#wichita album

[piasgermany]

[Album] Ride kündigen neues Album "Interplay" an!

Ride melden sich mit der Ankündigung ihres siebten Studioalbums "Interplay" zurück, das am 29. März über Wichita Recordings / [PIAS] erscheinen wird. Das neue Album ist der dritte Longplayer der 1988 in Oxford gegründeten Band seit der Reunion im Jahr 2014. In ihrer aktuellen zweiten Phase sind sie Vier mittlerweile sogar länger zusammen als in ihrer ursprünglichen Version als Shoegaze-Pioniere der 90er-Jahre. Begleitet wird die Ankündigung von der ersten Single des Albums, "Peace Sign", die mit treibenden Basslines und euphorischen, 80s inspirierten Synthesizern und Saxophonen ein passender Einstieg in die Welt von "Interplay" ist.

Das neue Album folgt auf "Weather Diaries" (2017) und "This Is Not A Safe Place" (2019), die den Funken von Ride neu entfachten und sowohl alte Hasen erfreuten als auch ganz neue Fans erreichten. Gerade auch dank des schnellen Shoegaze-Wachstums durch TikTok, die der Band eine neue Welle von Gen-Z-Anhängern einbrachte.

Produziert von der Band zusammen mit Richie Kennedy und abgemischt von Claudius Mittendorfer, verbindet "Interplay" alle Punkte ihrer langen Karriere, indem es leidenschaftliche Gitarrenriffs, hypnotischen Grooves und die verträumten melodischen Hooks ihrer frühen Arbeit aufgreift und sie in eine weitreichendere Klangvorlage einbettet, inspiriert von 80er-Jahre-Sounds wie Tears For Fears, Talk Talk oder frühen U2-Songs.

Inhaltlich behandelt das Album klassische Ride-Themen wie Eskapismus, Träume und die Unzufriedenheit mit dem modernen Leben mit einem Gefühl der Unverwüstlichkeit und Ausdauer, das sich aus der Trennung und der anschließenden Neuformierung ergibt, wie Gitarrist und Sänger Andy Bell erklärt: “This album has taken a long time to make, and has seen the band go through a lot of ups and downs; maybe the most of any Ride album. But it has seen us come through the process as a band in a good place, feeling able to shake off the past, and ready to celebrate the combined musical talents that brought us together in the first place.”

Tracklist "Interplay": 01. Peace Sign 02. Last Frontier 03. Light in a Quiet Room 04. Monaco 05. I Came to See the Wreck 06. Stay Free 07. Last Night I Came Somewhere to Dream 08. Sunrise Chaser 09. Midnight Rider 10. Portland Rocks 11. Essaouira 12. Yesterday is Just a Song

Website Instagram Facebook

#ride #interplay #wichita #album

[doyoulikethissong-poll]

Dreamcrusher - In Due Time 2023

Luwayne Glass, better known as Dreamcrusher, is a Brooklyn-based noise musician from Wichita, Kansas. Glass began making what they describe as "nihilist queer revolt musik" as a teenager sharing tracks on Myspace. After years of touring and over twenty independent releases, Glass moved to New York City in 2015. The same year, Fire Talk Records released Glass's Hackers All of Them Hackers under the Dreamcrusher name to broad acclaim: the release was included in Impose's Best Albums of 2015 and SPIN's Best Avant Albums of 2015, with VICE writing that the EP "could be the most important noise record of the year".

Dreamcrusher is known for a live performance style that is interactive, high-engagement, and multi-sensorial, with FLOOD magazine describing their live show as "a full-on, full-body sensory experience". Those praising Dreamcrusher's live performances often acknowledge that this combination - of high volume, unpredictable movement, and even flicker vertigo - can be jarring, producing feelings of disorientation and vulnerability.

"In Due Time" received a total of 29% yes votes.

#submitted #finished #low yes #low reblog #high votes #dreamcrusher #20s #high no

[nezarchive]

photo credit: Nurit Wilde 

Michael Nesmith pictured with engineer Hank Cicalo during sessions for The Wichita Train Whistle Sings, which were held the weekend of the 18th and 19th of November, 1967. The sessions employed some of the top players in L.A. at the time, among them Hal Blaine, Tommy Tedesco, James Burton, Doug Dillard, Don Randi, Frank Capp, Earl Palmer, and future musical collaborator Red Rhodes. This date marks Rhodes and Nesmith’s first time recording in the studio together. 

The recordings consisted of big band arrangements of songs that Michael had written for the Monkees, a collaboration with arranger Shorty Rogers. Originally, the output of the sessions were not slated for commercial release, but eventually were released by Dot Records in July 1968 as The Wichita Train Whistle Sings. The album was not commercially successful, peaking at number 144 on the Billboard Pop Albums Chart.

“...I recorded it with my own money. It cost fifty or sixty thousand dollars, a stupid sum of money. The album was not only to put together a different picture of the tunes I’d written for the Monkees and give them vent in my own way, rather than have them so highly manipulated, but also to have a record that would document the coalescence of the finest session men in L.A. at the time.” - Interview with John Tobler and Pete Frame, Zigzag Magazine, 1974.

“Everybody wanted to be on the session... Finally I asked Michael why he had called for such a costly session. He explained that Uncle Sam was about to remove 50 grand from his pocket and, instead of paying the taxes, he decided to spend it on a racuous write-off. The Nesmith dates came off without a hitch. It was the greatest party I’ve ever been invited to. Two days of Chasen’s food, and more music than you can expect in a lifetime." - Hal Blaine, Hal Blaine and the Wrecking Crew, 1990.

“Wichita Train Whistle isn’t a roaring success, someone pointed out to me the other day. My exact words were something to the effect of “too bad.” People think I can’t take setbacks for some reason. Well, that’s not the case...I like recording music that I know is not commercial. It’s my thing. It’s catharic for me and often times it’s what I get out of it that counts in the long run.” - Tiger Beat, November 1968. 

#michael nesmith #wichita train whistle sings #nurit wilde #1967 #60s

[insects-in-every-hole]

Photo that I took in May of 2020 that is the cover art for my Black Metal project, Reeking Nightshade's, debut album. You can listen to and, if you're inclined, purchase here.

Photo is of Elaine standing atop Mount Scott of the Wichita Mountains in Oklahoma. Shot with Psychedelic Blues No. 3 on a barely functioning Minolta SLR 102.

#35mm #will mecca #denton #35mm film #film photography #texas #35mm photography #expired film #expired 35mm #expired 35mm film #wichita mountians #mount scott #black metal #raw black metal #atmospheric black metal #moonworshipper records #psychedelic blues film #psych blues film #light leaks #kodak film #kodak #analog photography #filmisnotdead #filmisalive #filmisbetter #35 mm #35mm color film #35 mm film #reeking nightshade #Ukeparaave Enviavuasan

[jpbjazz]

LÉGENDES DU JAZZ

MARCUS BELGRAVE, LE CATALYSEUR

"If I had Marcus Belgrave, I'd have the greatest band going."

- Charles Mingus

Né le 12 juin 1936 à Chester, en Pennsylvanie, Marcus Belgrave était issu d’une famille de douze enfants où la musique occupait la place d’honneur. Ses frères et soeurs jouaient tous d’un instrument. Sa mère chantait et son père jouait du saxophone baryton. La famille Belgrave avait même formé son propre groupe et se produisait à l’église et dans le cadre de certaines activités sociales.

Belgrave avait commencé à jouer du bugle (flugelhorn) à l’âge de quatre ans. Fils d’un travailleur de l’industrie sidérurgique, Belgrave était passé à la trompette deux ans plus tard. C’est son père qui avait enseigné à Belgrave à jouer de la trompette. Chaque semaine, afin de lui faire comprendre le fonctionnement d’un orchestre, le père de Belgrave l’emmenait assister aux répétitions de son groupe. Il expliquait: "Each week he would sit me in a different section of the band—the french horns, the trombones, the trumpets, whatever, and he'd tell me to see if I could hear what all these different sections were doing. So I got a good amalgamation of what was going on in an orchestra,"

Belgrave était également le cousin du saxophoniste baryton Cecil Payne. C’est d’ailleurs Payne, qui avait joué avec le big band de Dizzy Gillespie, qui avait enseigné à Belgrave comment jouer les pièces de Charlie Parker. Il l’avait aussi initié à la musique de Miles Davis.

À l’âge de douze ans, Belgrave avait rencontré Dizzy Gillespie et avait commencé à étudier la trompette classique avec un professeur local. Il avait également été soliste avec le groupe de son high school. À l’âge de douze ans, Belgrave avait aussi joué en concert dans la ville voisine de Wilmington, au Delaware, avec un groupe qui comprenait le légendaire Clifford Brown, qui était de six ans son aîné et qui était sur le point de venir une sommité du jazz. Brown avait même appris Belgrave à improviser en lui écrivant un solo sur le standard "How High the Moon." 

DÉBUTS DE CARRIÈRE

Après avoir décroché son diplôme du high school, Belgrave s’était joint à l’U.S. Air Force et avait joué avec un groupe basé à Wichita Falls, au Texas. Il s’était même produit un soir avec le groupe de Ray Charles. Après être retourné à Chester en 1958, Charles lui avait proposé un poste de deuxième trompette avec son groupe. Il avait seulement vingt et un ans.

À l’époque, le groupe de Charles jouait une combinaison de rhythm & blues, de jazz et de gospel. Pour Belgrave, son séjour dans le groupe de Charles avait été une véritable école. Il expliquait: "That was a school in itself. He had such ears and such soul that it was like dealing with God." Au cours d’une autre entrevue, Belgrave avait ajouté: "I had to learn patience. I wanted to play bebop, but I had to learn to play the blues. I played too many notes. And Ray would play such slow ballads that I'd be through eight bars before he got through one. But eventually he let me play obbligatos behind him on a ballad." Belgrave avait enregistré plusieurs albums avec Charles, dont ‘’Ray Charles at Newport’’ (1958) et “The Genius of Ray Charles” (1959).

Belgrave avait fait partie du groupe de Charles jusqu’en 1963, à l’exception d’une période d’une durée d’un an et ami pendant laquelle il avait vécu à New York. Durant son séjour dans le Big Apple, Belgrave avait fait une tournée de deux mois avec le batteur Max Roach. Il avait aussi enregistré l’album "Pre-Bird" avec Charles Mingus en 1960. Très fier d’avoir pu jouer avec Belgrave, Mingus avait expliqué au cours d’une entrevue qu’il avait accordée au magazine Down Beat en 1975: "If I had Marcus Belgrave, I'd have the greatest band going." Belgrave avait aussi joué avec Eric Dolphy et Max Roach.

Durant cette période, Belgrave avait également travaillé avec le batteur Charlie Persip et le saxophoniste Yusef Lateef. Belgrave serait sûrement devenu célèbre s’il n’avait pas rejeté des offres de se joindre au big band de Duke Ellington et au quintet d’Horace Silver. Belgrave avait justifié plus tard son refus car il ne désirait pas retourner à la vie épuisante de musicien de tournée.

Attiré par la réputation de Detroit comme nouvelle capitale du jazz et par son admiration pour le trompettiste Thad Jones, Belgrave s’était installé au Michigan en 1963. La perspective de devenir musicien de studio pour les disques Motown avait également été un important motif d’attraction. Belgrave avait d’ailleurs enregistré avec Motown en 1963-64, contribuant notamment à des grands succès comme ‘’My Girl’’, “The Way You Do the Things You Do” et ‘’Dancing in the Street.’’

Décrivant son arrivée à Detroit, Belgrave avait précisé: “This was just a natural place for me to come. This was probably the only place in the country where music was No. 1.” Commentant sa collaboration avec Motown, Belgrave avait ajouté: "[Motown founder] Berry [Gordy] drew the greatest people in the industry, the greatest black people. This became the mecca of the music world as far as I was concerned." Mais Belgrave était rapidement retourné à Chester, car son père était tombé malade. Retourné dans l’est, Belgrave avait accompagné le chanteur Lloyd Price, les trompettistes John Hunt et Jimmy Owens, et le vibraphoniste Lionel Hampton. Belgrave s’était joint par la suite au saxophoniste Hank Crawford, un ancien du groupe de Ray Charles, ce qui lui avait permis de collaborer avec le saxophoniste et clarinettiste Wendell Harrison, avant de travailler avec le chanteur de blues Bobby "Blue" Bland et de devenir le directeur musical du chanteur de R & B Jerry Butler.

Belgrave était retourné à Detroit en 1967 après la mort de son père, mais à l’époque, les disques Motown avaient changé. Il expliquait: "We didn't even know who we recorded for, a production line, you know… They really built an empire out of doing that kind of stuff." En revanche, Belgrave avait trouvé la scène du jazz beaucoup plus stimulante. Il précisait:

"Detroit has a wide diversity of peoples, from all over the country, because of the factories. So the factories drew people not only from all over the country, but all over the world, so you have the diversity of music there… cultures, you know what I'm saying. And they find their places, they turn up somewhere. So the music… there are all kinds of bands: society the [pianist Duke] Ellington thing, everything. You might have to go far and wide to find it, but there were little sections, pockets of the city where you could hear certain kinds of music."

Très apprécié à Detroit, Belgrave avait même obtenu le soutien financier des musiciens de jazz locaux lorsqu’il avait été hospitalisé à Montréal en 1970 à la suite d’un problème de thyroïde.

Au début des années 1970, Belgrave avait quitté Detroit pour Los Angeles, où il avait été impliqué dans des programmes anti-pauvreté institués par le président Lyndon B. Johnson.

En 1970, Belgrave s’était également tourné vers l’enseignement. Belgrave avait été recruté par son ami le pianiste Harold McKinney pour travailler avec le Metropolitan Arts Complex, un programme de villes modèles. Belgrave, qui était un communicateur naturel, avait été enthousiasmé par l’énergie et l’excitation résultant du contact avec les étudiants. Au début des années 1970, Belgrave avait fondé le Jazz Development Workshop. Il avait aussi créé le programme de jazz de l’Université d’Oakland. Il avait également enseigné à Michigan State University, Stanford University, l’University of California, l’Oberlin College et dans d’autres institutions scolaires. En 2009-2010, Belgrave avait été artiste en résidence au Virgil H. Carr Cultural Arts Center. Fasciné par son travail de professeur, Belgrave avait commenté: ‘’I feel a responsability to help keep this music alive and vital and pass on my passion to others.’’

Belgrave avait aussi été impliqué dans Tribe, une coopérative qui faisait la promotion du jazz d’improvisation. Très influencée par le mouvement de la Conscience noire, la coopérative exploitait aussi une maison de disques et un magazine et produisait des concerts.

Le premier album de Belgrave comme leader, "Gemini II", un disque de jazz fusion, avait d’ailleurs été publié par Tribe en 1974, même s’il avait été très peu connu avant d’être réédité sur CD trente ans plus tard. Belgrave avait enregistré par la suite de nombreux albums avec une compagnie qu’il avait lui-même fondée, la Detroit Jazz Musicians Co-Op. Parmi ces albums, on remarquait deux CD publiés dans les années 1990 et intitulés "Live at the Kerrytown Concert House" (avec les pianistes de Detroit Tommy Flanagan, Geri Allen et Gary Schunk) et "Working Together" (1992), qui documentait sa collaboration avec le batteur et compositeur Lawrence Williams. Malheureusement, ces albums avaient été peu diffusés en raison d’une distribution souvent inégale.

Préoccupé par la formation de la relève, Belgrave avait joué un peu le rôle d’un griot africain et avait partagé sa passion du blues et du swing avec plusieurs générations de musiciens, dont la pianiste Geri Allen, le guitariste Ray Parker Jr., les contrebassistes Rodney Whitaker et Robert Hurst, les saxophonistes Kenny Garrett et James Carter, la violiniste Regina Carter et les batteurs Karriem Riggins, Ali Jackson et Gerald Cleaver. 

Saluant la contribution de Belgrave au développement de la relève, le saxophoniste Charlie Gabriel avait précisé: ‘’Marcus has a lot of genius. He can bring out the best in young musicians, because he is an educator who can get into the depth of the music in its full form.”

Décrivant le rôle de mentor joué par Belgrave au cours des années, Whitaker avait commenté: "He became a mentor to entire generations of musicians, and a lot of us would not have found the music without him. He brought us together. I have not met one musician from the last 50 years in Detroit that Marcus has not had some sort of impact on." Qualifiant Belgrave de musicien sous-estimé, Whitaker avait ajouté: ‘’He was probably the most imaginative rhythmic player to ever live... one of the greatest players of his generation and one of the most underrated musicians, probably because he never left Detroit.’’

Soulignant la contribution de Belgrave dans la promotion du jazz de Detroit, la pianiste Geri Allen avait précisé: "With Marcus there was a pipeline from high school right into a safety zone in the scene. We saw the passion and the professionalism up close. What Marcus has done for Detroit and what he's done for all of us — he truly is a national treasure. How much we all love him can't be expressed in words." Une autre étudiante de Belgrave, la contrebassiste Marion Hayden, était elle-même devenue un pilier du jazz de Detroit à la fois comme musicienne et enseignante. Résumant la contribution de Belgrave au développement du jazz, Whitaker avait ajouté: "If you factor in those of us who also became mentors because of his example, Marcus has changed the lives of thousands of students.’’ Loin de s’enfler la tête avec sa carrière de professeur, Belgrave avait précisé: “I was trained in classical music and was always first chair or soloist in the band and orchestra at Chester High School. Taking private lessons and playing in different ensembles also helped me. This is what I try to do for the youngsters I see here in the city of Detroit. I’m not so much a teacher as I am a motivator.”

DERNIÈRES ANNÉES

Dans les années 1990, Belgrave s’était produit avec Wynton Marsalis et le Jazz at Lincoln Center Orchestra. Marsalis, qui avait adoré jouer avec Belgrave, avait déclaré à son sujet: ‘’He's the epitome of soul and taste. His sound is just so evocative, and he's a master of swing and blues. When he walks into a room, he brings a good time with him." Durant la même décennie, Belgrave avait enregistré trois albums comme leader: ‘’Working Together’’ (1992), ‘’Live at Kerrytown Concert House, Vol. 1’’ (1993) et ‘’Urban Griots’’ (1998).

En 1999, Belgrave avait également rendu hommage à Louis Armstrong dans le cadre de l’album Tradition.

À la fin de sa carrière, Belgrave avait également fait des apparitions sur des albums de Geri Allen, Kirk Lightsey, McCoy Tyner, Horace Tapscott, Junko Onishi, Robert Hurst et David Murray. De 2001 à 2010, Belgrave avait obtenu une certaine sécurité financière en devenant professeur au Oberlin Conservatory.

En 2006, Belgrave avait enregistré l’album “You Don’t Know Me”, qui comprenait des classiques du jazz ainsi que des chansons tirées du répertoire de Ray Charles. L’album avait été enregistré avec son épouse Joan.

En 2007, Belgrave s’était marié avec la chanteuse Joan Belgrave. Joan, qui avait souvent chanté avec Belgrave sur scène, lui avait apporté beaucoup de stabilité émotive. Tout en aidant Belgrave à gérer les aspects commerciaux de sa carrière, Joan, qui était sa troisième épouse, avait également pris soin de sa santé.

Victime de problèmes respiratoires depuis des années, une maladie qui l’obligeait à être branché à un réservoir à oxygène vingt-quatre heures par jour, Marcus Belgrave est mort d’une crise cardiaque dans son sommeil le 23 mai 2015 à Glacier Hills, un centre de soins et de réhabilitation situé à Ann Arbor, au Michigan. Il était âgé de soixante-dix-huit ans. Belgrave avait été hospitalisé à la fin d’avril à l’Université du Michigan à la suite d’une pneumonie. Décrivant les derniers moments de Belgrave, son épouse Joan avait commenté: “He was okay yesterday. He played his horn, some music from the Ray Charles book that we were planning to use. He talked about how he was going to get out of rehab and not do much of anything {…}. He was playing his intro to “You Don’t Know Me” and having some trouble with it. I told him that was OK because he had a long time to practice.”

Ont survécu à Belgrave son épouse Joan, ses filles Akua Belgrave et Marcia Monroe, ses fils Marcus Jr. Belgrave et Kasan Belgrave (un saxophoniste qui se produisait dans la région de Detroit), sa belle-fille Alia McCants, ses gendres Kenan et Landon Smith, sa soeur Eudora Muhammad, ses frères Lemmuel, Darnley et Louie, six petits-enfants et un arrière-petit-enfant. Au moment de sa mort, Belgrave était le dernier survivant de la section de trompettes du groupe de Ray Charles. Les funérailles de Belgrave avaient eu lieu au Greater Grace Temple de Detroit. Le trompettiste Wynton Marsalis avait interprété la pièce "Tenderly" au cours de la cérémonie. La veuve de Belgrave, Joan, avait chanté pour sa part le classique "Crazy He Calls Me."

Belgrave, qui possédait des résidences à Detroit et Ann Arbor, avait fait sa dernière apparition publique le 17 avril à Durham, en Caroline du Nord, dans le cadre d’une réunion avec les trompettistes Russell Gunn et Rayse Biggs. Malgré sa maladie, Belgrave avait continué de pratiquer deux heures par jour et de participer à des jam sessions avec d’autres musiciens. Peu avant sa mort, Belgrave se préparait à faire un retour sur scène à l’Orchestra Hall de Detroit. Le concert était prévu pour le 12 juillet.

Après avoir appris la mort de Belgrave, le trompettiste Theo Croker avait commenté sur sa page Facebook:

“You taught me more than anyone about life, music, and humanity, and I will miss your mentorship and guidance. You never left me hanging with any obstacle I faced. You treated me like a son when you saw me begin to lose my way. You taught me how to seriously deal with harmony and rhythm with your free-flowing, acrobatic-like approach to improvisation. It was a mere reflection of your high-flying, free-spirited approach to life itself. I love you dearly, Marcus, and will miss you eternally.”

Pour sa part, Bobby Ferrazza, le président du programme de jazz du Conservatoire d’Oberlin, avait déclaré: “Marcus was a world-class musician with a big heart. He was also a world-class mentor. Many of our greatest jazz musicians today know him not only through his work as a great trumpet player, but also because he took so many musicians under his wing and contributed to making them great.”

Belgrave, qui avait toujours tenté de réconcilier le passé, le présent et l’avenir, avait déclaré au cours d’entrevue accordée au journal Free Press: "In order to get to the future, you have to go to the past. I try to instill that you learn from the masters in your presence and go back and forward from there. In order to find yourself, you have to be cognizant of what went down before you. That's always been my philosophy." Lors d’une performance au Dizzy's Club de New York en juillet, Belgrave avait été particulièrement fier de pouvoir se produire avec un groupe de jeune musiciens de Detroit qu’il avait personnellement formés. Le critique Ben Ratliff du New York Times avait commenté le concert en ces termes: "Jazz played with a beautiful sense of proportion, modesty, refinement; using the full range of his instrument but free of aggression, anxiety, overplaying. {Belgrave} let the essence of the songs manifest themselves. It's the result, maybe, of understanding something and then rendering it so that it coheres and can be passed on intact."

Véritable géant du jazz même s’il mesurait seulement cinq pieds et quatre pouces, Belgrave avait joué avec de nombreux artistes au cours de son carrière, dont Martha Reeves and the Vandellas, The Temptations, The Four Tops, Gunther Schuller, Carl Craig, Max Roach, Ella Fitzgerald, Charles Mingus, Eric Dolphy, Yuself Lateef, Ray Charles, McCoy Tyner, Aretha Franklin, Tony Bennett, Liza Minelli, La Palabra, Sammy Davis Jr., Hank Crawford, Joe Cocker, David ‘’Fathead’’ Newman, Lionel Hampton, Dizzy Gillespie, Art Hodes, Charlie Gabriel, B.B. King, Doc Cheatham, Odessa Harris, Horace Tapscott, Sarah Vaughan et John Sinclair. Belgrave avait aussi joué au Tonight Show dans le cadre du groupe dirigé par le saxophoniste Branford Marsalis.

Même s’il était très connu comme trompettiste, la célébrité et la richesse n’avaient jamais fait partie du plan de carrière de Belgrave. Il expliquait: "Actually, I feel famous, because I've been able to survive playing music in Detroit. Major musicians would say, 'What is Marcus doing in Detroit?' But I had to find a place where I belonged, and where I could have an impact. Being around all of this young talent gave me a sense of community and a purpose. I became a catalyst." Très fier d’avoir contribué au développement du jazz à Detroit, Belgrave avait commenté: “I think I helped to re-establish the cause of music in the city and to continue the quality of music Detroit has had in the past. In the late 1950s, music became segmented, but Motown took the jazz musicians who remained and molded them into an entirely different industry in the 1960s. I kept the grassroots aspect of music together by working with youths in the schools and helped to rebuild Detroit’s music culture.”

Également très reconnu sur la scène internationale, Belgrave s’était produit tant en Amérique latine qu’en Europe, en Asie, en Afrique qu’au Moyen-Orient. En 1997, Belgrave avait fait une tournée avec cinq autres musiciens originaires du Michigan qui l’avait conduit en Égypte, en Côte d’Ivoire, au Sénégal, en Syrie, en Tunisie et en Turquie. La tournée faisait partie d’un échange culturel financé par l’Agence américaine pour le Développement international. Belgrave expliquait: “The people had already heard the jazz music before, so they were elated to see us in person. Through the exchange, I gained a lot of knowledge about sound and rhythm from them.”

Récipiendaire de nombreux prix, Belgrave avait été admis au Detroit Jazz Hall of Fame en 1987. Cinq ans plus tard, il avait remporté le Louis Armstrong Award for Jazz Excellence décerné par le Detroit Institute of Arts. Nommé ‘’Jazz Master’’ par la ville de Detroit en 2008, Belgrave s’était mérité le Jazz Guardian Award for Artistry dans le cadre de la 30e édition du festival de jazz de Detroit l’année suivante. La même année, Belgrave avait décroché le prestigieux Kresge Eminent Artist prize. Honorant des artistes reconnus sur la scène nationale qui avaient amorcé leur carrière à Detroit, le prix était accompagné d’une bourse de 50 000$. Belgrave avait reçu son prix en lisant la déclaration suivante: “Sometimes I thought my work was going unrecognized. But this award shows me that what I’ve been doing has been appreciated.” Décrivant la contribution de Belgrave au monde du jazz, le président de Kresge, Rip Rapson avait commenté: “Marcus has inspired our city, our nation, and our world through his music. It is only fitting that we recognize his talent and dedication by presenting him with this year’s Kresge Eminent Artist Award.” La ville de Detroit avait aussi décerné à Belgrave le titre de ‘’Jazz Master.’’ Belgrave était également récipiendaire du Arts Midwest Jazz Master Award (1991), du Louis Armstrong Award (1995), du Michigan Governor's Arts Award (1994) et du Benny Golson Jazz Master Award décerné par l’Université Howard en 2002.

Décrivant son rôle d’improvisateur, Belgrave avait commenté: "I'm trying to hear the whole picture of the piece. The improvisation comes in as a part of being able to feel the whole framework of a song and then you work your way into the flow. I want to play like a singer and feel the rapture of the song." 

Se produisant dans plusieurs contextes musicaux, Belgrave avait joué autant du bebop que du blues, du dixieland, du swing, des ballades, du funk et du jazz fusion. Décrivant les goûts pour le moins éclectiques de Belgrave, le guitariste Hugh Leal avait précisé: “I think he always had bigger ears and interest for all sorts of music. Rhythm and blues, gospel. Country and western, Dixieland tunes. He had a real eclectic outlook.” Commentant le style unique de Belgrave, Leal avait ajouté: “He had a very individual, beautiful tone. I used to call it ‘smoky-sounding.’ It wasn’t the dry type of sound that Miles (Davis) got. It wasn’t as edgy as Dizzy (Gillespie)’s sound. Marcus had this fantastic tonal quality that was his own.” Saluant la grande discipline et le professionalisme de Belgrave, Leal avait déclaré: “He kept bouncing back. He was very resilient because of his attitude. And he played great. He was an absolute master of lung control.”

Belgrave, qui était un membre original du Lincoln Center Jazz Orchestra fondé en 1988 (?), avait interprété la musique de son idole Louis Armstrong dans le cadre d’une tournée qui avait été présentée dans cinquante villes des États-Unis de 2000 à 2007. Commentant le succès de la tournée, Belgrave avait précisé: “The response was tremendous. Most people thought they were seeing and hearing Louis Armstrong again.”

Belgrave avait également été soliste invité dans le cadre des concerts du Lincoln Center Jazz Orchestra au Frederick Rose Hall in New York, qui mettaient aussi en vedette d’autres musiciens de Detroit comme Yusef Lateef, Ron Carter, Curtis Fuller, Charles McPherson et Geri Allen. En 2006, Belgrave avait également participé au concert du Lincoln Center intitulé ‘’Detroit: Motor City Jazz.’’ Également très lié à la ville de Windsor au Michigan, Belgrave s’était produit pour la première fois dans la localité en 1987. Au cours des années, Belgrave avait présenté plusieurs concerts dans les salles de la ville, dont le Mackenzie Hall, the Capitol Theatre, the Cleary Auditorium, the Art Gallery of Windsor, Casino Windsor et l’Université de Windsor. En 2001, Belgrave s’était également joint au Windsor Symphony Orchestra dans le cadre d’un hommage à Louis Armstrong.

Décrivant Belgrave comme un très bel homme qui avait un magnifique sens de l’humour, Beverly Williams l’avait vu jouer pour la première fois dans un petit club de Detroit quinze ans avant sa mort. Elle expliquait: "I asked him to play "Round Midnight. He said he didn't know how to play it but said, 'I'm gonna try.' I have been following him ever since." Reconnaissant l’habilité de Belgrave à lire la musique, la violoniste Carolee Malitz avait précisé: "What I remember most was his phenomenal ability to sight-read anything. He could take the most complicated rhythms and make them sound so easy. He was so special. There was only one guy like him in the whole entire world." Soulignant les qualités humaines de Belgrave, le guitariste Hugh Leal, qui avait travaillé et enregistré avec le trompettiste durant trois décennies, avait ajouté: “It wouldn’t be hyperbole to say he was an icon of Detroit jazz. He was just a great player, and a great teacher, too … He was a wonderful, wonderful person. Forthcoming, generous, fantastically warm and supportive. He found as much value in people singing in an amateur choir as he did in the greatest stars on the stage of the Lincoln Center. He valued music, and music-making, and what it could bring to people.” Leal prépare actuellement un album intitulé Vintage Marcus, qui comprend des extraits des performances de Belgrave dans la ville de Windsor.

Convaincu qu’il était destiné à devenir musicien, Belgrave avait déclaré à la fin de sa carrière: “Music was all around me. I heard music and grew up in it. I was designed to be a musician. I can see no other way.” Confiant en l’avenir du jazz, Belgrave avait précisé: “I want to see the music of America continue. We have so much to give. Our music keeps coming, bubbling up from a reservoir. I’m happy to have been a vital part of an era, and I want to see it endure.”

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

#jazz

[birthdayvomit]

first picture found in an album labeled old. Taken at Manna Wok in Wichita, KS.

[ninetimesbluedemo]

omg monkees questions: 8 (fave solo work), 10 (fave lyrics), 29 (fave running gag)? also secret bonus question fav peter moment :3

8: Favourite solo work?

ouggghhhhh i think... well.... it might even be Wichita Train Whistle Sings. if you can believe it. but i am in love with the peter tork and james lee stanley albums if those count as solo.

10: Favourite lyrics?

"Silhouettes and figures stay Close to what he had to say And one more time, the faded dream Is saddened by the news It cannot be a part of me For now it's part of you" from Tapioca Tundra

29: Favourite running gag?

fourth wall breaks: looking at the camera, breaking character, pulling out the script, making reference to the fact they're in a tv show...

secret bonus question fav peter moment?

in the show: rainbow room daydream believer when davy is sitting with peter on the bench and peter looks like he couldn't possibly be happier.

irl: the mtv tork-touch method how to play the five-string banjo <3

#THANK YOU FOR THE ASK LEILA!! <3333 #the monkees #peter tork

[bedtimestoriesforbrokengirls]

The Daily Dad

Things you might want to know, for May 27, 2023:

The Nakedest Naked Dresses at the 2023 Cannes Film Festival — ‘Cause naked-ish.

Quentin Tarantino Reveals New Details About the Subject of His Next Movie — I have no idea how he’s going to dig into it, but I’m now cautiously enthused about Q’s next/final project.

Study narrows long COVID’s 200+ symptoms to core list of 12 — The first item on the list is a bit vague. I know a number of people who didn’t lose their sense of smell… their sense of smell just changed. Dramatically. In horrible, unpleasant ways. They’d all be much happier if they’d actually lost the sense entirely.

Want to try Wegovy or Ozempic? Get ready to fight with your health insurer.

Kansas' news anti-Trans "bathroom ban" turned on cis woman and disabled son at Wichita Public Library — I’d say something mocking about unintended consequences, but honestly, any outcome that includes some uppity Other being put in its place is desireable to these cruel and witless fucks. Disabled, dark, or ambiguously sexed… doesn’t matter, as long as they know they’re less.

Fallout: New Vegas is currently free to keep on the Epic Games Store — It’s old and it looks it, but it was an amazing game once, and it’s free.

The year’s scariest horror film is The Zone of Interest

‘Survivor’ Superfan Sia Gives $130,000 to Her Favorite Contestants — She is one of the most serious fangirls I’ve ever seen… it’s remarkable.

MoviePass relaunches nationwide with a new pricing model — Having now seen how it works with my local cinemas, I’ve got to, uh… pass. Unless I’m willing to watch movies in the early afternoon —and even then, only after they’ve been in theaters for a few weeks— then it’s only marginally different than buying a ticket directly from the establishment.

The Brady Bunch house is for sale — It’s a 1970s nightmare, but a part of me would love to have it. Or maybe just walk through it once.

Judge Dismisses Lawsuit Over Underage Nude Scene in 1968 Film ‘Romeo and Juliet’

Building a Scale Model of Time — A pretty impressive day’s work, and an interesting video. I’ve seen better visualizations, but this one might resonate with someone.

About Our Ratings — Rolling Stone has apparently decided to do away with star ratings on albums. It’s made out to be a move to respect the taste and intelligence of the audience, but it’s more likely they’re seeing external and internal pressure to re-rate old albums, and decided chucking the whole idea was easier.

People in Old Testament Jerusalem suffered from widespread dysentery, study finds

Barbie trailer finds Margot Robbie dancing, singing, and having an existential crisis — Are you kidding? You had this kind of footage in the can, ready for promotion, and you gave us those weak-ass teasers? This is a Barbie movie I’ll happily watch… it looks fucking delightful.

#news

[rastronomicals]

7:02 PM EST December 11, 2022:

Johnny Cash - “I’ve Been Everywhere Man” From the album Unchained (November 5, 1996)

Last song scrobbled from iTunes at Last.fm

He’s been to:

Reno, Chicago, Fargo, Minnesota, Buffalo, Toronto, Winslow, Sarasota, Wichita, Tulsa, Ottawa, Oklahoma, Tampa, Panama, Mattawa, La Paloma, Bangor, Baltimore, El Salvador, Amarillo, Tocopilla, Barranquilla and Padilla, Boston, Charleston, Dayton, Louisiana, Washington, Houston, Kingston, Texarkana, Monterey, Ferriday, Santa Fe, Tallapoosa, Glen Rock, Black Rock, Little Rock, Oskaloosa, Tennessee, Hennessey, Chicopee, Spirit Lake, Grand Lake, Devils Lake and Crater Lake, Louisville, Nashville, Knoxville, Ombabika, Schefferville, Jacksonville, Waterville, Costa Rica, Pittsfield, Springfield, Bakersfield, Shreveport, Hackensack, Cadillac, Fond du Lac, Davenport, Idaho, Jellico, Argentina, Diamantina, Pasadena and Catalina, Pittsburgh, Parkersburg, Gravelbourg, Colorado, Ellensburg, Rexburg, Vicksburg, El Dorado, Larimore, Atmore, Haverstraw, Chattanooga, Chaska, Nebraska, Alaska, Opelika, Baraboo, Waterloo, Kalamazoo, Kansas City, Sioux City, Cedar City and Dodge City.

#Johnny Cash #Unchained #I've Been Everywhere Man

[mediumlargedarkpizza]

Hey so I've been a Monkees fan for most of my life, but I've never delved much into Mike's solo stuff. Recommendations for where to start? Personal faves? Thanks!

HELLO sorry in advance this got longer than I expected grab a juice get comfortable

I'm a typical start from the start bitch so if...I'm right he started first national band stuff first then second national band then did solo stuff

I feel like watching some music videos is a good start cause he has great ones!

I was gonna recommend one but really the whole first national band trilogy release between 1970-71 slaps so you've got magnetic south, loose salute, and Nevada fighter

Second national band I have not listened to as much 👀

My fave albums from solo are infinite rider on the big dogma (figures lol) and pretty much your standard ranch stash. Infinite is a bit more rock and most of his stuff is more typically country. I haven't listened to from a radio engine to the photon wing and tropical campfires as much tbh

And he released rays in 2005 which was inspired by vaporware??? I believe and it's absolutely wild hahah pls listen to Boomcar it's the best song

He did a bunch of like...write a book with accompanying soundtrack thing which I admittedly haven't checked out lmao so that's the garden, the prison, the ocean

And he did a soundtrack for a movie called timerider in the 80s and it..sure is a movie soundtrack all right and also his first album was technically The Wichita Train Whistle Sings which was him organising an orchestra to play Monkees songs

I'm sorry I feel like I'm so bad at stuff like this maybe @seconddoubt @head1968 @lugosis @csny @columbosunday @lesbianmikenesmith @lesbianpetertork or someone else they know can (if they feel like it) be a better guide or submit their personal input or correct any details in here I may have messed up which I'm sure I probably did djsbdjd (sorry I forgot everyone's url and can't keep track I'm pretty sure they would be fountains of knowledge SORRY IF NOT I honestly had to look up mike/Michael on my blog and be like YEAH THESE PEOPLE LOL)

He also did tv stuff lugosis uploaded elephant parts

Thank U have a nice day enjoy your mike journey

[t-tex-edwards]

My Brand of Blues, Marvin Rainwater, & me...

Marvin Rainwater was an American country & rockabilly singer/songwriter who was born in Wichita, Kansas. He had several hits during the late 1950s, including "Gonna Find Me a Bluebird" & "Whole Lotta Woman," which hit #1 on the UK Singles Chart. He was known for wearing Native American-themed outfits on stage & claimed to have quarter-blood Cherokee ancestry. 

“My Brand Of Blues” was one of several gold records he scored in 1959. The other two being "My Love Is Real" & "Half Breed”, a cover version of a John D. Loudermilk song. That same year, he recorded the original version of another Loudermilk song, "The Pale Faced Indian”, which later became a huge hit for Paul Revere & The Raiders under the title "Indian Reservation”. 

“My Brand of Blues” has an eerie, tortured love theme & an early Johnny Cash-type feel. I first heard it on a ‘MGM Rockabilliy Collection’ album released in Europe in 1977 that I bought as an import a couple of years later. It was among the first several batch of tunes I suggested to guitarist Joe Dickens when we started putting together the earliest version of the Out On Parole band in 1984. Not an easy song to play because of the almost arbitrary number of times playing the riff before the vocals come in each time, “My Brand of Blues” languished at the bottom of the song list & was performed infrequently. When Out On Parole reformed in the 21st century, the song was revitalized & made the cut for the 2011 sessions that birthed the new DEVIL GET AWAY FROM ME album.

"My Brand of Blues" by T. Tex Edwards & Out On Parole LISTEN & DOWNLOAD at: https://ttexedwards.bandcamp.com/track/my-brand-of-blues

#t.tex edwards #t. tex edwards & out on parole #marvin rainwater #joe dickens

[umamidaddy]

Mobile Suit Gundam I (Yoshiyuki Tomino & Ryōji Fujiwara, 1981) X “Chill Out” (The KLF, 1990)

This classic “little teen dude who is good at mechs” anime has some great early 80’s aesthetics and is sci-fi enough to be blended with electronic segments of “Chill Out,” the KLF’s sampledelic ambient opus about a mythical journey down the USA Gulf Coast (maybe the journey was taken with giant robots, it’s unclear). This particular part of the album is originally called “Wichita Lineman Was A Song I Once Heard” but in the recent reissue, it’s “Atlanta to Mobile.”

#mobile suit gundam #the klf #giant robots #chill out #come down dawn #jamz and jamz

[dodger-chan]

Tagged by @other-peoples-coats for ten songs.

Now, as an ancient being from the dark ages of physical media, I developed a habit of listening to music by album. Not always, not now that I store mp3s on my phone, but when it's not just background noise, when I'm actually going to stop and listen to the music, it tends to be in units of album.

So, in the order in which I think of them, here are ten songs off the last album I sat down and listened to:

Is Chicago, Is Not Chicago

Moon Sammy

Screenwriter Blues

Sugar Free Jazz

Down to This

Casiotone Nation

Blue-eyed Devil

True Dreams of Wichita

Janine

Mr. Bitterness

(finishing out the album is Bus To Beelzebub, Supra Genius, City of Motors, and Zoom Zip)

The album is Ruby Vroom, by Soul Coughing, because I can't spend more than ten minutes thinking about 90s song lyrics without needing to revisit Soul Coughing (I swear I listened to other bands as a teenager, this one just really stuck with me).

As for tags, who haven't I seen these from yet @sharpbutsoft , @greenlikethesea , @sthound , @good-f0r-her , @nico-di-angelfish , @babeluda , @threewaywithdelusion @counting-dollars-counting-stars , @motsimages , and anyone else who's interested in playing along.

#tag game

[scotianostra]

Happy Birthday singer Colin Hay, born 29th June 1953 in Saltcoats.

Colin spent his first 14 years in Kilwinning but then moved to “a land Down Under” when his family emigrated, to Melbourne . At 21 he met Ron Strykert, and they formed an acoustic duo. They started composing songs for what was going to become Men at Work. After years of hard work gigging and a couple of releases in Australia the band signed for with CBS Records producer Peter McIan, and they released their debut album Business as Usual, with the hit singles Who Can It Be Now?, Be good Johnny and of course the one everyone knows, Down Under!

Men at Work quickly became MTV favourites (during the station’s early days). Since he was the group’s main singer and songwriter, Hay quickly became the focal point of the band, as such humorous videos for “Who Can It Be Now” and “Down Under” pushed the debut album to the top of the U.S. charts – making Men at Work an overnight sensation.

Perhaps sensing that they should strike again while they were still fresh in people’s minds, Men at Work went directly back in the studio to work on another album. Issued in 1983, Cargo was another sizable hit, but did not fare nearly as well as its predecessor, commercially or artistically.

Their third album in 1985, although selling okay in the states did not yield any hit singles, the band split soon afterwards.

Colin continues to make solo records and has taken to acting, appearing in some indie Aussie films, he also toured with Ringo Starr in his annual All Starr Band. If I would described Hays singing, don’t judge it by Down Under, which was a great song but didn’t challenge his voice, some of his other songs are sung much better and have a bit of a former Police frontman “Sting” to them, if you listen to some of his tunes you might hear the resemblance.

I love Colin, he has a great sense of humour, as is evident in many of his songs, Down Under is a fun tune, have a wee listen to the video I have added to this post, Are You Lookin’ At Me? again shows his humour and is a sort of autobiography in song!

In August 2021, Hay released his fourteenth studio album, I Just Don't Know What to Do with Myself. The album features 10 versions of some of Hay's favourite songs from The Beatles (Norwegian Wood, Across the Universe) Blind Faith, Del Amitri, Dusty Springfield, Faces, Gerry & the Pacemakers, Glen Campbell (Wichita Lineman), Jimmy Cliff (Many Rivers to Cross) and The Kinks (Waterloo Sunset).

The video is great crack between Colin and Craig Ferguson on The Late Show

#Scotland #scottish #singersongwriter #pop singer #australia #men at work

[freddie-mercury-rising]

1,2,3 and 4 from the music asks.

Besitos! Lily

Gracias Lily! 😘

1 Your favorite album opener

This is definitely a toss-up with almost any Queen album, but I especially love the chutzpah of “Death on Two Legs” to open A Night at the Opera. That’s so freaking rock-and-roll, I can’t even.

2 A song starting with the same first letter of your first name

Jealousy by Queen. I love Freddie’s voice in this. He’s so raw and I love when he does the wild sounds with his voice, too. It’s just beautiful and heartfelt and underrated.

3 A song outside of your usual genre

Wichita Lineman by Glen Campbell (I LOVE THIS SONG, and it’s old country). I much prefer/like old country music rather than new pop-country. But I really don’t listen to country in any form all that much. That being said, I dig this song a lot.

4 A song that reminds you of your favorite season

September by Earth, Wind, & Fire

This is a terrific disco song and always gets me on my feet and moving and dancing. It’s not really reminiscent of Fall, but it has September in it, so there you go!

#song asks

[epersonae]

@xoxoemynn just tagged me on my "top 5 songs of the moment", and I think I must have been tagged on this recently, because as soon as I started thinking "well that's just the new Carly Rae Jepsen album" I realized I had already posted about it 😅

So here's another song:

The other thing I've been listening to quite a bit lately is Peter Gregson's Recomposed Bach Cello Suites, here's a particularly good one:

The Bach Cello Suites is comfort music for me: I particularly associate the Yo-Yo Ma Six Evolutions album with the early pandemic, but I've loved them since I was a young teen. (Played adaptations for the viola, then saw Yo-Yo Ma in concert, when I was in junior high) And I love a solid standard rendition but also what Gregson does with them is just fascinating and lovely.

actually, maybe I can post five different songs, because here's the Six Evolutions rendition of Suite 3, Prelude, which is one of the ones I learned to play (not nearly so well obvs lol) and so it's just close to my heart:

And I've also been listening to Philip Glass Solo Piano (thx @mxmollusca), and all of it is very good; there's something particularly restful about Wichita Vortex Sutra:

And then one of my oldest friends got me the Depeche Mode 2007 reissue of Music for the Masses on vinyl, and I am as much of a soft touch for Never Let Me Down Again as I've ever been

#tag games #I tend to stick with a single album or playlist until something knocks me out of it #so I am still in my CRJ The Loneliest Time era #not tagging anybody but feel free to post if you are in the mood #Youtube