#o.k jazz

[cinnamoncee]

#t. p o.k jazz #o.k jazz #congo #congolese #world #franco luambo #rumba

[sonicandartisticsurprises]

#O.K Jazz #T.P O.K Jazz #Congo #congolese #Africa #World #Rumba #Bandcamp

[franckbiyong]

Franck Biyong...New Single...LIWA YA WECH... Tribute to FRANCO LUAMBO & T.P O.K Jazz Out March 15th 2024 on TANGENTIAL MUSIC

#franckbiyong #franck biyong #africa #cameroon #afrofuturism #afro futurism #new music #playlist #spotify #new album #lee bright #tangential music #justin turford #ex friendly #new single #zaire #congolese music #congolese rumba #franco & tp ok jazz #franco luambo #T.P O.K Jazz #Spotify

[caroloftheshells]

long elaborate "stuff of the year" post

life events...

started dating my awesome partner!

became an aunt!

2 of my good friends got married to their partners!

had covid twice! (once was technically a holdover from last december)

presented at conferences in person for the first time!

finished coursework, studied for comprehensive exams, and passed said exams!

new games...

sound voltex exceed gear (there is a cabinet in an arcade i go to almost every thursday now)

inscryption (not done with it yet! thus, do not tell me anything about this game lol)

red dragon inn

secret hitler

exceed (w/guilty gear & blazblue character decks)

concept

hues & cues

three sisters

azul (the one my sib has is the chocolate edition)

music... [here begin the lists of official Favorites as opposed to just Stuff Done]

"top songs": bunker (pva) / cherry (daphni) / cujo kiddies (disq) / mighty cloud (wooze) / o.k. (yellow magic orchestra) / flowers (cibo matto) / ebony eye (yves tumor) / i'll have what she's having (wooze) / ice age (how to destroy angels) / le pain perdu (cibo matto)

favorite albums that came out this year: i killed your dog (l'rain), masego (masego), dream in dream (cornelius), that! feels good! (jessie ware), the age of pleasure (janelle monáe)

favorite albums that didn't come out this year: cherry (daphni), va-11 hall-a ost (garoad), safe in the hands of love (yves tumor), bitter (meshell ndegeocello)

honorable mention bullet point: i got mad about somebody's incorrect tier ranking of steely dan songs on youtube and my partner & i collaboratively settled on a new (song-by-song) ranking of their output through two against nature. this meant listening to said whole discography which truly has some epic highs and lows a la high school football. the fact that pearl of the quarter and king of the world coexist on the same album... bewildering

movies... in general did not watch as many this year as last so this will be a shorter list, & not ranked, but some of the ones i liked were

first reformed

all that jazz

ju-on / the grudge

across the spiderverse

john wick 1-3

he got game

we're all going to the world's fair

skinamarink

talk to me

the others

godzilla minus one

tv...

fma 2003 and i think that's it?

books... see this post which was my comps reading list. but the biggest props in terms of full-length books go to

rationalizing culture (born)

birds of fire (fellezs)

living genres in late modernity (kronengold)

industry (robin)

#carol overreacts to life

[carpathxanridge]

FUCK on the tags of prev how could i forget KD LANG! western stars my beloved ;’) also maybe a deeper cut but diet of strange places is one of my fav solidly country era kd lang songs (then ofc u have her more adult standard/jazz and her folk stuff amongst which i have separate faves like youre o.k. and wash me clean)

[shinwhoohoo]

I don't know if you already answered this but what is your personal ranking of all B1A4 title tracks?

this took way longer than it should have lol

so I'm answering this solely based on the audio of the comeback title track-- not the MV, not the era as a whole, or the stage outfits, or whatever. Just the musicality of the song. (And I’m ranking all the songs they actively promoted on music shows as a separate comeback, so excluding OSTs or one time, special stages)

Tried to Walk (the first time I heard this song, I remember being in shock-- this was such a radical jump to me in Jinyoung’s composing skill and a real turning point for him. It’s still such a beautiful song, and I think it portrays the emotions of the lyrics perfectly, with Baro’s rap the icing on the cake + the final chorus KEY CHANGE!)

Lonely (UGH so hard to place this, but ultimately I think this is my spot for it. Love a good pentatonic scale, love a good final chorus key change, plus the ‘Baby, I just wanna spend some time with you’ STILL GETS ME)

A Lie (To me, Lonely get’s the edge because of the pentatonic scale makes it more interesting and unique, and Tried To Walk gets the edge because it was the first to have the complex chorus and I’m a bit more nostalgic with it, but A Lie is a very *very* close third place. And oh look, another FINAL CHORUS KEY CHANGE LKSJFKDLFJS)

Sweet Girl (time has been kind to SG lol arguably my least favorite comeback, the song itself I’ve warmed up to considerably. I do appreciate the change in style, to a more jazz-like sound than we were accustomed to. And it *is* pretty, very full and luscious sounding.)

Solo Day (fun, great vibes, great backing beat, catchy chorus, just a little too much JY singing lmao but another song with a strong ending)

Like A Movie (this song was actually a bit hard to rank. While I like the melody of this song more than say, SD or WH, I feel that it lacks the fullness, the richness and heart, that SD and WH have when I listen to them. Hence why I ultimately put it in between them lol. Also, I think having a 3/4 time signature was a nice change of pace)

What’s Happening (perfect example of if I were doing this rating strictly on the comeback/era as a whole, What’s Happening would be #1 lol. But just based on the song, WH’s never quite did it for me-- but I do appreciate the fun vibe and switches in tempo but controversial opinion, I think they overplay/overperform it. and yes yes I know because it was one of their most well known, public friendly songs.)

O.K (still holds up, still cute, still lively, nothing more to say lol)

Baby Goodnight (you have no idea how long I went back and forth between putting this above or below O.K lol. While I think Baby Goodnight is catchier, on the whole, I think O.K is just the better, more complex song musically.)

Only Learned Bad Things (idk, I really have nothing to add about this song, it’s solid but nothing special to me).

Beautiful Target (in a way, it pains me to put this low; but while the chorus and ending is super strong, the versus I always found to be pretty average, with the electronic robot voice always grating to my ears lol)

Rollin’ (needless to say... I was very whelmed when Rollin’ first dropped. It is, to me, a more advanced/complex song than O.K, BG, etc, but I do not find myself ever going back to listen to it. It’s one of those that when I do actually go back and listen-- like for this ranking lol-- I’m like oh yeah, right, this song exists. It’s cute, I like it, but yeah, idk *shrugs* there was enough tropical-house songs coming out at the time, and this song certainly didn’t break any barriers with it)

Baby I’m Sorry (aka literally the only comeback song of their’s I never liked lol, even when it first came out. Too much autotune. Especially with JY’s parts.)

I tend to favor more melodic, moody songs. Songs with big sweeping melodies, with dramatic finishes over more upbeat, simple catchy songs. The first three are like, so close to being equal it’s really difficult for me to even rank them. I just find them to be such beautiful, heartfelt songs filled with emotion. The next grouping I’d say would be 4th through 9th-- all very solid songs that I absolutely love and adore, but just lack that edge for me. Then 10th through 12th are I guess, songs I like overall, but definitely moving towards the more ‘average’ vibe. And yeah, like I mentioned poor Baby I’m Sorry I just never really cared for lol.

Feel free to share your thoughts or your ranking~!

#b1a4 #oof should i tag all of these #also thank you anon i actually don't think i have ever been asked this! #ok #only learned bad things #beautiful target #baby i'm sorry #baby goodnight #tried to walk #what's happening #lonely #solo day #sweet girl #it's a lie #rollin #origine #text #ask #reply

[ourladyofomega]

I told myself it was going to be a great day and I called it. I missed a heavy thunderstorm while riding the train to Penn Station and two lines (E & G) to Greenpoint, Brooklyn. Everyone waiting underground for the alphabet lines were baking and drenched in sweat from all the unbearable humidity and the post-rain 90* heat. When I came up to Manhattan Ave., it was nothing but bright sunshine, clear hazy blue skies, and departing clouds. Lucky Sevens from that point on.

Captured Tracks would be my final stop of this year’s Record Store Victory Tour. It was amusing to walk down the steps to their entrance like it was a well-kept secret. Enter in and you’ll see everything kept nice and tidy in a basement full of pipes and valves. (Super Mario and Luigi would jump for fucking joy - pun not intended.) I was expecting the store to carry the type of stuff they put out on their own label and on par with Academy and Rough Trade. To my surprise, they didn’t! They carried tons of well-categorized jazz / fusion, soul, R&B, and the usual rock. Loads of original motion-picture soundtracks, reggae, world music, and at least 50 boxes full of 45′s with a super small selection of cassettes, CDs, and even eight-tracks. I stayed far far far away from the pricier stuff and walked out with a few vinyl LPs and 7″ label sleeves for $120.

Then I went around the corner and paid a visit to Sunshine Laundromat to see if their backroom pinball speakeasy was up and running. The kind lady told me they were in the midst of renovating but also were waiting to have their permits O.K.’d by the city. They may finally re-open up their pinball operation in a few weeks. With all the record stores, music venues, unusual locales, underground culture, and all else that Greenpoint has to offer, it’s no wonder why it’s become my own personal heaven.

Thanks to everyone who enjoyed the consistent music porn (Sasha Gray, Kandi Barbour, Liz Vicious, Annette Haven perhaps?). I might consider doing a city run next year, who knows?

#BK #Brooklyn #personal #Captured Tracks #NYC #New York City #omega #our lady omega #Greenpoint

[norahcanomusic]

A Trip to Music in Films (2/4)

https://www.psychologytoday.com/us/blog/me-the-self-and-i/202106/why-we-watch-movies

https://en.wikipedia.org/wiki/Ancient_Theatre_of_Epidaurus

https://en.wikipedia.org/wiki/History_of_theatre

https://www.abc.net.au/everyday/benefits-of-watching-movies/10830400

 https://thebioscope.net/  https://www.oxfordbibliographies.com/display/document/obo-9780199791286/obo-9780199791286-0223.xml | https://filmsbytheyear.com/first-talkies-part-1-1900-le-phono-cinema-theatre/

Edward J. Muybridge´s Galloping Horse 1878, Edward James Muggeridgehttps://www.youtube.com/watch?v=sGKILJ1PGHM, Roundhay Garden Scene 1888, Louis Aimé Augustin Le Prince https://www.youtube.com/watch?v=JAiYFEHI9o8

Workers Leaving the Lumiére Factory in Lyon 1895,  Louis Lumiére, https://youtu.be/yvC_xrDqB3s?si=biISXWjjMPz33wpm | The Astonomers Dream 1898, Georges Mélies, https://www.youtube.com/watch?v=g8SMIiQZUcs  , L´homme á la tête en Caoutchouch 1901, Georges Mélies https://www.youtube.com/watch?v=lgpWtyT1nxM, Le Vogage dans la Lune 1902, Georges Méliés, https://www.youtube.com/watch?v=ZNAHcMMOHE8, Alice in wonderland 1903, Lewis Carroll, https://www.youtube.com/watch?v=zeIXfdogJbA, The Great Train Robbery 1903, Edwin S. Porter, https://www.youtube.com/watch?v=11PBAUkrg54  

A story of Kelly Gang Crime Drama 1906, Elizabeth Tait, John Tait & Norman Campbell, https://youtu.be/1A6niZmzvoc?si=SfWtMprbqsVX_Znc| https://www.imdb.com/title/tt0000574/ |  https://www.studiobinder.com/blog/when-were-movies-invented/#:~:text=The%20movies%20we%20know%20today&text=The%20first%20motion%20picture%20is,what%20we%20consider%20movies%20today

A Film Johnie 1914, Charles Chaplin, https://youtu.be/AI-IaVDLKeE?si=51OsOqXifxUMqHCP | The Adventurer 1917, Charles Chaplin, https://youtu.be/tgV3ucBlLfg?feature=shared

The Cabinet of Dr. Caligari 1920, Giuseppe Becce, https://youtu.be/Gpn49rUuOGU | Nosferatu 1922, Hans Erdmann, https://youtu.be/FC6jFoYm3xs |  Battleship Potemkim 1925, Edmund Meisel, https://youtu.be/a_bkBbrdyyw | The adventures of Prince Achmed 1926, Wolfgang Zeller, https://youtu.be/92KFRJLhi_E | Metropolis 1927, Gottfried Huppertz, https://youtu.be/W_4no842TX8 | The Jazz Singer 1927,  Louis Silvers https://youtu.be/OHi4wVQYJgc

https://blog.scienceandmediamuseum.org.uk/brief-history-of-sound-in-film/ | https://en.wikipedia.org/wiki/Silent_film | http://www.aaamusic.co.uk/2020/04/17/track-the-evolution-a-short-history-of-film-music/

https://www.filmmakersacademy.com/blog-introduction-to-sound-and-music-in-film/      A Birth of a Nation, 1915 , Joseph Carl Breil https://www.youtube.com/watch?v=YzBNRecsp4E | Casablanca 1942 (“As Time Goes By”), Herman Hupfeld,  https://youtu.be/Y44eq2ziu0w | King Kong´s soundtrack score 1933, Max Steiner, https://www.youtube.com/watch?v=wTdOjpGhvPs  | Winchester ’73 1950, Joseph Gershenson, https://archive.org/details/winchester-73-1950 | Fantasia 1940, Stephen Csillag, https://www.dailymotion.com/video/x8pomlu | The Third Man, Anton Karas, https://archive.org/details/the-third-man-1949-restored-720p-hd | Duel in The Sun 1947, Dimitri Tiomkin, https://youtu.be/8IauiO__i3o | The Searchers 1956, Max Steiner, https://youtu.be/fUFaL7pZctA?si=E02lmbaKB54tOqP8  | Gunfight at the O.K. Corral 1957, https://youtu.be/ZqyiRwlLa80 | 3:10 to Yuma, https://youtu.be/nkXDLNRVMxY?si=zr93KbfXhiVtMxVn | River of no return 1954, Cyril J. Mockridge, https://archive.org/details/River-of-No-Return-1954 | A streetcar named Desire 1951,Alex North, https://youtu.be/Oyuf0C_RX1k?si=7L5x2ZACzIvfku0h | La Strada 1954, Nino Rota,https://www.youtube.com/watch?v=tcecJ0WjI38| The King and I 1956, Richard Rodgers, https://youtu.be/CwNnJooRtNc |  The Bridge on the River Kwai 1957, Malcolm Arnold, https://youtu.be/8TSVRjje4F4?si=66ePG52O0Gp_B0uv

#norahcanomusic #atriptomusicinfilms2 #themusicbox

[pulcheriebalhoud]

Josky Kiambukuta & T.P. O.K. Jazz - Sans Frontières (1989/1986)

#youtube #josky kiambukuta #tpok jazz #sans frontières #music congolaise daily #musiccongolaisedaily #josky kiambukuta sans frontières #sans frontières josky kiambukuta #josky kiambukuta sans frontieres #sans frontieres josky kiambukuta

[lokaleblickecom]

Von Südspanien an die Moerser Musikschule

Moers. (pst) Seit Januar bereichert die renommierte Saxophonistin Mari Ángeles del Valle das Team der Moerser Musikschule. Sie bietet Gruppen- oder Einzelunterricht für Kinder und Erwachsene an. Die Begeisterung der 30-jährigen Südspanierin für das glänzende Holzblasinstrument fing schon früh an. Bereits mit fünf Jahren hat sie Blockflöte gelernt. Aber als sie in ihrer Heimatstadt Paterna del Campo als Siebenjährige auf einem Straßenfest eine Blaskapelle gehört hat, war ihr erster Gedanke: „O.K., das will ich auf jeden Fall spielen!“ Fasziniert hat sie der Klang, die Form und die Farbe des Saxophons. Eigentlich wollte der Leiter der Musikgruppe, dass das Mädchen Querflöte lernt, weil dieses Instrument im Ensemble fehlte. Die entschiedene Antwort des Kindes war jedoch: „Nein!“. „Ich hatte dazu eine starke Meinung“, blickt Mari del Valle schmunzelnd zurück. Ab acht Jahren hat sie das Konservatorium besucht und dort Saxophon gelernt. Später hat sie ein Hochschulstudium am Conservatorio Superior de Música Manuel Castillo in Sevilla mit einem herausragenden Ergebnis abgeschlossen. Vielseitiges Instrument Ab 2015 hat sie ihren Master in den Bereichen klassisches Saxophon, Neue Musik und Konzertexamen gemacht. Seit zwei Jahren ist del Valle Dozentin an der Hochschule für Musik und Tanz Köln. Besonders schätzt die Saxophonistin privat und bei den Konzerten klassische Musik wie Rachmaninow, Ravel, Manuel de Falla sowie Neue Musik. „Der Vorteil ist, die Komponisten leben alle noch und du kannst mit ihnen zusammenarbeiten. Das ist spannend. Du bist dann Teil der Komposition.“ An ihrem Instrument begeistert sie besonders die Vielseitigkeit. „Man kann alle Stile wie Klassik oder Jazz spielen und in vielen Besetzungen musizieren.“ Und die Möglichkeit, auch laut spielen zu können, beispielsweise im Freien, schätzt sie sehr. Aktiv in Benutzung hat die Musikerin drei Instrumente: Alt, Sopran und Tenor. Unterricht ab circa acht Jahren empfohlen Aktuell nehmen an dem Unterricht der Dozentin vornehmlich Erwachsene teil. Aber das Instrument ist auch für Kinder ab circa acht Jahren geeignet. Die Dozentin findet die Arbeit mit Kindern sehr lustig und aufregend. „Sie sind wie Schwämme. Sie lernen schnell und man weiß nie, was sie erreichen können.“ Wichtig ist allerdings, dass die bleibenden Zähne bereits vorhanden sind. Fehlt - wie oft bei den Milchzähnen - ein Zahn, ist die Spieltechnik schwer möglich. Es ist zudem vorteilhaft, wenn das Kind bereits vorher ein anderes Instrument – z. B. Blockflöte oder Klavier – gelernt hat. Auch wenn das Saxophon kompliziert aussieht, ist es nicht schwieriger als andere zu lernen. „Jedes Instrument hat seine Schwierigkeit. Am Anfang ist es relativ einfach und jeder kann Töne erzeugen. Die Entwicklung danach kann schwieriger sein, um einen guten Klang zu finden.“ Wie bei jedem Instrument ist die Übung ein entscheidender Punkt. Wichtig für den Unterricht sind unterschiedliche Arten von Lern-Literatur, um auf die verschiedenen Personen und Bedürfnisse einzugehen – sei es um bei ‚Jugend Musiziert‘ teilzunehmen oder hobbymäßig in einer Jazzband zu spielen. Wer interessiert ist, sollte allerdings einen Ratschlag beherzigen: „Auf keinen Fall mit Youtube-Videos anfangen zu lernen. Oft wird darin viel falsch dargestellt und man muss von einem ganz niedrigen Level neu anfangen.“ Wer noch nicht weiß, ob das Instrument geeignet ist, kann über Schnupperstunden und ein Leihinstrument erste Versuche wagen. Bildzeile: Die renommierte Saxophonistin Mari Ángeles del Valle unterrichtet seit Januar an der Moerser Musikschule. (Foto: pst) Infobox: Interessierte finden weitere Informationen zum Saxophonunterrichten und anderen Fächern auf der Internetseite der Moerser Musikschule unter www.moerser-musikschule.de und unter der Durchwahl 0 28 41 / 1333. Read the full article

[franckbiyong]

AfricaPachanga es un programa de radio especializado en música africana, dirigido por Jesús Herranz, DJ Tubabu, que se emite desde el 2001 en Radio Enlace (https://www.radioenlace.org , 107.5FM Madrid, X-23:30), en Radio Círculo (https://www.circulobellasartes.com/radiocirculo , J-22:00) AfricaPachanga es un recorrido por los sonidos de África de todas las épocas, de todos los estilos y de todos los países. En AfricaPachanga, queremos dar a conocer a los grandes músicos de la historia de la música africana y también presentar las últimas novedades y tendencias procedentes de dicho continente.

Además, siempre dedicamos un apartado muy especial al Afrobeat y al Afrofunk. En las sesiones de DJ Tubabu se recoge la música africana más vibrante y enérgica, con una mezcla muy cuidada que refleja la enorme variedad que suena en todo el continente.

Track List Nancy Vieira - Ta Cundum Cundum Blinky Bill - Boss Franck Biyong - Liwa Ya Wech Mokoomba - Kulindiswe Remix Fatoumata Diawara - Dakan Lagos Thugs - New Improved Elephant Mulatu Astatqe - Yekermo Sew Morogoro Jazz Band - Likebe Ya Moro Jo Tongo - Piani Henri Bowane - Cherie Natou Alfred Chisala - Itumba

#franckbiyong #franck biyong #africa #cameroon #afrofuturism #afrobeat #afro futurism #new album #african #africa pachanga #dj tubabu #ivoox #radioshow #radio show #jo tongo #mulatu astatke #morogoro jazz band #franco luambo #franco & tp ok jazz #t.p o.k jazz #liwa ya wech #cover #new single #african rumba #congolese rumba #afrosound

[ueslangeais]

Le Commandant De Bord Josky Kiambukuta du T.P. O.K. Jazz - Sans Frontières (1989/1986)

#youtube #josky kiambukuta #le commandant de bord #sans frontières #josky kiambukuta sans frontières #sans frontières josky kiambukuta #musique congolaise archives #tpok jazz #josky kiambukuta le commandant de bord #le commandant de bord josky kiambukuta

[fionaoikonomidou]

Pas un pas sans... - The Boleros of O.K. Jazz. LP design for Planet Ilunga’s compilation of Congolese bolero legend O.K. Jazz.

#lp #okjazz #bolero #graphic design #Typography #collage #planetilunga

[herelaymythoughts]

The first year was definitely the hardest. We couldn’t see each other because of the pandemic, and not being in his presence gave me a lot of insecurities that dissolved as soon as I saw him for the second time on his first visit to Vancouver. I always doubted his love, and he really gave me every reason to, but also every reason not to. I doubted it because he had major communication issues; he would take hours to reply to my texts, would rarely pick up my calls, and when he was busy would go days without having time to call me. But in retrospect he gave me a lot of his time, which was his most valuable resource, and spent hours listening to me ramble about issues I was having with the other men in my life without an ounce of jealousy, blame, or annoyance. 

Many things were different from the second time I saw him compared to the first. The sex was probably the most noticeable. He hadn’t seen anyone since we’d last seen each other a year ago, which I only found out when he came to visit. He claimed that it wasn’t because he was holding out for me but because of practical reasons of living with his parents during the pandemic and having low testosterone due to his unhealthy living habits. The sex we had in L.A. changed sex for me forever. He introduced to me a completely new way to orgasm. We fucked for what felt like hours in the August heat of Southern California to the hum of an ancient air conditioner, to old school Kanye, to jazz, to the contrived homeliness of an airbnb. His dick split me in half and my pussy felt tender, stretched and raw. He just kept going. If my parents were even an ounce more loving than they were I would’ve told him to stop or at least to slow down but the person who gave birth to me’s narcissism bred in me a relentless desire and spirit to please and to never give up pleasing. 

He wasn’t very good at dirty talking, but the way he spoke to me in L.A. demonstrated familiarity with the craft, and although he didn’t have in him the depravity I was so familiar with, he still let it be known, with words, that he was indeed enjoying what I was doing to his cock. 

The sex we had in Vancouver was very different. On my end, it held more love. It was love-making. For him, it seemed more goal-oriented. He didn’t fuck me for as long, so my pussy didn’t suffer the way it did a year before. But he isn’t one to go for multiple rounds so it left me rather unsatisfied. Last year, at least, there was no way my pussy could’ve taken more. Vancouver sex felt more intimate, but because we had recorded a large portion of it, it also felt less intimate, like a third party was watching. I guess in a way there is, our future selves. The frequency at which he looked at the camera was displeasing to me. I wonder why he peeked at it so often. I myself like to pretend that the camera isn’t there. I don’t like having eye contact with myself. 

There’s never enough foreplay with him. It’s hard when I am so voracious for him and am generally O.K. with getting to the point. 

[borderlinemusicc]

RECENZIJA: LARGE NUMBER Spray On Sound

Tužne i emotivne priče o rastavama, prekidima ili raspadima kad tad završe na pukoj podjeli imovine. Koji će bračni partner uzeti psa i kuću sa hipotekom, kome ide izvoženi auto iz garaže, te hoće li se potomstvo prikloniti majci ili ocu. Muški dio engleske skupine Add N To X još je uvijek relativno neodlučan, no zato je Ann Shenton, koju vizualno poznajemo s ovitka albuma «On The Wires Of Our Nerves» gdje je uspješno preživjela ne baš suptilni carski rez, u svoj imetak preuzela stari, poluraspadnuti Moog, nešto raštimanih oscilatora iz kućne radinosti, Theremin, ritam mašinu i mikrofon koji je kupljen za nemali iznos od jedne funte.

U dogovor o preuzimanju ušlo je i nekoliko pasa, pilića, te živi bubnjar Rob Allum kojega su Add N To X zlorabili za žive nastupe. Sav spomenuti inventar Ann je odvela na zabitu seosku farmu, pridružila im slijepog banjo svirača i ženu koja komunicira isključivo harmonikom, što je i službeni početak njezinog solo projekta nazvanog Large Number. Svaka sličnost sa istoimenom pjesmom Add N To X navodno je slučajna, jer je malom ruralnom kolektivu konceptualno zadan visoki broj za završetak radova: čak 1814400 sekundi! No, sekunde su ovdje samo kako bi opravdale formu: studijsko, ili bolje reći seosko vrijeme uloženo u nastanak prvijenca «Spray On Sound» klasičan je lo-fi koji ironizira vrijeme što ga pojedini glazbenci ulažu u dotjerivanje svojeg audio potomstva. A govoreći o topotu dječjih nožica, pitali smo se gdje su li u rastavi završili mališani – odgovor je, kao i u stvarnoj sudskoj praksi – kod majke!

Naime, gotovo trećina od 14 na albumu okupljenih naslova, prilično duguje prepoznatljivom Add N To X zvuku. Živi bubnjevi, analogni krikovi s konstantnom modulacijom i gotovo rockerske solaže koje vode u robotski orgazam, Ann je izvela na najbolji način svoje bivše grupe, samo što je ovdje dominantan ton veselo zaigran, a manje oštar i prijeteći. Instrumentali «The Creaky O.K.» i «The Earth Has Shrunk In The Wash» postavljeni su u svojevrstan referentni okvir albuma: jedan otvara, drugi pak zatvara «Spray On Sound», čineći epizodu jasno definiranom s obzirom na zvukovno nasljeđe involviranih glazbenika. No, ono što se događa između, jest upravo najosobitiji dio skupine Large Number – nestašna, bezbrižna tematika u tekstovima, čudni, ponekad elektronski izmijenjeni vokali oslonjeni su na nemoguće kombinacije folka, jazza i plesnih ritmova koji traju toliko kratko da se na njih plesati i ne može. «Pink Jazz» bit će tako prvi singl s albuma, dok bi možda bolji izbor bio «The Transgenic Banjo Player» koji u svega 3 i pol minute sadržava nevjerojatne izmjene post-rocka, ambijentalne i eksperimentalne glazbe, te naposljetku pomaknutog countryja.

Ostatak materijala, poput još jednog mogućeg favorita «Crazy», prati taj princip miješanja žanrova, čineći sličnu identifikaciju albuma posve nemogućom, no ista mu doista i nije potrebna. Large Number jest upravo onaj novi, svježi vodviljski zvuk 2003. godine, koji se na apsurd oslanja u potpunosti, baš kao što to čini znana Kevin Blechdom, samo što Ann Shenton ipak ima značajnije sviračko umijeće. Taj novi duh, začudno, opsesije crpi iz sintetičkih zvukova 60-tih i 70-tih godina, na kućnom gramofonu još uvijek ima Wendy Carlos, Kraftwerk i Neu!, ali se ne srami pop pojednostavljivanja ili pak eksperimentalnog kompliciranja, gubljenja strukture ili opet, inzistiranja na njoj sve do komičnog maksimuma. «Spray On Sound» nije u svemu spomenutom epohalan album koji će razrušiti postojeće barijere, već vrlo slušljivih 38 minuta dobrog provoda na selu, gdje se, ukoliko ste uopće i sumnjali, u tonskom zapisu doista pojavljuju oni psi i pilići iz imovinske rasprave. 

Željko Luketić

(emitirano 01.12.2003., Radio 101, emisija Antena)  

#RECENZIJA #RADIO #EKSPERIMENTALNA GLAZBA #ELEKTRONSKA GLAZBA

[independentartistbuzz]

Joanna Ramirez is Full of Soul in her R&B and Jazzy Album ‘On My Way’

Joanna Ramirez is the rising jazz rock and jam singer/songwriter from Austin that’s taking hearts and souls with her catchy hooks and melodies. Her second solo album, the jazz rock and soul filled On My Way, could best be described as a soulful, heavy groove-laden, spiritual journey with a Susan Tedeschi sound and style. She masters the marriage of horns and a chorus to create songs that keep you engaged the whole time.

Each of the 11 songs on the album follow a similar pattern. While they are all groovy with varying tempos, each song has a fun musical solo, the guitar, horns, and percussion working together in complete synchronization and harmony. It’s an amalgamation of Joanna’s beloved groove influences, spanning, neo-soul, blues, hip-hop, Latin, and favorite artists such as Sade, Maxwell, Stevie Wonder, fellow Dallas-ite Erykah Badu, Jill Scott, and The Roots.

The titular song, “On My Way,” was actually one of the earliest to be written from the album. Written back in 2015 and finished back in 2018, it’s a comeback song. It’s Joanna’s call to the world to not count her out, that she’s coming back to the scene stronger and better than ever. “I think a lot of people could relate this song to their situation – of wanting to give up on something but knowing that they can’t ignore a voice inside telling them to keep going and to not give up on themselves,” she shares. The song boasts of an infectious chorus and hook that keeps your head bobbing and wanting more. 

The string loaded single “Ride” is her exploration of capitalism and her observations of lifestyles while she lived in Dallas. At the time, and still ringing true today, she noticed the focus on material things and the need to fit in the masses. “As with a lot of my songs, I’m giving encouragement to look deeper and realize that it’s o.k. to be yourself - get off the merry-go-round, feel your emotions and connect with a peace you can find in yourself and that nothing you see in this world will make you happy – you just have to choose to be happy.” This song was written way back in 1995 when she was part of her first band, Soul Providers.

The single “Happy,” is a deeper keyboard based song, with a strong riff that grabs your soul. The jazzy and bluesy song with an R&B core styling was actually inspired by Childish Gambino and explores self-love, that your fears have no power over you. Everyone deserves to feel happy. “This one was a bit scary to write, because I knew I had to get personal and tell my story through this song, starting with childhood, remembering the feeling of not measuring up to my parents expectations,  the fearful environment of our home, then to my failed romantic relationships and now, still feeling that I’m not being fully myself as a musician and creator.”

While the songs all have an electric jazz and blues groove to them, one song that stands out is “Sundays,” a folk and Americana style blues song. The tempo is slowed down to a ballad and features bongos and the harmonica played by the amazing Greg Izor. She still features a solo in the song with the Harmonica taking the lead in a powerful way. It’s simple, yet deep and powerful. This ballad is about the pain of the loss of her mother and an homage to her father’s blues legacy. She sings “love never dies,” wanting her mother by her side, that while her mother isn’t there for her physically, she will always be there for her. She hopes this song is of some comfort to those who are experiencing loss of any kind.

“Blame it on the Sun” is her cover of Stevie Wonder’s song. Joanna’s vocals really shine in this song. This version of the song is more electric and bluesy than Stevie Wonder’s version. Her version highlights her musical spirit and passion for her craft. 

Listen here: https://soundcloud.com/joanna-ramirez-15524804/sets/on-my-way-joanna-ramirez?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

It’s been 30 years since Joanna formally started her music career, and today she’s happier than ever knowing she’s being true to herself with her new music. You can really hear her passion and love for music in On My Way.

Find Joanna Ramirez via:

Website // Instagram // Facebook // Twitter // YouTube // Spotify // Soundcloud

#joannaramirez #onmyway #jazz #soul #randb #music #indie