” with scholar and cultural icon Angela Davis; and educators and authors Gina Dent and Robin D.G. Kelly, along with Carrington at the Carr Center Performance Studio.

On Saturday, October 15, the Carr Center will present a Professional Development Master Class with Carrington for band directors and band leaders to engage with her and other composers featured in her new book.

Carrington has promoted equality in the arts since founding the Berklee Institute of Jazz and Gender Justice in 2018. Last month the Berklee Press debuted her book New Standard: 101 Lead Sheets By Women Composers. The book brings light to compositions not usually thought of as jazz standards from composers like Lil' Hardin Armstrong, Mary Lou Williams, Alice Coltrane, Dorothy Ashby, Dianne Reeves, Geri Allen, Cécile McClorin Salvant, Maria Schneider, Cassandra Wilson, Nubya Garcia, Esperanza Spalding, Mary Halvorson, Nicole Mitchell and the recently departed Jamie Branch.

In addition to the book, Carrington's new STANDARDS vol.1 album was just released.

For more information about the Jazz Crawl check out The Carr Center site.

#terri lyne carrington #carr center detroit #jazz #patriarchy #free concert #Spotify

1 note · View note

dustedmagazine · 4 years

Text

Chris Dingman – Embrace (Inner Arts Initiative)

youtube

Chord structures can be simultaneously an advantage and a constraint. As with horn-led groups, those featuring vibraphone as lead voice were comparatively slow to abandon the presence of chordal instruments like piano and guitar. The reasons behind recurring reluctance are evident in the challenges that can arise from the absence of a consistent harmonic anchor in improvised music. Without said markers and cues the experience can feel akin to playing without a safety net. Chris Dingman sounds as if he’s pondered this subjective conundrum both intimately and extensively. Embrace tackles the situation head-on and contains a telling key to a liberating solution in its title.

Bassist Linda May Han Oh and drummer Tim Keiper shift from foreground to accompanist roles with poise and ease. That degree of unerring and responsive support allows Dingman ample freedom in the voicing of his lines. It also helps that his compositions, nine in number, are geared toward the pursuit of lush intersections between melody and rhythm, several also incorporating West African elements. Each piece stands apart, but also fits spotlessly into an overarching edifice that feels very much like a unifying album. Titles reference spiritual themes and distillations that accentuate the combination of questing and calming impulses.

Dingman uses four mallets for a beautifully striated deployment of textured patterns. “The Opening + Mudita” finds him pouring on pedal sustain to create a heightened luminosity, which circles a brief bass interlude by Oh in an iridescent penumbra. Keiper keeps an underlying momentum with cleanly circular stick syncopations. A healthy backbeat also powers the scintillating “Goddess,” a ripe, revolving ostinato from Oh serving as contrastive ballast to Dingman’s gentle airborne bursts and clusters. The collective sounds are so euphonic that a body’s responses to the accumulating groove end up feeling almost autonomic.

Brushes and an amiable bass throb drive the droll humor of “Hijinks and Wizardry,” deferring to an extended improvisation from Oh that’s equal parts girth and dexterity. Dingman once again populates the background with radiant mallet-generated spheres that approximate a drifting arc of aural soap bubbles. “Folly of Progress” convenes the trio for a final extended excursion ferried on another replicating elastic groove and comely cloudbursts from the leader’s corner. As before, freedom of expression comes from the embrace of a collectivist concord independent of chordal constraints.

Derek Taylor

#chris dingman #embrace #inner arts initiative #jazz #vibraphone #trio #linda may han oh #dusted magazine #albumreview #derek taylor

2 notes · View notes

diyeipetea · 2 years

Text

INSTANTZZ: Vijay Iyer Trio “Uneasy” (53è Festival de Jazz de Barcelona / Conservatori del Liceu, Barcelona. 2021-11-08) (IV/XIII) [Galería fotográfica AKA Fotoblog de jazz, impro… y algo más] Por Joan Cortès

53è Festival de Jazz de Barcelona Fecha: lunes, 08 de noviembre de 2021 Lugar: Conservatorio del Liceu (Barcelona) Componentes: Vijay Iyer Trio Vijay Iyer, piano Linda May Han Oh, contrabajo Tyshawn Sorey, batería Tomajazz: © Joan Cortès, 2022 53è Festival de Jazz de Barcelona en…

View On WordPress

#Festival de Jazz de Barcelona #Joan Cortès #Linda May Han Oh #tyshawn sorey #Vijay Iyer #Vijay Iyer Trio #Vijay Iyer Trio “Uneasy”

1 note · View note

rubythecrimsonwriter · 1 year

Text

I posted 3,545 times in 2022

That's 1,053 more posts than 2021!

354 posts created (10%)

3,191 posts reblogged (90%)

Blogs I reblogged the most:

@thatpunnyperson

@sincerelylittleone

@whobee7

@floralflowerpower

@thelockenessmonster

I tagged 1,176 of my posts in 2022

#personal - 155 posts

#laugh rule - 104 posts

#pjo - 27 posts

#ruby's moving woes - 26 posts

#batman - 17 posts

#danny phantom - 16 posts

#flipping legacies - 16 posts

#'swearing' - 14 posts

#storytime - 12 posts

#jason todd - 10 posts

Longest Tag: 140 characters

#you know in the very beginning of the pandemic there were people going around with pool noodles attached to their heads to enforce the six f

My Top Posts in 2022:

So I now live in a place where putting cream on my skin is not only normal but expected, because fuck desert climates, but sometimes i cannot STAND the texture. My skin is now telling me ''im itchy i need cream'' but i also know that as soon as I touch cream my entire skin entity will crawl right off my frame and escape into the night.

Thank you, texture issues. You make life interesting, if nothing else.

94 notes - Posted April 30, 2022

We all know that Batman used to laugh during Jason's era as Robin, but I think that at least the first month or so that laughter was mostly a, "what the fuck is up with this kid" kind of laughter. Like Jason is so astonishingly different from Dick as Robin (Dick: *wants to kill someone so bad he's got a severe case of Stupid and Bruce just wants him to Sit and Stay* Jason: "Robin gives me magic!!!" 🤩) that Bruce just has like No coping mechanisms for Jason lmao. The first three weeks is Bruce just going, "what the fuck? Dick didn't do that. what do you mean I'm not going to have to nag him about homework. Oh my god this teenager thinks that--yuuuup, those are rocket propelled rollerskates. Oh look, the inevitable crash." I'd be wtf laughing too if i went from 2008 MCR emo child to ray of sunshine, introduced by way of incredible ballsiness followed immediately by half assed violence and stray-cat-esque coaxing from Bruce. I'd think I was in a fever dream ngl.

143 notes - Posted May 28, 2022

Rewatching Phineas and Ferb has honestly just highlighted how much of a good guy Jeremy is. He adores Candace no matter how weird he clearly thinks she is, thinks her brothers are cool even while she's desperately trying to bust them, and, whenever she has spent the entire episode trying to be there with Jeremy until she can't STAND it any longer and goes haring off after the boys, he's just chilling in the dust and saying, "that's my girl."

172 notes - Posted March 13, 2022

Phineas and Ferb astounds me with how funny it continues to be. We've estblished Linda Flynn-Fletcher as the old pop star Lindonna, and then she likes to play jazz with two other women in the neighborhood. Imagine if Nina Sky (one hit wonder of the 2000s: Move Ya Body) had a quiet jazz trio in the middle of the suburbs of this city and dropped an album and you're just like, ah, yes, soothing jazz by Nina Sky.

And track three is a hard rock song with the lead male singer ranting to Nina about how evil their siblings are and all the rest of the tracks are back to soothing jazz. You flip over the CD case to read the back.

3. E. V. I. L. B. O. Y. S. Sung by Nina Sky's daughter. Music by Nina Sky's jazz trio.

I think that I'd be simultaneously laughing myself sick and also extremely confused.

323 notes - Posted September 3, 2022

My #1 post of 2022

I think people need to tell more kids that they're proud of them for graduating high school. I'm absolutely dead serious, especially now. I can see the graduating high schoolers surrounding me right now are burned out and traumatized and depressed, and they've undoubtedly had a much, much harder time in high school than I ever had, and I had some pretty shitty high school experiences.

I graduated high school with no more acknowledgement than the standard "congrats on surviving another year of school!" And immediately followed by "have you finished all your scholarship applications?" That was fine for me. I knew i wanted to go to college, I was set and ready for it, eager to get out of high school into more challenging courses.

But if I just finished high school after two years of fighting through online courses and no one acknowledged the battles I went through? If I was as burnt out and traumatized as these kids are right now? I'd have never have gone to college.

So for everyone graduating high school, even if you barely scraped by passing: I see you. I'm proud of you. You did such a good job. I wish you success in what you try to do, fortune enough to keep you safe and happy, and health always.

46,794 notes - Posted May 13, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review #I love that my pnf posts are the ones that made the top five popular #I'm okay with that

6 notes · View notes

doomandgloomfromthetomb · 2 years

Text

Doom & Gloom: The Year In Bootlegs

Whole lotta doom and gloom in 2021. But here's some of the good kind of Doom & Gloom. Live recordings from across the decades! Read on to get caught up with the D&G exclusive upload kinda things from the past 12 months. In case you've missed some of these, I've gone ahead and replaced expired links. This year marks 12 years of Doom & Gloom From The Tomb. Hope you've enjoyed the ride. Keep on sailing.

Pharoah Sanders - The Jazz Workshop, Boston, Massachusetts, November 3, 1973

Pharoah effortlessly turns this basement club into an extremely cosmic zone, stretching way out, but always carrying the audience along with him.

Rahsaan Roland Kirk & the Vibration Society - The Jazz Workshop, Boston, Massachusetts, October 31, 1972

“If I pass through this land and split offa this earth, and I find somebody puttin’ my music out on bootleg, I got some cats and sisters gonna take care of ya with some karate chops and some knives."

Herbie Hancock - The Jazz Workshop, Boston, Massachusetts, March 22, 1973

With synth madman Dr. Patrick Gleason in tow (plus a dude named Scorch on congas), the group takes the Boylston Street basement club into the outer reaches of the cosmos. The groove remains strong, however, with Buster Williams and Billy Hart laying down a thick and greasy foundation for everyone else to blast off from. Amazing jams.

Bob Dylan - Spokane Arena, Spokane, Washington, October 5, 2001

A fantastic Crystal Cat recording and a fantastic performance from the Campbell / Sexton / Kemper era NET band, with a bunch of song debuts and Bob in fine form. I can remember getting CDRs of this gig in the mail just a few weeks later, which seemed like a minor miracle at the time — like “Love And Theft” itself!

The Band - The Music Inn, Lenox, Massachusetts, September 26, 1976

The Band would soon be dancing its Last Waltz, but they all sound as good as ever at the Music Inn, as captured on a very nice audience tape. Danko in particular is on fire, vocally and instrumentally, and the mix gives us a little bit more of Manuel’s piano as a treat.

Sun Ra and His Arkestra - The Grotto, New Haven, Connecticut, June 14 & November 12, 1986

Almost twenty African-American musicians, resplendent in shiny flowing robes and sequined caps, were shoehorned on the Grotto stage in June, 1986. They greeted the audience with a furious roll of drums, followed by the modal yodel and chromatic squeal of a synthesizer imitating a reed—an oboe or alto sax—and then zipping into an ascending siren noise like a spaceship in a sci-fi flick thrusting into hyperspace.

Fairport Convention - Royal Festival Hall, London, England, February 14, 1970

Fairport at this stage was debuting their Full House lineup / repertoire. That band’s saga is always kind of amazing to me. At the end of 1969, they lost a key co-founder and creative force (Ashley Hutchings) and the greatest singer of all time (Sandy Denny). Other groups would hang it up at that point — but instead, they just somehow became even more awesome.

Sandy Denny - The Bitter End, New York City, February 5, 1972

In January, we played the Bitter End in New York, with twenty-three-year-old Jackson Browne opening. He was obviously something special, with amazing maturity of voice and songwriting, and a genial human being. Between sets, we would repair next door to Nobody’s Bar, sawdust on the floor and Tapestry on the jukebox. One night, the guy on the door at the club told us that Bob Dylan was in the house. If there was one sure way of ruining Sandy’s set, it had just happened. I’d never seen her so nervous, self-conscious and clumsy on stage. Bob slipped away before the set ended. — Richard Thompson

Richard & Linda Thompson - New Merlin’s Cave, London, England, November 27, 1973

Another trip back to Richard Thompson's early days with Linda and Simon Nicol, when the trio was touring folk clubs and pubs as Sour Grapes. This audience tape is far from pristine, but it’s not bad either, capturing the Grapes trying to calm a rambunctious crowd. And mostly failing!

Black Francis - McCabe’s Guitar Shop, Santa Monica, California, March 22, 1990

Black Francis, AKA Frank Black, AKA Charles Thompson IV on Pico Boulevard. The Pixies frontman was out on the west coast at the time recording Bossanova, and he takes the opportunity to debut a bunch of that LP during the course of his 80+ minute set, plus a wide range of old faves and obscurities.

Frank Black - McCabe’s Guitar Shop, Santa Monica, California, May 27, 1994

The Pixies were kaputt for the time being and Frank had quickly built up an entirely new repertoire — apart from a handful of covers, this 29-song set is drawn from his two solo albums, 1993’s self-titled debut and the then-just-released Teenager of the Year, plus assorted b-sides. These records are, in my humble opinion, just as good as Black’s original work with the Pixies, capping off an astonishing eight-year run for the songwriter. To my mind, his early solo releases are kind of like a West Coast speculative fiction novel mixed with wry memoir, looking back at a weird southern California past and forward to an apocalyptic future.

Frank Black - McCabe’s Guitar Shop, Santa Monica, California, September 21, 1996

Throughout, Frank is extremely relaxed, chatty and expressive. At this point, he had almost completely left behind any trace of the Pixies … except that he breaks out a lovely “Wave of Mutilation” in the middle of this set. I remember that seeming like a bit of a miracle at the time.

Lou Reed - Various Radio Interviews, 1976

Lou is pretty forthcoming and chill, relatively speaking — I think the most spicy he gets is when one DJ asks if he likes The Tubes. Lou does not like The Tubes! Things he does like: New York City, Jimmy Carter, Zuma … and Sandy Denny!

Lou Reed’s Metal Machine Trio - Royal Festival Hall, London, England, April 19, 2010

A night of deep noise! Will this tape of Lou’s Metal Machine Trio ease your worried mind? Maybe, maybe not. But here it is if you need it. In the mid-2000s, Lou joined forces with Sarth Calhoun and Ulrich Krieger to bring his classic 1975 double LP Metal Machine Music to the stage — at long last! Like last week’s Zorn/Anderson collab, this is Reed reclaiming his avant-garde roots, leaving songform behind for the moment and heading straight into the heart of the sun.

Lou Reed - Festival Des Vieilles Charrues, Carhaix, France, July 17, 2011

The overall sound is kinda like a throwback to the Take No Prisoners / Everyman Band days. The setlist at this outdoor festival gig adds to the vibe as well; after a curveball opening “Who Loves The Sun,” Lou leads the band into some very rarely played 1970s numbers: “Senselessly Cruel” from Rock and Roll Heart and “All Through The Night” from The Bells. The latter tune, stretched out over 12 minutes, is a mindless endless boogie, just a vamp repeated on and on into infinity. Pretty good, though! “I wanna take you higher!” Lou bellows at one point, really feeling it.

Lou Reed - Heineken Music Hall, Amsterdam, Netherlands, June 14, 2012

And how about Lou himself? He sounds both fragile and defiant, raging against the dying of the light, full of passionate intensity — surely some Revelation is at hand! He also sounds like he’s enjoying himself, especially on the Lulu tracks, spitting out those incredibly nasty lyrics with glee. But the quieter moments are great, too — Magic and Loss’s “Cremation” is given an almost Irish folk feel, Lou venturing into the slipstream: “The coal black sea waits for me,” he sings, perhaps knowing that the end is near.

John Cale - VPRO Studio, Hilversum, The Netherlands, September 10, 1975 (or 1974?)

In the mid-1980s, John Cale released a live album called John Cale Comes Alive! This radio broadcast from the mid-1970s is more like John Cale Comes Undone! The songwriter is in an angry, combative mood, arguing with the Dutch DJ, refusing to answer his questions, giving him a very hard time. Not coincidentally, Cale also sounds very drunk.

Neil Young - Carnegie Hall, New York City, December 5, 1970

A kinda prickly Neil dealing with annoying fans, feeling a bit out of place in such a legendary venue, perhaps. His whole family was there, too, so he was a little stressed. Even Jack Nicholson showed up, according to Bob Young’s account.

Neil Young - Macky Auditorium, Boulder, Colorado, January 27, 1971

Neil Young incites a riot in Boulder! Well, maybe not exactly. Thanks to a bunch of counterfeit tickets that were sold to unsuspecting fans, a big crowd got rowdy and the cops were called in. Must’ve been a wild winter night on the Hill.

Neil Young - KMET Radio Interview With B. Mitchell Reed, September 1973

In September of 1973, Neil Young went to the radio interview — but he didn’t end up alone at the microphone! KMET DJ B. Mitchell Reed was there to chat for about an hour or so. Young doesn’t sound wasted and woozy — he’s pretty lucid, actually, gamely entertaining Reed’s many questions.

Neil Young & Crazy Horse - The Forum, Inglewood, California, November 4, 1976

This tape has made the rounds over the decades as Old Man’s Fancy; it’s a decent audience recording of a rowdy gig, Neil sounding loose and lively. The electric set is where the sparks really fly, whether on a vicious, vivid “Down By The River” or a swirling, soaring “Like A Hurricane.” Best of all might be the moment at the end of “Drive Back” when Young blasts an insane, dissonant skronk directly into the frontal lobes of the Forum audience. Nasty!

Neil Young with The Trans Band - The Catalyst, Santa Cruz, California, August 13, 1982

Now, when we think of this Neil era, we usually think of his Trans alter ego prowling the stage with a headset and shades, singing “Computer Age” and “Sample and Hold.” But that was not really the focus of his ‘82 shows — they actually boasted very fan-friendly setlists. Plenty of greatest hits, played by a kind of supergroup of Neil’s former collaborators. It’s as though Young looked back at all his previous bands and grabbed some players at random: Bruce Palmer from the Buffalo Springfield, Ralph Molina from Crazy Horse, Ben Keith from the Stray Gators, Nils Lofgren from the Santa Monica Flyers, Joe Lala from CSNY / Stills-Young Band …

Neil Young & Crazy Horse - The Old Princeton Landing, Princeton-By-The-Sea, California, June 9, 1996

This is the Horse at their most laid-back and exploratory, playing plenty of deep cuts and jamming the night away — the first set kicks off with “Cowgirl in the Sand” and the last set ends with “Down By The River” if you need convincing.

Neil Young & Crazy Horse - Werchter Festival, Werchter, Belgium, July 7, 1996

[There was] a sense of grace and dignity about what they were doing … an incredible verve and energy. It was very moving, watching them work under the moon … This grand old man of American rock, a pioneer loaded with integrity … [Young and Crazy Horse] were turning around, like in a tribal circle, very slowly. And it seemed to me that they were doing that to catch back their dreams, to find youth again, to not allow the energy to escape. — David Bowie

Neil Young & Crazy Horse - The Catalyst, Santa Cruz, California, May 19, 1997

Seems like Neil was briefly trying to incorporate Mirror Ball material into the Horse repertoire — there are five songs from that album represented here. And they sound good! “I’m The Ocean” is particularly on point … but strangely, Neil’s only played that song a handful more times since. There are also some new tunes — two versions of the still-unreleased “Modern World,” and beautiful readings of “Horseshoe Man” and “Out of Control.” Is there an unreleased 1997 Crazy Horse album somewhere in the vaults? I’m starting this rumor, even if that album only existed for a couple of weeks in Neil’s mind.

Jonathan Richman & The Modern Lovers - The Kitchen, New York City, March 1975

The solid audience tape here features OG Modern Lover Ernie Brooks, Andy and Jonathan Paley, Jody Thaxter, and Miranda Remington backing Richman on a set of classic oldies and charming originals (some of which remain unreleased), all performed sans amplification. Although he turns down a request for “Pale Blue Eyes,” the Velvets still loomed large for Jonathan — towards the end of the remarkable 10-minute “Roadrunner” that closes the show, someone adds a sawing Cale-like viola drone. Jonathan had hypnotized the audience yet again.

Stephen Malkmus & The Jicks - Graceland, Seattle, Washington, June 1, 2002

The Jicks hit the sweet spot between well-rehearsed and very very loose, making for an extremely fun listen, with a lot of Malkmus guitar heroics — check out the soaring solos on "Church On White" and "One Percent of One." The whole thing falls apart marvelously at the end when SM takes over on drums and John Moen takes to the mic for a medley of "Satellite of Love" > "You Ain't Goin' Nowhere" > "Let's Spend The Night Together." Times are gonna change, you will be amazed.

Richard Hell and the Voidoids - Great American Saloon, New Haven, Connecticut, Spring 1979 / November 5, 1979

Richard Hell spewed forth his free associative punk poetry like a yelping junkie chihuahua. Freed of playing bass, he leapt around the postage stamp-sized stage at New Haven’s Great American Saloon — formerly the Oxford Ale House — wailing that I was child / who wanted love that was wild / though tight as slow motion / but crazed with devotion in “Love Comes In Spurts and I was sayin let me out of here before I was / ever born. It’s such a gamble when you get a face in the anthemic classic “Blank Generation.” “We’re gonna be brief but intense,” he announced before the start of the second set one night — the perfect summary of the Voidoid’s career. Such as it was.

Richard Hell & The Voidoids - The Longhorn, Minneapolis, Minnesota, July 31, 1979

Two sets of Richard Hell & The Voidoids at the Longhorn, back in the summer of ‘79. Ferocious stuff, with the blistering Quine / Julian twin guitar attack in full effect.

Richard Hell - The Grotto, New Haven, Connecticut, March 9, 1985

This was a short-lived combo fronted by Richard Hell. I don’t think it ever even had a “band name.” As I recall it, Hell played bass and sang, Anton Fier was on drums, Jody Harris played guitar and Ned Harvey was on saxophone. Despite the excessive time spent tuning between songs — Hell even introduces “Jody Harris on tuning pegs” — it’s a cool rarity by a punk legend.

Jon Hassell w/ David Rosenboom - Music Gallery, Toronto, Canada, October 9, 1976

One of the earliest live recordings of Hassell, duetting with tabla-ist David Rosenboom in Toronto, right around the time of Vernal Equinox, the composer's landmark debut LP. A beautiful half-hour of raga-esque modes.

The Feelies - Irving Plaza, New York City, February 14, 1980

The Feelies at their Crazy Rhythms-era height, incredibly propulsive and precise, playing their debut LP in its entirety (in slightly adjusted running order).

Ghost - Terrastock, Pell Chafee Performance Center, Providence, Rhode Island, April 23, 2006

Over the course of 70+ masterful minutes, Ghost takes us from free-form improv abstractions to lean-mean psych, from pastoral balladry to cosmic jams. Don’t think twice — descend into the Hypnotic Underworld!

Joe Henderson Quintet - The Happy Medium, Chicago, Illinois, August 1974

This sounds like a radio broadcast — starts out a little rough but improves quickly, capturing a scintillating show from Joe and co. Not sure if the saxophonist recorded with this particular lineup, but they sound killer as they stretch out and lock in over the course of 90 very nice minutes.

The Incredible String Band - Corries Folk Festival, Edinburgh, Scotland, August 1, 1967

On stage, the Increds would change instruments after every song, with who played what sometimes varying from performance to performance. Then everything had to be miked, which meant that it could take an hour to get through three songs — but I loved all of it. — Richard Thompson

Luna - The Sinclair, Cambridge, Massachusetts, August 25, 2018 / The Warehouse, Fairfield, Connecticut, August 26, 2018

The band play an energetic set to a full house of devoted fans loudly cheering and singing along, a mix of Luna favorites from throughout the band’s career and covers.

Air - International New Jazz Festival, Moers, Germany, May 29, 1977

More than hour’s worth of sun-kissed free jazz, packed with adventure, melody and curiosity. Organic music!

Alex Chilton - Richard Frey’s Loft, 246 Bowery, New York City, November 1, 1977

An audio verite document of the one and only Alex Chilton playing records late into the night at a pal’s loft back in ‘77. The pal was Richard Frey, a CBGB scene fixture — he hit “record” on his tape machine and captured the moment, as Chilton spins Sam the Sham, the Mindbenders, the Beatles, the Beach Boys and many more!

Grant Lee Phillips - Club Passim, Cambridge, Massachusetts, August 11, 2019

Even though Phillips’ stuff generally leans toward the melancholy, he remains fairly hilarious in between those sad songs, keeping the audience in stitches throughout. Things get especially good when opener Phillip B. Price comes onstage to lend a hand on backing vocals. “Perhaps there’s nothing more manly than two adult men singing high falsetto together,” Phillips quips.

#roio #bootlegs #live music

12 notes · View notes

burlveneer-music · 2 years

Text

My WVUD playlist, 12/14/2021

(filling in on Avenue C)

Mathias Eick - Turning Nils Petter Molvær - Honey in Your Head Linda Fredriksson - Pinetree Song Nils Økland - Glødetråd Uxila Exile - Wings Sunna Gunnlaugs Trio - February (feat. Verneri Pohjola) La La Lars - Oår Terje Rypdal - As If The Ghost … Was Me!? The Eivind Aarset 4-tet - Pearl Hunter Hedvig Mollestad - Kittywakes in Gusts Trondheim Jazz Orchestra & Ole Morten Vågan - Dismay Redux Aili Järvelä, Sointi Jazz Orchestra - Keväthuuto Marius Neset, Danish Radio Big Band & Miho Hazama - Bicycle Town, Pt. 2 Jaga Jazzist - The Shrine (Live) Ingebrigt Håker Flaten - Brinken - For Trondheim Iro Haarla Electric Ensemble - Led By The Wind Elephant9 - Rite of Accession

#wvud #playlist #avenue c #jazz

9 notes · View notes

doubleattitude · 3 years

Text

Radix Dance Convention, Las Vegas, NV: RESULTS

High Scores by Age:

Rookie Solo

1st: Mila Renae-’Soldier’

1st: Melina Blitz-’The Poet Creature’

2nd: Aliya Yen-’Loyal, Brave & True’

3rd: Sebastian Mancini-’Guerrerio’

4th: Dylan Reuss-’Lost Boy’

5th: Bella Mendez-’Pump’

6th: Emma Acosta-’Lip Gloss’

7th: Lexi Yeackle-’I Will Wait’

8th: Kaiya Carrillo-’Love Shack’

8th: Rylan Farrales-’Stand In The Light’

9th: Enslee Moore-’Ooh Child’

10th: Olivia Caylor-’Queen Bee’

Mini Solo

1st: Kinley Cunningham-’Glam’

2nd: Fiona Wu-’Red Dust’

3rd: Joy Line-’Broken Dreams’

3rd: Carrigan Paylor-’Orange Colored Sky’

3rd: Karyna Majeroni-’Pistolet’

3rd: Keelyn Jones-’Slowly Fading’

3rd: Fiona Sartain-’The Way You Move’

4th: Starr Castro-’Bang Bang’

4th: Peyton Szuberla-’Glacier’

4th: Addison Price-’We Will Not Give In’

5th: Madelyn Murphy-’Desierto’

5th: Roxie Onellion-’Drifting Down’

6th: Esprit Frank-’Grains’

6th: Claire Gestring-’On The Mast of Faith’

7th: Tiara Sherman-’Cielo’

7th: Jenna Le-’Matters to Me’

7th: Cerys Cogswell-’Pure Imagination’

8th: Jacob Barrow-’Shifting’

8th: Aurora Brady-’Hit The Road Jack’

8th: Cha Cha Shen-’Here I Come’

8th: Alyssa Mastroianni-’Crippled Bird’

8th: Leah Munson-’Copy Cat’

8th: Claire Hansen-’By The Roses’

8th: Peyton Nowacki-’Angels to Fly’

9th: Annabella Atkinson-’The Dutch Girl’

9th: Eden Hawkins-’Shadow’

9th: Olive O’Connell-’Live Like Legends’

9th: Ella King-’Like A River’

9th: Tatum Brady-’Fall Creek’

9th: Oliviana Mancini-’At Peace’

10th: Leighton Brandt-’Legs’

10th: Annie Carlson-’Young’

Junior Solo

1st: Kylie Kaminsky-’The Offering’

2nd: Brooke Toro-’As The Dust Settles’

2nd: Coltrane Vodicka-’Moon River’

2nd: Alita Kneeland-’Spine

2nd: Makaia Roux-’Unbound’

3rd: Alexis Mayer-’Vivid

4th: Emmy Claire Kaiden-’Eyesore’

4th: Naia Parker-’Lit’

5th: Bella Kidder-’Feeling Good’

5th: Hope Edwards-’Gravity’

5th: Lucy Cavender-’Material Girl’

5th: Isabelle Zorrilla-’Orion’

5th: Kira Chan-’Pump’

5th: Kendyl Fay-’To Build A Home’

5th: Aaliyah Dixon-’Toxic’

6th: Mackenzie Kleveno-’Lost It To Trying’

6th: Taytum Ruckle-’Perfect Lie’

6th: Anabel Alexander-’Plans We Made’

7th: Victoria Johnson-’Genius’

7th: Aedyn Bekker-’New York State of Mind’

7th: Brianna Gorksi-’Night Sky’

8th: Kendall Jundt-’Awakening’

8th:Lexi Godwin-’Debut’

8th: Casey Cheung-’I Remember’

8th: Ava Hill-’Shallow’

9th: Izzy Wadington-’Final Solution’

9th: Jovie Leigh Ugerio-’Ring Them Bells’

10th: Madison De Dios-’On My Mind’

10th: Clare Loftus-’Restless Night’

10th: Delaney Bojorquez-’Tessellate’

Teen Solo

1st: Ashur Taylor-’Relax’

2nd: Cydney Heard-’Black Mourning’

2nd: Gianna Mojonnier-’Inside Outside’

2nd: Olivia Magni-’Moonlight Sonata’

2nd: Coco Saul-’Transportin’

3rd: Jadyn Saigusa-’Wonderlust’

3rd: Emily Madden-’Vibeology’

3rd: Calli Perryman-’Still Running’

3rd: Michelle Cheng-’Sinking’

3rd: Georgia Ehrlich-’On My Mind’

3rd: Tyler Chiyuto-’Llarona’

3rd: Blanche Arnold-’How To Be Your Own Person’

3rd: Ava Lynn-’Everything’s Alright’

3rd: Addison Middleton-’Dark Dissonance’

4th: Charlotte Cogan-’You’

4th: Hailey Meyers-’Standing Still’

4th: Isiah Bowens-’Miss You’

4th: Avery Hall-’If I Think’

4th: Luke Barrett-’Eden’

4th: Emma Donnelly-’Departure’

4th: Ava Kendall-’Always On My Mind’

5th: Zuzu Duchon-’Twelfth of Never’

5th: Angelika Edejer-’Toxic Thoughts’

5th: Riley Platenberg-’Talking Points’

5th: Annabelle Mang-’One Small Step’

5th: Sabine Nehls-’No Regrets’

5th: Ella Montano-’Lonely’

5th: Natalie Bowen-’I Think I’m Alone Now’

5th: Cade Clark-’I Can’t Move’

5th: Berlynn Gonzalez-’Hero’

5th: Courtney Chiu-’Fever’

5th: Drew Rosen-’Exhalation’

5th: Rachel Polizzotto-’Entrapment’

5th: Raven Alanes-’Confusion’

5th: Mikaella Lopez-’Blues-y’

5th: Izzy Howard-’Amen’

6th: Sophia Oppegard-’You Can’t Leave’

6th: Elle O’Donnell-’Slowly’

6th: Lily Godwin-’Ode to Divorce’

6th: Aubrie Stoehr-’Now I Cry’

6th: Sofia Mah-’Life’

6th: Mia Ibach-’Koladi Ola’

6th: Piper Rovsek-’Innate Abstraction’

6th: Sakura Amano-’I Love You’

6th: Sophia Albornoz-’Even When It Hurts’

6th: Sammi Chung-’eight’

6th: Ella Sheppard-’Do You’

6th: Ally Cheung-’Cut The World’

6th: Kate Seleno-’Curtain Call’

6th: Kayla Harrison-’Crumbling’

7th: Kennedy Blazek-’Zilla’

7th: Libby Haye-’Work Song’

7th: Katelyn Neasham-’Touch’

7th: Sebastian Hsu-Kwan-’Scat’

7th: Lauren Pond-’Satellite Heart’

7th: Aleyna Laba-’Playdoh’

7th: Linda Diaz-’Paper Moon’

7th: Maya Krajicek-’Idea for Strings’

7th: Kennie Shen-’Feeling Good’

7th: Jenna Tarry-’Down The Line’

7th: Ava Thorp-’Blue Notebook’

7th: Emma Hellenkamp-’Blackbird’

7th: Felix Fulton-’A Dream I Can’t Forget’

8th: Dempsey Foxson-’Vain’

8th: Carys Ashby-’The Empress’

8th: Angelica Keamy-’Research’

8th: Melina Gurich-’Net Works’

8th: Raina Wu-’Looking In’

8th: Alexis Olson-’Just Say That’

8th: Gabi D’Ambra-’In For the Kill’

8th: Piper Camm-’Drones’

8th: Scotlynn Potter-’Cinematic Plea for an End’

8th: Ava Saremaslani-’Canvas’

9th: Maile Cochran-’Tesselate’

9th: Jera Linkins-’Put Your Records On’

9th: Kayla Seitel-’Monster’

9th: Alexis Ahn-’Brighter Days’

9th: Brayden Owens-’Tux’

10th: Addyson Smith-’Ecdysis’

10th: Presslie Novits-’Let Me Entertain You’

10th: Siena Riga-’Naked’

10th: Mandy Boaz-’Pink’

10th: Brooklyn Piano-’Solitary’

10th: Destiny Harris-’Up’

Senior Solo

1st: Alex Shulman-’In System’

1st: Ella Horan-’Silk’

2nd: Jade Bucci-’Sacrifice’

3rd: Alexis Weldner-’Release’

3rd: Jemoni Powe-’Second Thought’

4th: Brianna Sanchez-’Stolen’

4th: Charlotte Foldes-’You Forget Everything’

5th: Izzy Burton-’Gimme’

6th: Mallory McKenna-’I’m Lonely’

6th: Julian Menendez-’Note to Self’

6th: Kennedy Barry-’The Distance Between’

7th: Makaila Teagle-’Breathe Into Me’

7th: Vanessa Valenzuela-’Poem About Death’

7th: Bailey Holt-’Rose Water’

8th: Emmy Cheung-’Nostos’

8th: Alex Andrada-’Still In Love’

9th: Nina Sawaya-’All I Wanted’

9th: Lauren Polizzotto-’Distant Echos’

9th: Reese Willis-’Godspeed’

9th: Hannah Averbuck-’Got2BReal’

9th: Savannah Laughton-’Nostalgia’

10th: Izabel Hurtado-’Film Credits’

10th: Aleialanee Ponce De Leon-’Mirrored Heart’

10th: Megan Chie-’You’

Rookie Duo/Trio

1st: Studio Fusion-’Kansas City’

1st: Danceology-’Time of My Life’

2nd: Bobbie’s School of Performing Arts-’Tomorrow’

3rd: Notion Dance Concepts-’MILK $’

Mini Duo/Trio

1st: Mather Dance Company-’Respect’

2nd: Murrieta Dance Project-’Midnight Train’

3rd: Studio X-’Vogue’

3rd: Bobbie’s School of Performing Arts-’We Are’

Junior Duo/Trio

1st: Bobbie’s School of Performing Arts-’And So It Is’

2nd: Bobbie’s School of Performing Arts-’Inception’

3rd: Danceology-’Celloopa’

3rd: Evoke Dance Movement-’Everything Is In Line’

Teen Duo/Trio

1st: The Rock Center for Dance-’Make Me High’

2nd: Danceology-’Busy Signal’

3rd: Danceology-’Smile In The Rain’

Senior Duo/Trio

1st: Bobbie’s School of Performing Arts-’Refuse’

2nd: Studio Kin-’The Night We Met’

3rd: Studio Kin-’Never Love Again’

Rookie Group

1st: Danceology-’Ladies Room’

2nd: Mather Dance Company-’Fabulous’

3rd: Danceology-’Kingdom’

Mini Group

1st: Mather Dance Company-’Hot Stuff’

2nd: Danceology-’Happy’

3rd: Evoke Dance Movement-’Searching For...’

Junior Group

1st: Orange County Performing Arts Academy-’Wind It Up’

2nd: Danceology-’Give Yourself In’

2nd: The Rock Center for Dance-’Over The Edge’

3rd: Orange County Performing Arts Academy-’Sing Sing Sing’

Teen Group

1st: Danceology-’Dream of Dreaming’

2nd: The Rock Center for Dance-’Heavenly Bodies’

3rd: West Coast School of the Arts-’All Coming Back’

Senior Group

1st: Mather Dance Company-’We The Soldiers’

2nd: Mather Dance Company-’For All We Know’

3rd: Studio Fusion-’Coconut’

3rd: Academy of Nevada Ballet Theatre-’Those That Follow’

Open Group

1st: Community Dance Training-’The Place You Left’

Rookie Line

1st: The Rock Center for Dance-’Inanna’

2nd: The Rock Center for Dance-’Suite Tea’

3rd: Studio Kin-’SK Crew’

Mini Line

1st: The Rock Center for Dance-’6 Out of Six’

2nd: Motion State Studios-’Sisters’

3rd: Danceology-’Time Passing’

Junior Line

1st: The Rock Center for Dance-’All Good People’

2nd: Danceology-’Just Got Paid’

3rd: Danceology-’Backbone’

Teen Line

1st: The Rock Center for Dance-’Cadance’

1st: Danceology-’My Hands Are Always Cold’

2nd: The Rock Center for Dance-’Hey!’

3rd: The Rock Center for Dance-’Dark Winter’

3rd: Studio Kin-’Hustle’

Senior Line

1st: Mather Dance Company-’Prisoner’

1st: Mather Dance Company-’Voice of God’

2nd: Danceology-’It’s Weezy’

3rd: Bobbie’s School of Performing Arts-’I’m The Hero’

Mini Extended Line

1st: The Rock Center for Dance-’Settle Down’

2nd: Danceology-’Ballroom Blitz’

3rd: The Rock Center for Dance-’Jump Jump!’

3rd: Danceology-’Mary Poppins’

Junior Extended Line

1st: Evoke Dance Movement-’Hold Your Own’

2nd: Evoke Dance Movement-’Better Than Ever’

3rd: Evoke Dance Movement-’Purse First’

Teen Extended Line

1st: Danceology-’Not Today Satan’

2nd: Evoke Dance Movement-’Adios’

3rd: Danceology-’Cha Cha Heels’

Senior Extended Line

1st: Danceology-’Above Below’

2nd: Danceology-’Burn Up The Dance’

3rd: Danceology-’Night Thirst’

Mini Production

1st: The Rock Center for Dance-’Mambo Baby’

Junior Production

1st: Danceology-’Rich Girl’

2nd: Danceology-’Blind Faith’

3rd: Danceology-’Level Up’

High Scores by Performance Division:

Rookie Jazz

1st: Danceology-’Ladies Room’ 2nd: Mather Dance Company-’Fabulous’ 3rd: Studio Kin-’Look Out Weekend’

Rookie Ballet

1st: The Rock Center for Dance-’Suite Tea’

Rookie Hip-Hop

1st: Studio Kin-’SK Crew’

Rookie Contemporary

1st: The Rock Center for Dance-’Inanna’ 2nd: Danceology-’Kingdom’

Rookie Lyrical

1st: Notion Dance Concepts-’Firework’

Mini Jazz

1st: Motion State Studios-’Sisters’ 2nd: Mather Dance Company-’Hot Stuff’ 3rd: Danceology-’Ballroom Blitz’

Mini Ballet

1st: The Rock Center for Dance-’The Invitation’ 2nd: Danceology-’Scarf Dance’ 3rd: Danceology-’Polinaise’

Mini Hip-Hop

1st: The Rock Center for Dance-’Jump Jump!’ 2nd: Evoke Dance Movement-’Get Up’ 3rd: Studio Kin-’Pure Water’

Mini Tap

1st: Danceology-’Happy’ 2nd: Danceology-’Luck be A Lady’ 3rd: Danceology-’Word Up’

Mini Contemporary

1st: The Rock Center for Dance-’6 Out of Six’ 2nd: Evoke Dance Movement-’Searching For...’ 3rd: Danceology-’Time Passing’ 3rd: Bobbie’s School of Performing Arts-’Fading Images’

Mini Lyrical

1st: Mather Dance Company-’Roar’ 2nd: Elite Dance and Performing Arts Center-’Beautiful Thing’ 3rd: Studio Kin-’Lighthouse’

Mini Musical Theatre

1st: Danceology-’Mary Poppins’ 2nd: Studio Kin-’Mean & Green’

Mini Ballroom

1st: The Rock Center for Dance-’Mambo Baby’ 2nd: Danceology-’Favorite Things’

Mini Specialty

1st: The Rock Center for Dance-’Settle Down’ 2nd: The Rock Center for Dance-’Salient’ 3rd: Evoke Dance Movement-’I Think I Love You’

Junior Jazz

1st: Danceology-’Rich Girl’ 2nd: Evoke Dance Movement-’Purse First’ 3rd: Orange County Performing Arts Academy-’Wind It Up’

Junior Ballet

1st: The Rock Center for Dance-’Over The Edge’ 2nd: Danceology-’Paquita’ 3rd: Danceology-’Passarinjo’

Junior Hip-Hop

1st: Danceology-’Level Up’ 2nd: Evoke Dance Movement-’Lose Control’

Junior Tap

1st: Danceology-’Just Got Paid’

Junior Contemporary

1st: Danceology-’Blind Faith’ 2nd: The Rock Center for Dance-’All Good People’ 3rd: Evoke Dance Movement-’Hold Your Own’

Junior Lyrical

1st: Mather Dance Company-’Anything Worth Holding’ 2nd: Mather Dance Company-’Salvation’ 3rd: Elite Dance and Performing Arts Center-’You Will Be Found’

Junior Musical Theatre

1st: Danceology-’Black Friday Fiasco’ 2nd: Elite Dance and Performing Arts Center-’Nicest Kids In Town’

Junior Specialty

1st: Evoke Dance Movement-’Better Than Ever’ 2nd: Danceology-’Backbone’ 2nd: Danceology-’Give Yourself In’ 3rd: Orange County Performing Arts Academy-’Sing Sing Sing’

Teen Jazz

1st: The Rock Center for Dance-’Shadow Work’ 1st: Orange County Performing Arts Academy-’Boom Pow’ 2nd: Bobbie’s School of Performing Arts-’Feeling Super Down’ 3rd: Murrieta Dance Project-’Sweet Melody’

Teen Ballet

1st: The Rock Center for Dance-’Dark Winter’

Teen Hip-Hop

1st: Studio Kin-’Hustle’ 2nd: Evoke Dance Movement-’Diva’ 3rd: Studio Kin-’All That Matters’

Teen Tap

1st: Danceology-’Mr. Blue Sky’

Teen Contemporary

1st: Danceology-’My Hands Are Always Cold’ 2nd: The Rock Center for Dance-’Hey!’ 3rd: The Rock Center for Dance-’Heavenly Bodies’

Teen Lyrical

1st: West Coast School of the Arts-’All Coming Back’ 2nd: Mather Dance Company-’Overdose’ 3rd: Mather Dance Company-’Out of Hiding’

Teen Musical Theatre

1st: Danceology-’Not Today Satan’ 2nd: Evoke Dance Movement-’Singular Sensation’ 3rd: Elite Dance and Performing Arts Center-’Footloose’

Teen Ballroom

1st: Danceology-’Cha Cha Heels’ 2nd: The Rock Center for Dance-’Movimento’

Teen Specialty

1st: The Rock Center for Dance-’Cadance’ 2nd: Danceology-’Dream of Dreaming’ 3rd: Danceology-’Passage’

Senior Jazz

1st: Mather Dance Company-’Prisoner’ 2nd: Danceology-’Night Thirst’ 3rd: West Coast School of the Arts-’How Come U Don’t Call Me Anymore?’

Senior Hip-Hop

1st: Danceology-’It’s Weezy’

Senior Contemporary

1st: Mather Dance Company-’We The Soldiers’ 2nd: Academy of Nevada Ballet Theatre-’Those That Follow’ 3rd: Danceology-’Above Below’ 3rd: Studio Fusion-’Weight of Silence’

Senior Lyrical

1st: Mather Dance Company-’Voice of God’ 2nd: Mather Dance Company-’For All We Know’

Senior Specialty

1st: Studio Fusion-’Coconut’ 2nd: Evoke Dance Movement-’Terrified’

Senior Ballroom

1st: Danceology-’Burn Up The Dance’

Best of Radix:

Rookie

The Rock Center for Dance-’Inanna’

Danceology-’Ladies Room’

Mather Dance Company-’Fabulous’

Studio Kin-’SK Crew’

Notion Dance Concepts-’Firework’

Mini

The Rock Center for Dance-’6 Out of Six’

Bobbie’s School of Performing Arts-’Fading Images’

Evoke Dance Movement-’Searching For...’

Danceology-’Happy’

Mather Dance Company-’Hot Stuff’

Motion State Studios-’Sisters’

Junior

Evoke Dance Movement-’Hold Your Own’

The Rock Center for Dance-’All Good People’

Danceology-’Rich Girl’

Orange County Performing Arts Academy-’Wind It Up’

Mather Dance Company-’Anything Worth Holding’

Bobbie’s School of Performing Arts-’Hey Hi Hello’

Motion State Studios-’Always, Forever’

Murrieta Dance Project-’Luminous’

Teen

Academy of Nevada Ballet Theater-’The Great Realization’

Danceology-’Not Today Satan’

The Rock Center for Dance-’Hey!’

West Coast School of the Arts-’All Coming Back’

Bobbie’s School of Performing Arts-’The Need for One Another’

Studio Kin-’Hustle’

Murrieta Dance Project-’Memories’

Elite Dance and Performing Arts Center-’Change’

Mather Dance Company-’Overdose’

Orange County Performing Arts Academy-’No Ordinary Love’

Evoke Dance Movement-’Adios’

Senior

Mather Dance Company-’We The Soldiers’

Evoke Dance Movement-’Terrified’

Murrieta Dance Project-’Echos’

Bobbie’s School of Performing Arts-’I’m The Hero’

Danceology-’Above Below’

Academy of Nevada Ballet Theatre-’Those That Follow’

Studio Fusion-’Coconut’

West Coast School of the Arts-’How Come U Don’t Call Me Anymore?’

Studio Standout:

Studio Kin-’Hustle’

Mather Dance Company-’We The Soldiers’

Evoke Dance Movement-’Adios’

Elite Dance and Performing Arts Center-’Change’

Danceology-’Not Today Satan’

Bobbie’s School of Performing Arts-’I’m The Hero’

The Rock Center for Dance-’Hey!’

#2021 #dance #radix #las vegas #nevada

41 notes · View notes

bulletballet-arch · 3 years

Text

REALLY LONG CHARACTER SURVEY. RULES. repost , don’t reblog ! tag 10 ! good luck ! TAGGED. I took this from Minnie’s archived Bioshock blog. I’ve been looking for this meme all this month. TAGGING. @hammurabicomplex. @bluuxriising. @ Me - for Sal on @bulletsoverbensonhurst. @immaterialed (charlie) @soypeor (bella) @svmmercmance. @mrflayed. and you!

BASICS. FULL NAME : Eve Delores Littlejohn NICKNAME : Evie, Little Evie (by her maternal side of the family), Delores, Didi NAME MEANING / S Eve is from the ancient Hebrew name חַוָּה (Chawwah), which was derived from the Hebrew word חָוָה (chawah) meaning "to breathe" or the related word חָיָה (chayah) meaning "to live". Delores is a variant of Dolores, meaning "sorrows", taken from the Spanish title of the Virgin Mary María de los Dolores, meaning "Mary of Sorrows." Littlejohn is a surname that has historically been found in England and Scotland. With potential origins being either ‘to distinguish a beloved child that was not the eldest.’ Or, ‘a contradictory nickname for a large man.’ HISTORICAL CONNECTION? : She’s named after her grandmother, Evelyn Hollins.

AGE : 42 BIRTHDAY : June 2 ETHNIC GROUP : Black-American. Meaning she’s mixed with a lot (Some of her relatives are respectively Creole and Italian) but uses Black as a catch-all term. NATIONALITY : American LANGUAGE / S : English, Italian, Spanish, Latin, some French SEXUAL ORIENTATION : Bisexual ROMANTIC ORIENTATION : Biromantic RELATIONSHIP STATUS : Verse dependent, usually married -or connected- to Salvatore Scozzari in some way. CLASS : Upper-Class HOME TOWN / AREA : Brooklyn. Spent time between Bedford-Stuyvesant - with her paternal grandfather and Park Slope - with her maternal grandparents. CURRENT HOME : In her childhood home in Bedford-Stuyvesant. PROFESSION : Ballet Instructor. Former Professional Ballerina. ( Other verses see her as a professional thief. )

PHYSICAL. HAIR : Black. In terms of her natural hair, Eve has springy, 3C hair she seldom shows off because she was raised in a family where straightened hair was deemed presentable and professional. EYES : Thin almond eyes. Dark brown. NOSE : Straight and small. FACE : She has a prominent, high forehead, that’s accented with high cheekbones and a pointy chin. LIPS : Full. COMPLEXION : She has a light brown (tawny) complexion. SCARS : None major. TATTOOS : None. HEIGHT : 5′4″ BUILD : Eve has a slender build. One of those people who have been small and petite since childhood. Despite this, she also stays skinny because she is obsessively conscious of the food she consumes. The older she gets the more she weighs, however. USUAL HAIR STYLE : Her hair is cut short. Reaching her shoulders in a neat, even bob. She either curls it in a retro fashion or curls the tips. For work she wears it in a traditional, pinned bun. USUAL FACE LOOK : In public, she appears stoic for the most part. Any emotion shown (such as the length of a smile) is carefully calculated. She has to seem perfect. USUAL CLOTHING : Form fitting dresses. Incredibly chic and fashionable for the time. Shoes include heels - never open-toed, unless she has on stockings. Extravagant earrings. Jewelry that can include either necklaces, crosses, pearls, or dainty rings. Prone to wearing black sunglasses in public.

PSYCHOLOGY. FEAR / S : Thunderstorms, airplanes, creatures like weasels, snakes and ferrets, break-ins, men she doesn’t know, harm coming to her children ASPIRATION / S : Formerly wanted to become a major [black] ballerina in the elite world of ballet, now she just wants to expose more [inner city children] to dance through her job. Personally, she wants her children to change the world in some form or fashion, too. Eve also has good ideas on improving the community, but at the moment has no idea how to go about these ideas. POSITIVE TRAITS : Generous, compassionate, patient, protective NEGATIVE TRAITS : Strict, sullen, hard to read, represses her emotions, secretive MBTI : Advocate - INFJ-T ZODIAC : Cancer TEMPERAMENT : Melancholic ANIMALS : Lioness VICE / S : Pride & Lust FAITH : Christian. Grew up Baptist, but Catholic influences have been around her since childhood. Attended a Catholic High School in Park Slope, her grandmother Evelyn was also a practicing Catholic. GHOSTS ? : Yes and no. She feels that objects formerly owned by the deceased posses the essence of their previous owners and that they essentially live on through these pieces of property. AFTERLIFE ? : Yes. REINCARNATION ? : No, but it’s a romantic concept. ALIENS ? : No. POLITICAL ALIGNMENT : Democratic ECONOMIC PREFERENCE : She likes being where she’s at now. But honestly, being upper class is all she’s ever known. SOCIOPOLITICAL POSITION : Bourgeoisie, basically. The Littlejohn’s represent The Historical Black Elite. EDUCATION LEVEL : College level. FAMILY.

FATHER : William ‘Bill’ Littlejohn MOTHER : Linda Littlejohn ( nee Hollins ) SIBLINGS : None EXTENDED FAMILY : Amos Littlejohn (paternal grandfather) Liza Littlejohn (paternal grandmother) Evelyn Hollins (maternal grandmother) Giuseppe D’Aietti (maternal grandfather) and a wide host of cousins, aunts and uncles.

FAVOURITES. BOOK : Night Song by Beverly Jenkins. The Color Purple by Alice Walker. Some sort of old, French erotic novel that was published before she was born. MOVIE : Eve watches films along the lines of...Waiting to Exhale, Beaches, The First Wives Club and Fatal Attraction. She loves Made-For-TV movies from the time period. In regards to plays, her favorite one is Sunday In The Park With George. 5 SONGS : Meet Me On The Moon / Essence of Sapphire / No One In The World / People / The First Time I Saw Your Face DEITY : Persephone HOLIDAY : New Years Eve, Christmas, Thanksgiving. Major holidays during the colder season. MONTH : October SEASON : Autumn PLACE : The dance studio she works at. WEATHER : Sunny, but cool. SOUND : The voices of Anita Baker and Sarah Vaughn. A skilled hand running over piano keys. Soft trumpets. Running water. Cats making chipper little meows. SCENT / S : Perfume, floral scented lotions, her partner’s cologne TASTE / S : Caramel, the tang of dark chocolate, strawberries coated with either chocolate, or sprinkles of white sugar. Light Vinegar. FEEL / S : Performing in front of an audience. Hot water engulfing your skin after a long day. Satin - whether it be the fabric of her clothes or sheets, your fingers tightly intertwined with another’s, feeling your significant other’s chest raise and lower against your skin with each breath they take. ANIMAL / S : Cocker Spaniels, Afghan Hounds, Cats, Birds - she loves all ( well, a majority ) of animals. NUMBER : Doesn’t have one. COLOR : White, Pink, Gold.

EXTRA. TALENTS : Dance, Eve is trained in ballet when it comes to her main verse. She has attended ballet classes since the age of eight and ever since then she placed all of her focus into it. Similarly, Eve has always had the makings of a good artist - as a child she enjoyed drawing and had informal art lessons with a man who lived in the basement of her grandfather’s brownstone, but she never invested into that half of her. BAD AT : Singing, Being interviewed, Public Speaking (as in Speech Giving), Decision Making TURN ONS : Charisma, Leadership Skills, Temperature Play, Phone Sex, Heavy Kissing, Light Roleplay TURN OFFS : Public Sex, Tearing [ Her ] Clothes, Threesomes, Cruelty, Senseless Violence HOBBIES : viewing plays & some musicals, reading romance novels, shopping, working out (she was into the whole celebrity VHS tape exercise trend), playing tennis, decorating AESTHETIC : Vintage Black Glamour, Black Ballerinas, Champagne and Wine Glasses, Paintings by Melinda Byers and Edward 'Clay' Wright QUOTES : "I'm bad with words, I hope you're good in reading eyes." / "There are truths I haven't even told God. And not even myself. I am a secret under the lock of seven keys."

FC INFO. MAIN FC / S : Lynn Whitfield ( A Thin Line Between Love & Hate ) ALT FC / S : Kylie Bunbury ( Twisted ) OLDER FC / S : Lynn Whitfield ( Greenleaf ) YOUNGER FC / S : N/A VOICE CLAIM / S : Lynn Whitfield

MUN QUESTIONS.

Q1 : if you could write your character your way in their own movie , what would it be called , what style would it be filmed in , and what would it be about ? A1 : Recently I decided that if/when I try to write anything serious about Eve again, it’ll center on her being a jewel thief because it presents me more fun, and emotionally diverse, opportunities. That and I have a very specific cover image in my mind. Ideally, her adventures would be a series of books. I have no title in mind, no idea about how ‘it would be filmed’ ( although a style replicating 90s films would be excellent, film grain and all. ) but, I do have a bunch of plots in mind that I really don’t feel like typing out here.

Q2 : what would their soundtrack / score sound like ? A2 : Her score would have a vintage sound (or a jazzy Spike Lee sound, if you will) with instrumentals by Dorothy Ashby (a Jazz Harpist) the Ahmad Jamal Trio, Pharaoh Sanders, Yusef Lateef and Tarika Blue. For music with lyrics, the soundtrack would include the likes of Julie London, Sarah Vaughn, Ella Fitzgerald, and Dionne Warwick.

Q3 : why did you start writing this character ? + Q4 : what first attracted you to this character ? A3 : Whenever I make NPCs for my character’s lives I actually can’t just let them just be NPCs. I start thinking about them too much. Developing them too much. And then I’m like, ‘wow! I really like this character!’ Eve was a different character when I began writing her, and likely wouldn’t be considered the same character as she was previously, if I told someone in real life who knows about my writing (like my grandma) about all the changes she has undergone. Originally Delores was a university professor, because I thought it could lead to interesting interactions with college-age muses. And her previous history with the mafia was also something interesting to tap in. But then I started thinking about what was realistic, what wasn’t realistic, what did I feel comfortable/interested writing? What didn’t I feel comfortable/interested in writing? So as time went on, things would alter about this character. And the new things I came up with attracted me more.

Q5 : describe the biggest thing you dislike about your muse. A5 : I have a love/hate relationship with Eve’s quiet demeanor. On one hand, I think quieter characters need love and the ability to be fully dimensional but on the other hand, writing louder characters has always been more fun for me. But really, Eve’s guarded behavior makes writing her stressful in some cases with others because sometimes...if I’m going to be honest...people don’t know how to carry a thread and interact with someone of her demeanor effectively.

Q6 : what do you have in common with your muse ? A6 : We’re both black, we’re both into art (although our exact interests and aesthetics with art differ)

Q7 : how does your muse feel about you ? A7 : Realistically she would think I need to take better care of myself.

Q8 : what characters does your muse have interesting interactions with ? A8 : We skippin’ this question.

Q9 : what gives you inspiration to write your muse ? A9 : Films such as, “Waiting to Exhale,” “The Kitchen” and “Widows.” Books by Alice Walker, like “The Third Life of Grange Copeland” as well as her short story, “Roselily.” The historical mob figure Stephanie St. Clair.

Q10 : how long did this take you to complete ? A10 : A few hours.

#long post #dash games.#headcanons.

8 notes · View notes