The CD cover hypes the score as "music for the 21st cen- tury". Perhaps this is not' as trivial as if sounds. Music in the fut:ure will almost certainly hybridise hybrids to such Aeolian Temple Music - Georgia Kelly - Seapeace (Music For Harp) (Cassette ex- tent that the idea of a traceable source will become an anachronisQl.
Colin McPhee was not the first afidonado of Southeast Asian music. Centuries before him were the seafaring explor- ers, traders anel colonial administrators fi:QmHolland, Portugal and England, some of whom were affected positively by the music. Qeady, be sensed possibilities in this muslcdlat ,in some respectScxtendedthe European tr2ditions ui which he, grew up.
The long" rhythmic. A Balinesegamelan orchestra from Peliatan performed in Paris in Claude Debussy's father had plans for his son to become a sailor but Claude, at the age of eight, was described by his siS- teras spending "whole days Sitting on a chair thinking, no one knew of what".
This dedication to a life in the imagination. A drawing by Rene I. None of the instruments looks -partictdarly ornat. The betJt. There are other, less sacred bedaya dances, and perbaps the importation of one of these to nineteenth-century Paris is more likely.
But all bedaya music and dances are performed with the slow, eerie grace of a loris and, to my knowledge, all are based around watery themes. In the mid-eighteenth cen- tury, the first sultan of Jogjakarta built a water castle of artiflciallakes, tropical gardens and ornate architecture called Taman Sari. He was affected profoundly by the siinplidty and " emotional power ofa Vietnamese or Annamite, ait wasknown then dance-dftma. His famous comparison of java- nese With Palestrina's 'counterpoint came nventy-four years later, when he WJ.
Along with' Aphrodite, a "cl3ssic" of. Orientalist Soft ,pornography crammed with masturbation, sexual violence; erotogenic phil- tres, lesbiail flute 'players,' paedophilia and fake antiquity, Louys wrote Chanson de BIlItIs, a pseudo-Greek literary hoax ' which was set to 'music by Debussy and perfortned at the Paris Exposition UDiverseUeofl Others live like "a flock of sheep" or "only coupled in animal posture".
The scene suggests a zoo, a sexual menagerie, perhaps an ex- position. The Paris expositions were enormously influential. Not only did they introduce many forms of unknown culture and crafts to Europe, they were also a showcase for contemporary work created closer to home. At the exposition, Rimsky-' Korsairov conducted a number of Russian works; to celebrate the exposition of a number of composers, Erik Satie among them, were allotted a few pages for posterity in huge, leatherbound albums of officially recognised art.
Commercial cinema was born, the armchair traveller was up and lounging, the virtual traveller was seeded and already visible as-a tiny dot on the far horizon. In A Theory of Expositions, Umberto Eco describes collection and assemblage throughout history as a representa- tion of "apocalyptic insecurity and hope for the future".
And it is only with Disneyland and Disney World that concern with the space age is combined with nostalgia for a,fairyta1e past. Edward Said performed a comprehensive demolition job on the West's obsessive appropriation of the East in Orlentallsm.
Sexwas particularly unsettling for the nineteenth-century Europe- ans, he added. Debussy's'admiration for the ,"unset- tling influences" of Vietnamese drama or Javanese percussion and counterpoint, despite being locked in colonial realities, was a.
Various forms of this music have been called, with varying levels of appropriateness, ambient, environmental, deep lis- tening,ambient techno, ambient dub, electronica, electronic. Age, chill out, or, the useless one to cap them all, new music.
But no genre category adds up to much more than media. Open Aeolian Temple Music - Georgia Kelly - Seapeace (Music For Harp) (Cassette might be a more useful catch-all name for what I am talking about, ex- cept for the fact. What follows in this book is more a personal nomadic drift than a detached chronological history. This drift will. I trace a web of sources. In my biased opinion, compromised by flfSt-haqd involvement, these are the sources that have led to a musical environment which is, despite my reservations, a.
His eyes open. Ra had been listening to space vibrations and painting his musical pictures ofinfinity for at least thirty-five years. Sun Ra was probably seVenty-six when I met him. That same year, he suffered a stroke; refusing to allow the fire of vision inside him to be quenched,he. Finally, he passed on to other galaxies in. His life had neVer been easy, either in terms of fmancia1 re.
But those. A photograph exists, dated circawhich shows a group called Sun Ra and His Men, smiling for the cam- era, all dressed conventionally in dark suits and striped ties. Marshall Allen had anived in Chicago in, he can't remember precisely when. He and. He joined the band and started Jting original himself. I had to get used to that. It was the music, see, that music that I couldn't just, ahh, flow with.
But I said, I spent all this time lookin'. This must be it. Itwas good forme. Gave me some discipline. Just for the Creator, not for the public. I did that for years, then some got away. It was fantastic. We was playing in. Then they came. You'd simply take a cassette and put it in your car, let it run.
You'd have to have the proper type of music. Like you take two sticks, put'em together, make fire. You take some notes andriib 'em together - dum, dum, dum, dum - fire, cosmic fire. Sun Ra. Revealingly, the judgement is based on social difficulties within Ellington's orchestra, rather than the musicians' undoubted playing abilities.
For this reason, he resisted all temptations to reveal'his early life in any detail. By spurn- ing the undermining, sacrilegious effects of biographical archaeology and its fugitive fame, he could better maintain the Sacred integrity of his magical universe.
Was he bom on Sat- urn. Perhaps Alabama was a stranger place than Saturn in As we talk he slips out tantalising morsels: "Comic books was telling about all kinds of inventions that they'd done. I used to read them all the time. Igo by the Bible in a lot of things.
Sure enough, they wrote about the first atomic bomb in a comic book, TV wristwatCh, all these things in the comic books were happening. He and the Arkestra had performed in Moscow, invited to celebrate the space flight ofYuri Gagarin. It's just like being a sdentist. Mindful of the fact that thesemay save the planet, we scrabble to save them-from the wind.
It's more fantastic than sdence fiction. America, partiC1. PartlY becaUse of his humorous self-awareness. In other respects. The music embraced similar contradictions. Sort of cheap, movie music. Wilmer also passes on a story told by saxo- phonist Red Holloway, who remembered Sun Ra planning to go to New York to buy some books but then, like Des Esseintes, deciding that physical travel was unnecessary.
Yeah, that's it. And he said he got the information he wanted;" When others laughed, Holloway would challenge them. Because 1 know more about black than I do white, I know my needs and natUralness. Ra is playing piano for the floor show.
A man named The Overseer demands his dis- missal. Ra plays strange chords which almost destroy the club. The scene switches to the desert, where Ra and The Ovetseer engage in a magical battle. Ra and his Arkestra then land on earth in a spaceship and sign a promotional deal.
One scene in which Ra visits a youth community centre, is particularly revealing. I'm just like yOu. You don't exist in this society.
If you did, your people wouldn't be seeking equal rights. You're not real. I come to you as the myth, because that's what black people are. I came from a dreain that the black man dreamed Aeolian Temple Music - Georgia Kelly - Seapeace (Music For Harp) (Cassette ago. His depictiQn of black cultural history, cap- tured as in a dream and projected into the space age, has anappeal to anybody who yearns for a life mote dignified and magical than the one they are living.
Ra was not discouraged by the peaks and dips of public enthusiasm. Seated at the grand piano in his hotel lounge, dressed in robes and a hat which can best be described as inspired extra- terrestrial Oxfamchic,he drifts into a jet-lagged reverie and improvises a solo piece which encompasses impressionistic tone clusters, rhapsodic runs, hints of Harlem stride piano, all built around a melancholy jazz ballad. The image is at once absurd and affecting.
No other musician has created a myth of such dogged thoroughness. Little is known of Sun Ra's background. He was bom in Bltmingham, Alabama, where he received a scholarship to help his music studies. I turned it doWn. I didn't want that because I saw what was happening to leaders. I thought leaders were an endangered species. Eventually, the need to lead -his own band be- came too strong to ignore. Every record was an apocrypha, a vibrant cosmic map of unknown regions, lush solarised rainforests, cold domains of infinite darkness, astral storms, paradisical pleasure -zones, scenes of ritual proces- sion, solemn ceremony and wild celebration.
Use your imagination and get out of. He laughs. Another word to deal with. Opti of course, you got op, that could be eye. Optimistic, that's very nice. That way, we got something else. You can take a word and move it out intO other planes. It's just like taking n«es, tak-ing them and malting something beautiful.
It was so big there were no walls. These socks were like they were alive. They were glittering like diamonds. It wasn't like seqUins. This was like they were Qlive. I wanted to know how. They said it was ninety doUais for one pair of socks. I said. Then I came back here. I won- dered if. Private no longer. The exchange is mundane but then he says "I always wear black to match the colour of my car", and banal talk is revealed as a Trojan hQrse carrying other levels of communication: status, style and sexual promise.
As well as otgarusing a London clup ciliedThe Electronic Lounge, Robin makes records based around material snooped, via the scaDner, from telephone conversations. Sounds, atmos- pheres and sometimes beats are added but the core material is people talking in the mistaken knowledge that nobody else is listening.
Hearing these records is a l;ompulsive experience. The voyeuristic urge proVes to be very strong. But in addition to exposing the dynamiCS of interaction, scanners can-also track unconscious desires as they irrupt into the glue of ordinary dialogUe. Uninhibited by physical prox- imity, blank to the environment, focused on a disembodied voice, the imagination relaxes and allows its less housetrained habitues to scuttle into the light.
Hearing these strange con- versations plucked out of the air makes me think of an H. I've got hours of tape - I don't know what YOli would call it. A good way of putting it with the scannet stuff is mapping the city. I don't want to sound like! It's fairly predict- able. In the early morning, very quiet, lots of people ringing in saying 'I'll be late for work', or 'goodbye love', all this affection stuff; you very quickly move into the work rota and you're mapping out the-system and the way people interact.
You get to a lunch period when things lull and people start ringing up their friends, then it's back to work again. Around six to seven it's people ringing home. Then in the evening, that's where the riot happens. That's when it gets really excit- ing because all hell gets let loose.
The phone rates go ,down and people have the most surreal conversations. From a very early age I've never liked the telephone.
I talk a lot on the telephone because it's the only way you can communicate with many people but I just doil't like it.
You can't have a natural pause because you just get ages ofstatic. The etiquette's all gone, the organisation. Who's going to talk next? It amazed me with mobile phones, which are much mpre expensive than standard phones - you get these enor- mous gaps happening. They're the points that really interest me.
What's happening in there. What I've often done is sam- pled these little parts of the background as well. A big part of the work I've done has been sampling a soundtrack in the "background,be it people mOving around the room, a radio on or whatever, looping it, manipulating it, using it as atexture. But that's the point where it really opens up. With por- J nography, there is no interaction. They're listening to a tape recording most times.
You're listening to somebody listening. The pornographic ones are disturbing -because the phone goes dead. You know that's it. You never know quite what you're going to pick up. When 1 do a live gig and 1 do an improvisational set, 1 never know whether all I'm going to get is static.
That's just as valid. If there's nothing there, there's nothing there. Two players shared control of tone, volume and tuning for each radio.
The performance began after midnight when the air waves were relatively quiet. Cage disa- greed. Somebod:y said to him, 'Was it dis- ruptive? Once you embrace that, then everything's OK. Calm, therapeutic sounds for chilling out or music which taps into the disturbing, chaotic undertow of the environment?
There are two separate, quite different moments in the past twenty years which tend to de. The first moment is Brian. Eno's but, before I come-to that, this is the second one.
The story, or my version of it, goes as follows: Between anda The full scope of that story lies outside this book but its de- velopment is relevant since without the Ecstasy-fuelled liberation, accompanying media circus and. Two of the key records that helped to shake British youth into a new phase of hedonism, self-belief and communal dis- sent were "Acid Tracks".
Accounts of how these two minimalist machine instrumentals came into being share a similar feeling, if only because both records were a consequence of home experi- ments which subverted the intended purpose of one ort:wo pieces of music technology.
This is how Marshall Jefferson described the moment to me, when I interviewed him in "Oh shoot, man. You just hit some notes on a machine, man.
DJ Pierre, he was over and he was just messing with this thing and he came up with that -pattern, mari. So we were listening to it, getting drunk -Man. This is a great mood, man. Let's put it out. What the tuck? So that's how it got the -name Acid Tracks, because it's supposed to put you ina mood, you know? For one. Uke when you listen toa real long solo in the old days it's the same bass line going and everybody's doing some- thing different over it.
That's -supposed to capture a mood. Acid house was meant to be the cap- turing of moods. You don't have to use the same machine all the time. You can use different instruments; I hate that ma- chine with.
The way they're doing it now it's not capturing any moods. It's disrupt:iJ That just hurts when you listen to it all night. You hear doh- doh-doh-doh-doh-dit and I liate it, you know, when it goes dit-dft-dit-dit-dit-wheoghwowowweogh. Oh man! It's like scratching a chalk boarq With your finger. Simple, but ferociously effective, particularly if drugs are in- volved.
This was music without narrative; music as function; mUsic as a technical process. The drum programming is more eccentric. Chicago bands playing anything from R. I was a drummer so I was really crazy about Neil Peart.
It Was good for me to practise off of stuff like that. An accumulation of personal histories has. The new technology. Larry began by bor- rowing an analogue Roland Juno 6 from a friend who had left town for the weekend. I was, like, kinda left out. I started playing drums but I ,had always tinkered around with keyboards 'cos I was fascinated by the sounds of the synthesisers. One, called "Mysteries Of Love", was a moody, inspirational track. The other was.
I always wanna hear something different from the things you hear on the radio all the time, just wanna hear someone venture out, take a chance when they're making music. It sounded weird to me. In the end my little brothers liked it. They thought it was kinda cool. Never happy to be tied down to one style, Heard was capable of writing anything from strange composi- tions for drum machine, gorgeous mid-tempo ballads, tracks that sounded like Pink Floyd, backdrops for beatnik poetry or electronic 'jazz-fusion instrumentals which depicted lush en- vironments of the imagination.
With the dance frenzy at its height at the. Where did Heard envisage people listening to his records? Some of the stuff, without the drum beats, I feel ,'" could be soundtrack-type stuff. Just for listening, everyday listening. But many forces were chipping away at the hierarchical, sepa- ratedl'oles of producers and consumers. Before Eno's -theorencal dismantling of this relationship, early disco DJs had also. The aim of dancing your ass off, sacred or profane,was in.
The futuristic vision of hypnotic living and machine sex was imported! Even The Bee Gees' "Jive Talkirig" was inspired by the rhythm of car wheels bumping over a railway track.
He was doing some other thing than dancing;" So a revolution in music was catalysed by a record executive's desire for his own personal sexual soundtrack.
After fifteen minutes, one woman In tile claSs stood up, screamed, and then shouted, "Take it off. I can't bear it any longei'. Then anothetdassm. Whatever it was that Bob Dylan, The Beaties and The RolUng Stones had done by copying, thentransfoniling black music, a lot of black artists wanted the freedom to follow.
Copied ad. Gradu- ally,tbeDJbecame the artist. Gradually, the song, the- composition, was decomposed. After its first formative. This new order was designed to suit the nocturnal rhythms of a participatory, ecstatic audio ence, rather than any model of consensual, concise, classic proportions demanded by pop listeners.
Songs became liquid. They became vehicles for improvisa- tion, or source materials, field recordings almost, that could be reconfigured or remixed to suit the future. Ina humiliat- ing way, musicians became technicians, alongside recording engineers, tape ops,editors and aU 'the other technocratic laboratory assistants cleaning their glasses in the back room.
At the front end of the medium was the OJ. Disco em- braced the science of possession: motion codified into a biofeedback system of sonic driving leading to a form of trance, a meeting held in the virtual space of the spirit world. The discotheque the literal meaning of which is record li- ,braryevolving over two decades into the club; became an indicator of atomised lives within the city. The club, as a ge- neric concept, had come to synthesise historical strands as diverse as the Cabaret Voltaire, organised in ; by Dadaists Hugo Ball and Emmy Hennings in Zurich, or, less than fifteen years later, the exotic, sexually charged "jungle" floorshows of Harlem's Cotton 9ub.
The OJ often mistakenly elevated to shaman : librarian, bricoleur, scryer. Chill: African-American slang for murder ; the coldness of the dead; cool enough to be close to the dead, detached from the consensus morality of the. Cool, the coolest. Africa: to America. This is mystic cool- ness.
All one. Bobby Orlando re, corded abass-heavy underground disco track. Chilling out was hip-hop vernacular for relaxation.
Waiting at the head of the queue, late in the evening, then almost first into the building - an emptied, circuIarshell once used for turning steam engines. Lights are being rigged from the roof of a small hut in the centre of the floor. On stage, men are aimlessly busy, or busily aimless.
One, wearing a short raincoat. Standing at the edge of the stage, looking around me, lean see that nobody else in the audience realises that this is a performance.
Baker: Cream. John Cage as it revolved, I learned that these seemingly aim- less characters on stage were called AMM. They had names. The saxophonist. Geno Washington vanished into lost memories many years ago; although Eric Clapton is now a global celeb- rityand both Jack Bruce and Ginger Baker are still musically active, Cream is barely known by a new generation of metal fans.
Chantal Passemonde, co-organiser of Telepathic Fish ambient parties, recalls a different event same venue but another era : "It was cold, that's the best description.
It was traveller people like Andy Blockhead,rather than club people, who had this idea that they wanted to do not a Rainbow Gathering, but a Rain. What with the Criminal Jus- tice Bill coming up and all that, and they felt it was really a poweifuI space to do it in. I knew Andy Blockhead, just from free festivals and partying. They'd been to Fish things and they said would we like to come and do it with them? In the end it turned out to be totally brilliant but the first seven hours were complete hell.
I was playing with Paul and we played, we DJd, for eight hours. At the end I had an asthma attack. Roundhouse owners and asked for permission and he said yes. Then tlteday before, he said no,then yes Fuck them. In the. All we saw was a fat Mercedes. So that's how the ambient-thing came into it.
The whole point was for people to gather after where they'd been on New Year's Eve. We were there all night and then it started at six in the morning. Two bands played - really traveller bands.
Pan was one - an insane sort of progressive, psychedelic rock thing. There was loads of shamanic drumming, you know the insanity that occurs. Do you know Nick Mlndscape, the guy who does Megatripolis visuals? He had these unbelievably huge screens that hung round one half of the circle, like right down, almost to the floor, and they were projected on. There were projections on that. That was when it was dark. Matt Black was there and he was doing stuff. Everyone was really colourful, wearing jump- ers and stuff.
And during the day it was really lovely because all the ligbt comes through the roof. I remember at one point. The whole place was full of bubbles. It did look like a really bi- zarre, past-apocalyptic, insane thing. People got so cold they were lighting fires. It was like something out of Mad Max. The building is just a shell but it's so powerful. I wasn't on any drugs but it was weird. Inside the Melkweg, two men in pyjamas are 'pretendingto. A woman in black high heels watches - television and three men wearing dark suits stand on a table at.
Jce partici- pation per:forinance art, I wanderinto the other rooms to hear 1iveperformances of programmed music. The following night, pUt two of. Weekend, I peruse some of the evolving cmiQSities of the ambient club. Following a Uve didgeridoo duet the revenge of the native AustraIian. He is also very amused by the irony of the situation he sees below him.
Only a few operators can transcend the knowledge that they, along with the audience, are passive witnesses to the computer's blind need to. The only error, or danger, is that the machine may crash.
Have Macintosh Power Book will travel, yet with visuals and a keen sense of how to pace the music, he conjures real exdtement, mystery and tension from digital information. A hippie lying on his back on the mattress in the centre of the dancefloor flicks a used-up but still glowing spliff into the iir, oblivious to the inflammable people around him.
A tough audience to please. A nagging twO-note ostinato and these two creepy voices build tangible tension in the room. Photographs of earth shot from a space shuttle, acquired from NASA or from Troms0's local science station, fill the screen behind Geir, and when the bass drum finally kicks in, this tough crowd goes wild.
This is deceptive. Northern Lights. You see the houses with allthe lamps inside. It's very cosy. Five pe9ple were saved because of that.
They can. I have this idea. When I was Jisten. I want people to get inspired to read astronomy or to get an- other view of the universe. To be curious.
Mountains, stars, satellites, space travel; weigbtlessnessand computers, an escape from the body. The urge to transcend the body is a dominant theme in any conversation about the technological future. Virtual-reality fantasies and the specta- cleof the wired world express an alienated yearning to leave the biolOgical prison and transmute into a cyborg state.
In the fin-de steele mind, immateriality, spirituality and electronics are synonymous. The body bas become dangerous.
As glamorous com- pulsions of advertising surfaces spread in a sweet stickyflood over the subterranean desires and revelations of altered states. Morris is not a person to whom questions are addressed.
He just rolls out soundbites for the interrogaior to gather up in a shopping bag and reas- semble at leisure. A typical example: "We've had sixty,". That's stage one. Now we sample them. Soho Ambient ;was, at that point, a hole-in-the-wall trading post.
Please let us know if you agree to this. The pair previously worked together on Current 93's album Nature Unveiledwhich also featured Annie Anxiety. Create Christ, Sailor Boy will be released as a three-sided LP there will be a laser etching on the fourth pressed in an array of different coloured vinyl options, and it will be available in two different covers, one by David Tibet, the other by Youth.
Meakusma, the Belgium record label behind artists such as [sic! Meakusma takes place between 23—25 September. New website and zine talking music, culture, politics and activism. A new Glasgow based website has been launched under the name Communal Leisure.
And in mid-August the collective are set to launch a print magazine accompanying the website. We have an open collective of people working on both our print and online forms, and are always up for new people getting involved.
You can also use the site to check out local events and add your own gig posters. Following hot on the heels of its Japan:London exchangeThirty Three Thirty Three has announced details of its next international series, London: Cairo. The concert programmes of both cities will be complemented by workshops, talks and screenings.
It is supported by the Arts Council and the British Council. He died in New York City, July 2, After teaching at the University of Calif, at BerkeleyMills Collegeand the University of Chicagohe joined the faculty of Stanford University in and was a professor there from until his retirement in In he published what is believed to have been the first score ever printed entirely by a computer without added hand work.
Since that time, he has perfected his system to such a high level of excellence that most of the principal music publishers of the world have chosen his SCORE system for their prestige publications. In addition to his lectures on the use of computers in both composing and printing, he published the Handbook of Harmonic Analysis In his compositions, Smith has traversed a modern course in which serial procedures are often utilized with occasional excursions into explorations of computer-generated sounds.
As an Aeolian Temple Music - Georgia Kelly - Seapeace (Music For Harp) (Cassette, his output was prolific on topics of local and national historical or biographical interest. His family had a great influence on his education. He had one older sister Mariaand five brothers Francis his twin brotherPatrick, Frederick, George and James who died in infancy.
Flood received his elementary education at his grandfather's Andrew FitzSimon boys academy in Lismore, and was given music lessons by his aunt, Elizabeth FitzSimon. He quickly became an accomplished pianist and, at the age of nine, was invited to give a recital for the Duke of Devonshire at Lismore Castle. During this time, he received private tuition in music from Sir Robert Prescott Stewart — and developed proficiency on other musical instruments.
He was organist of St. Tipperary —8Monaghan Cathedral —94 and St. Aidan's Cathedral, Enniscorthy from September A devout Catholic, Flood entered St. Patrick's in Carlow, Co. Carlow and spent several years studying for the priesthood. He taught music at the Jesuit Colleges of Tullabeg, Co. Kieran's College in Kilkenny. During his long residency at Enniscorthy — Flood authored the majority of his musical compositions and historical publications.
Following his death, his daughter, Kathleen, assumed the position of organist at St. Aidan's until her death in He has undoubtedly inspired a lot of more recent research, but "his appreciation of detail was enthusiastic rather than thorough, and the contents of his books were often distorted by his national and religious commitment".
Although he is known to have had access to sources in the Public Record Office which burnt down in the Irish Civil War in"he renders himself untrustworthy by the fact that, where his sources can be checked, he sometimes misquotes or misinterprets them; and he is too ready to jump to conclusions which are presented as if they were facts.
Irish music] was either scorned or ignored, except by a few enthusiasts. Therefore, his writings on Irish musical history must be treated with extreme caution. After training at the Kansas City Conservatory, she began her career singing in operettas. She then pursued her studies in N. In she won the Metropolitan Opera Auditions of the Air and made her debut with the company in N. By she was singing major roles there, most notably Ulrica.
She sang Dalila at the San Francisco Opera in She was again on the roster of the Metropolitan Opera in, and As a guest artist, she sang with various American and European opera houses. She also toured extensively as a concert artist, frequently appearing with her husband. Warfield was especially admired for her dramatic vocal gifts. With her husband, she published the autobiographical vol.
A Star in the Family N. Lincoln is an intuitive and often compelling singer who is able to overcome her occasional problems with intonation and range. Her delivery makes her one of the most striking singers ever, and few can match her way with lyrics and moods. Her repertory is consistently nontraditional and provocative.
The tenth child in her family, she could pick out melodies on the piano at age five and eventually learned to sing accompaniment to her piano playing. At 19 she got her first job, playing piano and singing in the basement of the A.
Church in Jackson, Mich. She began singing in dance bands in Chicago, then moved to the West Coast in Her album Straight Ahead was criticized by Ira Gitler for being too overtly political, leading to a published panel discussion on jazz and race in Down Beat March In her debut as a lead actress in the independently produced Nothing But a Man ; dir.
Michael Roehmerher performance is sensitive and luminous. She changed her name to Aminata Moseka infollowing a trip to Africa. She had a period of inactivity in the early s, but resurfaced in the s.
She writes more of her own songs now, and they are poetic and haunting. Beiderbecke's parents, German immigrants, were amateur musicians, and he began to play as a small child. His mother was an amateur pianist, and his father had his own merchant's business in Davenport.
He later sent copies of all his records home to his Midwestern German-Protestant family, but they didn't even open the parcels. His brother brought home records by the Original Dixieland Jazz Band and Bix slowed down the turntable so that he could learn to play the correct solos.
He began playing piano at the age of three, and cornet at 14—which, for at least the first eight years, he played left-handed. During his highschool daysBeiderbecke began gigging and sitting-in with various bands in the greater Davenport area.
Uninterested in his studies, he was expelled from the Academy on May 22, For the next year or so, he worked with various bands in Chicago and, briefly, Syracuse, N. In OctoberBeiderbecke joined The Wolverines, a semi-pro band popular on college campuses. The band was mostly working in the Ind. He first recorded with the Wolverines, and soon became friends with songwriter Hoagy Carmichael.
During this time, Bix also played briefly with Mezz Mezzrow. The Wolverines came to N. However, Bix left The Wolverines in November. He was hired on a try-out basis by bandleader Jean Goldkette, but then returned to Chicago to work for four weeks for Charlie Straight. After being fired by Straight, he gigged in Chicago before spending 18 days as a student at the State Univ.
A year later, the pair joined Jean Goldkette's Band until Goldkette temporarily disbanded in September Through recordings and radio broadcasts with the band, Beiderbecke's initial reputation was made.
Beiderbecke also recorded with various accompanists, both under his own name, and with Trumbauer, from summer on. Theatre, Indianapolis on Oct. Beiderbecke was a featured soloist in the band, and could be heard on recordings, radio, and in concrts. Beiderbecke also began to make his mark as a composer of advanced music that combined jazz with modern classical influences.
The piece showed the influence of European Impressionism. However, Beiderbecke's health was beginning to fail, and he was absent from Paul Whiteman from November until March due to illness. He rejoined the band for a trip to Calif, in Mayand then returned to N. Y Beiderbecke continued to work with Whiteman until suffering another breakdown in health in mid- September.
He returned to recuperate in Davenport, and was back to N. Y in spring of He did gigs and freelance recordings, including a four- day try-out with the Casa Loma Band in summer of Except for a brief period from November January when he was back in his hometown, Beiderbecke freelanced in N. He briefly held a regular job on the Camel Hour radio show orch. Sometime during the summer of Bix moved from his 44th Street Hotel apartment to rent the groundfloor apartment of a block in Queens.
He had become a serious alcoholic and his death was attributed to that, though the direct cause was pneumonia. He was treated by a doctor during the last few days of his life; he died in the presence of the owner of the apartment, a bass-playing attorney named George Kraslow.
Bix was buried at Oakdale Cemetery, Davenport. Beiderbecke was one of the unique stylists, widely admired Aeolian Temple Music - Georgia Kelly - Seapeace (Music For Harp) (Cassette black and white musicians alike for his lyrical reach, unexpected melodic directions, and controlled "cool," they would later say and expressive tone. Not an isolated phenomenon, Beiderbecke was part of a circle of musicians who experimented with wide melodic leaps, a kind of uninflected eighth-note pulse, and compositions using the whole-tone scale.
Among white musicians he developed a cult following, exemplified to this day in a annual Beiderbecke festival held in Davenport.
His early death made him a candidate for legend, exemplified in Dorothy Baker's rather fictional biography, Young Man with a Horn N.
On the recommendation of Leschetizky, Winkler was invited to Saint Petersburg to teach at the Conservatory, where he had piano classes from tobecoming Professor of Piano in The young Sergei Prokofiev was one of his pupils from FromWinkler was music critic for the German-language newspaper St. Petersburgische Zeitung. Like many professors of the Saint Petersburg Conservatory, he was a member of the Belyayev circle, a creative group of musicians led by Nikolai Rimsky-Korsakov, which certainly affected his compositional work.
In his music, he respected Romanian musical tradition while subtly employing modern means of expression. She was educated at the University of Chattanooga B. In she won 1st prize in the International Competition for Interpreters of New Music in Rotterdam, and subsequently toured as a performer of contemporary music.
Hays has become well known for her championship of cluster piano music, especially the works of Hemy Cowell. In she adopted Sorrel as her first name.
Following training with Vasile Venettozzi in Ky. She made her formal operatic debut in as Cherubino at the N. Opera, and then her European operatic debut in as Nedda in Nancy. On Dec. Louis, and Cherubino at the Dallas Opera. She also pursued an active concert career and sang with major American orchestras. Hudman is born. It is the only song to go to the top of the charts on two separate occasions.
He started on clarinet, and began working on tenor saxophone in earnest while attending the Calif. Institute of the Arts His mother's association with Terry Gibbs has been continued in his close friendship and musical association with Terry's son, Gerry.
InRonnefeld completed a visit to the Waldorf school in Dresden. In the time of Berlin Ronnefeld lived with his cousin Matthias Koeppel. Already in he wrote a Kleine Suite for orchestra, which was premiered a year later in Berlin. He also took part in conducting courses in Siena and in Hilversum with Paul van Kempen. In the short opera specially composed for the students of Ronnefeld, the night edition Bernhard took the speaking role of a watchmaker.
Ronnefeld became chief conductor in Bonn in and general director of the Kiel Opera in The libretto is by Richard Bletschacher. The performance of a second version took place post-September 18, in Kiel under the direction of Gerd Albrecht.
From the opera, Ronnefeld worked on a four-movement suitewhich he premiered on 7 April in Frankfurt am Main with the Symphony Orchestra of Hessian Rundfunk. On May 9,he conducted the world premiere of the Oratorium Wohin Op. Munich, the stage and music publisher. The estate and archive have been with the Berlin Academy of Arts since An introspective and moody singer-songwriter, Elliott Smith was on the verge of a commercial breakthrough at the time of his death.
After earning a college degree in philosophy and legal theory, he returned to Portland and launched a punk band, Heatmiser. At the time of his death Smith had nearly completed the tracks for another album, From A Basement, which was posthumously released in He died in Los Angeles.
He also took courses in philosophy, sociology, psychology, and musicology at the University of Frankfurt am Main Ph. Following further training with Berg composition and Steuermann piano in Vienna, he completed his Habilitation at the University of Frankfurt am Main From to he ed.
In he went to Oxford, and in to N. He also was music director of the Princeton Radio Research Project until After living in Los Angeles fromhe returned to Frankfurt am Main In he became an honorary professor and in a professor of philosophy and sociology at the University there.
Adorno exercised a deep influence on the trends in musical philosophy and general aesthetics, applying the sociological tenets of Karl Marx and the psychoanalytic techniques of Sigmund Freud. His compositions, mainly vocal, were reflective of modern trends. The concert date coincided with the 25th anniversary of dropping an atomic bomb on Hiroshima, Japan. German-born American composer, pianist, conductor, and educator born in Hamburg, Germany.
After Switzerland became hostile to Jewish refugees and his role at the Opera was restricted to playing in the orchestra, he emigrated to the United States in Settling in he had a varied musical career as a solo pianist, keyboard, piano and harpsichordperformer, accompanist, conductor, coach, composer, and critic.
He also worked in the entertainment industry, touring as pianist to Edgar Bergen and his puppets in and later for comedian Gracie Fields in and He gave private lessons in the classical repertoire to Benny Goodman. He also worked on the television show The Twilight Zone. The accident also left him without any sense of smell. American blues singer, songwriter and guitar virtuoso, born in Algiers, Louisiana; Minnie was one of the most influential and pioneering female blues musicians and guitarists of all time.
She recorded for forty years, almost unheard of for any woman in show business at the time and unique among female blues artists. A flamboyant character who wore bracelets made of silver dollars, she was a very popular blues recording artist from the early Depression years through World War II.
One of the first generation of blues artists to take up the electric guitar, inshe combined her Louisiana-country roots with Memphis blues to produce her own unique country-blues sound; along with Big Bill Broonzy and Tampa Red, she took country blues into electric urban blues, paving the way for Muddy Waters, Bo Diddley, Little Walter, and Jimmy Rogers to travel from the small towns of the south to the big cities of the north.
A headstone paid for by Bonnie Raitt was erected by the Mt. The Swedish group were also on their first American tour. He began to gain recognition when he went on the road with trumpeter King Kolax in '43, at the age of He became a member of the Billy Eckstine and Woody Herman bands in andand in formed a duet with Sonny Stitt. His later career was interrupted by two prison sentences for narcotics possession, the first from tothe second from to He and Von Freeman were the founders of the Chicago School of tenor saxophone.
The "Soul Jazz" movement of the mids, often using the combination of tenor saxophone and Hammond B3 electric organ, counts him as a founder. He won a scholarship to the Moscow Conservatory, and playing in the Lenin Quartet.
At 15, he was hired as the principal cellist for the Bolshoi Theatre. From tohe was head of the cello department at the Curtis Institute of Music in Philadelphia, and he also taught at Tanglewood, Boston University, and the University of Southern California, where he remained until his death. Nomi was one of the first celebrities to contract AIDS. Drawn to opera in his youth, he was a frequent stage extra, and then an usher at the Deutsche Opera in Berlin. Amusing his co-workers with his Maria Callas impersonation, Nomi was frustrated by his inability to be taken seriously as an opera singer.
Landing in New York City inhe took a day job as a pastry chef at the World Trade Center and, by night, he began developing his musical act in the East Village clubs. Nomi an anagram of the magazine Omni incorporated elements of science-fiction, classical opera, and Japanese kabuki into his stage act, which for a time featured two male dancers.
Donning his signature white-face make-up, black lipstick and Bauhaus-style costumes, Nomi had limited commercial appeal. He was diagnosed with the disease only a few months before his death. A week earlier, Boy George had been fined for heroin possession. The sticky wicket in the deal was John Lennon's vocal, since a company generally needs permission from a song's singer before putting their voice in a commercial. But apparently, Yoko Ono granted that permission. This created a PR problem for Nike, which had sunk millions into the ad and had no intention of pulling it.
You may have heard that Nike is being sued by the Beatles. That's not exactly true. The fact is, we negotiated and paid for all of the legal rights to use "Revolution" in our ads.
And we did so with the active support of Yoko Ono Lennon. We also believe we've shown a good deal of sensitivity and respect in our use of "Revolution" and in how we've conducted the entire campaign. So why are we being sued? We believe it's because we make good press. The ordeal does get Yoko and the remaining Beatles on the same page when it comes to use of their songs in commercials, and also scares away any companies considering a hostile takeover - original Beatles songs are never again used in ads.
Worldwide sales now stand in excess of 28 million and the album is the best-selling debut album of all-time in the US, beating Boston's debut album Boston, which has gone 17x platinum. The song was originally released as the title track to the album by soul singer Otis Clay. A's performance before they can perform the song, and escort them back to their hotel. No charges are filed, and officers tell the rappers that they just "wanted to show the kids that you can't say 'F--k the police' in Detroit.
Deeply attached to his country and countrymen maybe more than any other artist and compatriot of his generation, he spent his personal fortune and energy to rally Iranians against the Islamic Republic by performing worldwide in any major European or American place where there was an Iranian community, be it London, Toronto, LA, New York or Paris.
Actor and friend Ethan Hawke had asked her to provide a song for the upcoming movie Reality Bites and 'Stay' was featured in the film. Self taught guitarist, he began composing at the age of 15, starting a career devoted to acting, singing and songwriting. He made his debut in playing a role in Eduardo de Filippo's Filomena Marturano. InModugno won the Sanremo Music Festival for the second time in a row, with "Piove" also known as "Ciao, ciao bambina"and received second place in with "Libero.
Then inhe again represents Italy at Eurovision with "Dio, come ti amo". The last show is at the Palace, with several special guests - Lemmy Kilmister, Chris Cornell and Eddie Vedder among them - joining the band on stage to pay their respects and play some tunes.
Dee Dee Ramone, their original bass player who left inis welcomed back to play on the track "Love Kills. When Tommy Ramone dies init leaves Marky as the only surviving member. Greek singer, from the most impoverish beginnings on the streets of Crete, to shimmering success of the world. Rita is regarded as one of the most prominent singers of the 'laika' music genre.
Raised in Buffalo by his mother after his father deserted the family, James had a chaotic childhood. James topped the pop charts in via M. However, amid mounting personal problems — a protracted lawsuit against Motown over unpaid royalties, heavy drug use and an assault conviction which led to jail time — James quickly hit rock bottom. After his release from prison inhe suffered a severe stroke and underwent hip replacement surgery. At the time of his death, James had just finished recording an album and was in negotiations regarding a movie about his life.
He was found dead at his home in Los Angeles by his personal assistant. James had suffered a severe stroke in and had a pacemaker implanted in his heart. The official cause of death was listed as a heart attack and the death was ruled accidental. InSilk's clarinetist Teddy Layton split off and formed his own band, and Pete went with him. Pete joined Humphrey Lyttelton's band inand remained with him up until his death. He also played with his own side group, the Great British Jazz Band, alongside his time with Lyttelton.
Intogether with Stan Getz and Charlie Byrd, he was instrumental in introducing the bossa nova style to American audiences via their Jazz Samba recording. In the mids, Keter began a nearly quarter-century relationship, as a bassist, with Ella Fitzgerald.
July 22nd A veteran Cuban soneros whose music career had languished for 30 years when he was invited to perform on the album Buena Vista Social Club and found himself rediscovered by a whole new generation of music lovers around the world died of multiple organ failure. Born into a sharecropping family in Mississippi, he was a self-taught player who emulated his guitarist father and other local bluesmen at informal venues such as house parties. On the recommendation of Turner, Little Milton recorded for Sam Phillips at Sun Records infollowed by stints for Meteor and Bobbin Records, where he began to cultivate a reputation as a talented guitarist who understood the tonal intricacies of the instrument.
Milton found renewed fame after he appeared in the concert film, Wattstax. He suffered a stroke and died a week later in Memphis. He played a few gigs with the young Rolling Stones and was asked by Brian Jones to join permanently before they hired Charlie Watts as their official drummer in January Carlo continued to work as a session drummer throughout the s having further success with The Flowerpot Men, as drummer on their hit single, 'Let's Go To San Francisco'.
He also founded the project Carpathia Project, and he also played in a heavy metal band called Tirana Rockers. Stephen Bier, who played keyboards under the stage name Madonna Wayne Gacy, claimed he was not paid properly over a period of almost two decades. Willy worked with collaborators from across the spectrum of contemporary music, including Jack Nitzsche, Doc Pomus, Dr. Latin rhythms, blues riffs, doo-wop, Cajun music, strains of French cabaret, and echoes of earlys uptown soul can be heard in DeVille's work.
He founded the rock band Mink DeVille in and they recorded six albums in the years to He also toured Europe frequently. Willy released 10 solo albums the last to be released being Pistola in Young dies at age The two first teamed as the folk duo Sweet Jubal and later called themselves Dixie Peach.
Their brand of progressive country rock developed as they went on to form the band Juice Newton and Silver Spur. Otha wrote, played and produced primarily for Juice, although other artists recorded his songs.
He worked with her regularly until his death. A Christmas album of standards and originals recently was completed on which Otha served as lead guitarist, writer, producer and vocalist. Later the Pacemakers were hired by James Brown to accompany his vocals, at this they became known as The J. During their tenure in the J. ByCatfish and the rest of the J. He taught me a lot about rhythms.
He assembled the band Foreign Legion inwith whom he had in bars and nightclubs. Became more known fromwhen he sent a tape to the Radio Fluminense in Rio, facing the repertoire rocker. One of the first blues singers singing in Portuguesehe chose the stage name in homage to the idol BB Kingone of the fathers of the genre throat cancer - Born January 5th He performed over 6, concerts in 65 countries during his 70 year solo career and made over recordings on every major label and taught violin at Indiana University, the Juilliard School and the University of Michigan.
He also wrote Left Hand Techniquea pedagogical volume for violin published by G. Schirmer heart failure - Born July 24th Shortly after that, he was hired by producer Sam Spiegel to play piano at Spiegel's parties, which led to his first film score, The Swimmer.
He is one of only eleven people to have been awarded Emmys, Grammys, Oscars, and a Tony. He is also one of only two people to have won those four prizes and also a Pulitzer Prize, he also won two Golden Globes died after a brief illness - Born June 2nd He studied piano first with his father and then with Alisa Verity.
He earned a scholarship to The Royal College of Music to study piano and later switched to conducting. He remained at the FPS until His first professional conducting position was with the Berlin Opera in as assistant conductor to Lorin Maazel.
He also worked with the Glyndebourne Festival Opera and the English National Opera in this period and developed an operatic repertoire largely from the Classical and Romantic periods. Royal Philharmonic Orchestra. BIS label. The musical is inspired by historian Ron Chernow's biography of Hamilton's storied life and was adapted for the stage by Lin-Manuel Miranda, also known for the Tony Award-winning Broadway hit In the Heights.
The accompanying album by the original cast is a chart success, debuting at 12 on the Billboard albums chart, topping the Billboard Rap Albums chart, and peaking at 2 on the Billboard Best Albums of chart. Paul Chamber Orchestra. He performed as solo pianist, harpsichordist and organist with the Chamber Orchestra of Philadelphia, and concertized extensively in the United States, Europe and Israel.
Additionally, he was associate professor of music at Haverford College for 13 years, and was lecturer in music at both Immaculata University and Temple University.
He played in traditional and contemporary genres of jazz, such as Dixieland, pop jazz, honky-tonk jazz, as well as pop, and Creole music. Ann, in a small Creole cottage-style frame house, to Pierre, Sr. Pete's father, a truck driver and a part-time musician, changed the family name to Fountain. As a child, young Pete was very sickly, frequently battling respiratory infections due to weakened lungs. He was given expensive medication but it proved to be not very effective.
During a pharmacy visit, Pete's father began a discussion with a neighborhood doctor who was also there shopping and talked with him about his son's condition. The doctor agreed to see the boy the following day. After a short exam, the doctor confirmed the weak lung condition and advised the father to try an unorthodox treatment: purchase the child a musical instrument, anything he has to blow into. The same day, they went to a local music store and, given his choice of instruments, Pete chose the clarinet after first wanting the drums, which his father declined per the doctor's orders.
At first, Pete was unable to produce a sound from the instrument, but he continued to practice and eventually not only made sounds and eventually music, but greatly improved the health of his lungs.
By the time he reached his teens, he was playing regular gigs in the nightclubs on Bourbon Street. I guess I was a professional from that point on. He was rumored to have quit when Welk refused to let him "jazz up" a Christmas carol on the Christmas show.
Other accounts, including one in Fountain's autobiography A Closer Walk With Pete Fountain, indicate he in fact played a jazzy rendition of "Silver Bells" on the show which upset Welk, leading to Fountain's departure in early In an interview, Fountain said he left The Lawrence Welk Show because "champagne and bourbon don't mix.
After Welk's death, Fountain would occasionally join with the Welk musical family for reunion shows. He owned his own club in the French Quarter in the s and s. Fountain brought these same players together in when they played the Hollywood Bowl. In no time at all, major entertainers found their way there. Cliff Arquette and Jonathan Winters were there on opening night and performed their comedy routines. Many would perform with the band, and Brenda Lee's sit-in resulted in a duet record album recorded by her and Pete.
Benny Goodman came to the club twice, but without bringing his clarinet. They stole musicians from each other, and sometimes came into each other's clubs and played together.
They were good friends who came up together and later recorded several albums together. He began performing two nights a week at Casino Magic in Bay St. Louis, Mississippi, where he also had a home later destroyed by Hurricane Katrina.
Louis casino. It has since been renamed the Hollywood Casino. He performed his last show at Hollywood Casino on December 8,before returning to help reopen the resort inby which point he was mostly retired. The original name was "The Half-Assed Walking Club," and it was an excuse to take a "lubricated" musical stroll down the parade route. Pete changed the name under pressure exerted by the parade organizers.
He recorded over LPs and CDs under his own name, some in the Dixieland style, many others with only peripheral relevance to any type of jazz. His first crystal mouthpiece was actually Irving Fazola's, given to Pete by Fazola's mother after Faz's death, because she had heard him play and noted how he played like her son.
That mouthpiece was shattered on the bandstand one night when Pete had played his solo and was standing by as trumpeter George Girard played his [own solo], and Girard brought his trumpet down suddenly on top of the mouthpiece.
Pete kept the shattered mouthpiece, and played other crystal mouthpieces from then on. They have two sons and a daughter: Kevin, Jeffrey, and Dahra. Dahra's husband, Benny Harrell, was Fountain's manager in his later years. He had suffered from heart problems and was in hospice care when he died. Fountain, Jr. An exhibit was dedicated to Fountain, and he received a star Album) the museum "Walk of Fame" sidewalk.
His music is about the beauty in different forms in Honduras, sometimes talks about social problems, but also personal topics. His music mixes tropical rhythms, garifuna drums and contemporany music. Some of his discs were created to be enjoyed by kids. At this time he produced a disc and concert called "Para Los Chiquitos" a disc album for kids. He often traveled to forest areas of Honduras, among them, La Mosquitia a kind of Central American Amazonia where he recovered their musical traditions.
Total viewsPage 1 of 3 in - Eustache du CaurroyFrench composer of the late Renaissance, dies at He probably entered royal service aroundand in is first mentioned in documents from the royal court, when he won a song competition: he was to win two more, in andfor a motet and a chanson respectively.
His contrapuntal interest is best shown in his sacred music, of which the largest collection is the two volumes of motets, 53 in all, entitled Preces ecclesiasticae, published in Paris in They are from 3 to 7 voices.
Denis for the funerals of French kings for the next several centuries. It is a long composition containing the Libera me responsory, the chant for which is similar to the famous Dies irae. The collection of 42 such pieces, published posthumously inis considered to be a strong influence on the next generation of French keyboard players, especially Jean Titelouze, the founder of the French organ school.
During his time at Halle he became particularly renowned as a composer of dramatic cantatas. In he was criticized by the pietists because of his excessive long and elaborate music, that could be only appreciated by cantors and organists. Zachow was influenced by Johann Theile in Merseburg and the poetry of Erdmann Neumeister, pastor in the nearby Weissenfels, and his criticism on pietism.
He taught Handel how to play the violin, organ, harpsichord, and oboe as well as counterpoint. Zachow's teaching was so effective, that in at the age of seventeen, Handel accepted a position as organist at the former Dom in Halle. It is said that after Zachow died inHandel became a benefactor to his widow and children in gratitude for his teacher's instruction. In J. Bach was invited as Zachow's successor. In he met the young Mozart in Brussels.
In he settled in Genevawhere he founded a music school. He wrote, among other things, symphonies in Mannheim style, chamber musicvocal duets and trio, as well as oratorios and various choral works. Recommended by Johann Tobias Krebs, jr. In he enrolled at the University of Leipzig. He served as Kantor in Ernstthal from to He was a pupil of Basodowa in Vienna. After making his operatic debut as Sarastro in Cologne jan, 6,he sang in Mannheim before appearing in Vienna In he made his London debut at Drury Lane.
On March 16,he made his first appearance at London's Covent Garden as Caspar in Der Preischiitzreturning there regularly until He also sang at London's Royal Italian Opera In he made his N. After his retirement, he settled in San Francisco as a voice teacher.
He published a Method of Singing 3 vols. His vocal compass was from low C to F above the staff. From to he was a professor of piano at the Vienna Conservatory. Among his pupils were Gustav Mahler and Ignaz Briill.
He was a pupil of Bisaccia in Naples. Following a Widespread fashion among aspiring English opera singers, he changed his name to an Italian sounding homonym, Foli, and made a career as "Signor Foil" He made his professional debut as Elmiro in Rossini's Otello in Catania inthen sang throughout Italy. He toured the U.
He composed prolifically, and an organ primer of his enjoyed wide popularity. It is based on a tune made familiar by Mozart K and generally associated with the words Twinkle Twinkle Little Star.
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