Hall would be dragged into these proceedings so cavalierly and with so little concern for the position she holds and the high regard in which she is held. Hammer added that Jackson Jr. Hall and many of the others being pursued by Ms. Jesse Jackson Jr. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster.
Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track. However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal.
Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist. Despite that, it was the most successful album that Black Jazz Records released that year.
Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz. These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America.
This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business. And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'?
But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.
In all, 27 tracks make their CD debut. Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters. But he did not define his era, and it did not define him.
He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials.
His album Colors was originally a series of radio spots for the Fuller Paint Company. The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record.
But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well. The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine.
The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next! Track 20 recorded circa No re-channeled stereo was employed in this recording.
The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc. Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors.
They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.
Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Push On Jessie Jackson - Pace-Setters* - Push On Jessie Jackson / Freedom And Justice (Vinyl) Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted. Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces.
Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Prince's recording plethoric recording output still begs for a proper reissue job. Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles. Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least.
Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time.
All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics. He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best. Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions. When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day.
He continued with the occasional live appearance, some of which I saw and which were always of the highest possible standard. I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now.
It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica. It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics. On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and came out exactly the same as ever.
He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing.
You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen. At first he was picked up in this country largely by working-class kids who could probably relate to the subject matter. Initially ska and reggae was mainly ignored or ridiculed by the mainstream and rock critics — maybe that was partly because Prince Buster was at the forefront of Jamaican lyricists, blatantly and unashamedly covering subject matter that was more or less unheard of in either Europe or America.
From ghetto violence and crime, to sex in detailfrom black power and black pride, to commenting on social injustice and poverty, from advocating freedom from colonialism and solidarity with Africa, to other important matters like ridiculing his musical rivals or consigning them to the boneyard, or describing the music on his own record itself and how good that was — nothing was off limits. In that way lyrically he influenced hip-hop and a lot that was to follow the world over. Buster and some of his Jamaican peers were liberating the sort of real language and subject matter years before it would eventually become commonplace not just in music, but in mainstream TV drama and comedy.
Stylisticallythe very idea of reciting over an instrumental backing track, which Buster was a pioneer of, became the basis of hip-hop years later when the Jamaican DJ Cool Herc introduced it to the Bronx. Buster was really the first king of Jamaican music and started an international process which, with the help of its second king, made reggae probably the most popular music in the world, only to be eventually surpassed in popularity by hip-hop, a form which it had itself helped create.
Myself and all the Two Tone bands owe him an enormous Push On Jessie Jackson - Pace-Setters* - Push On Jessie Jackson / Freedom And Justice (Vinyl) of gratitude. New York. Drawn from tapes recorded with King Tubby's Soul Syndicate band, the music included on 'Reckless Roots Rockers' is deeply ingrained with fissures of rhythm and dub melodies - bringing a vast array of talent to bear on some fabulously low-end material. With much of the album recorded in Jamaica, there were plentiful tributaries on which to draw, as the likes of Jah Carlos, Bullwackies Allstars and Joe Morgan all make fierce appearances.
Opening through the Reckless Breed's 'Dub Full Of Girls', we're immediately transported to a humid smoke-draped environ - as the familiar melody snakes its way through jaunty rhythms and an overarching sense of light that is a welcoming salve for a dark November night. For those who know about such things, the inclusion of Don Carlos' deadly 'Jah Man' will be of particular note - with this particular slice of dub fortitude crafted over a Push On Jessie Jackson - Pace-Setters* - Push On Jessie Jackson / Freedom And Justice (Vinyl) double-take of Wayne Jarrett's 'Bubble Up' unavailable anywhere else and now rightly resurrected for appreciative audiences to rediscover, whilst dubs of Wackies' vast Black Harmony rhythm crops up throughout like a welcome friend throughout.
He looked the part of the artist down on his luck, his frame wizened by poor health, his gait slow; but his clothing was flamboyant and his eyes keen. Sitting on a shady porch, he allowed me to turn his attention from his daily struggle for a living to his great works done twenty years before. He spoke about his songs with great care, almost tenderness.
We made plans to meet again, but by the time I returned to Jamaica he had died. A: Under the name Pat Francis. Push On Jessie Jackson - Pace-Setters* - Push On Jessie Jackson / Freedom And Justice (Vinyl) then I form a group called Meditators. A: I was about say 16, We used to sing and practice with the guitar lots of nights before we could go to studio. They used to have audition on Saturday where lot of artists come, then they pick the best from a lot of them. Out of a hundred they might pick 20, or 10 from that.
At the same session I do two for Upsetter label. Q: Back up for a minute. A: Yes. And I find that my voice could able to deejay. A: Jah Scuff. He just do that one song. He was never interested to do more. So I produce songs for a lot of artists like Heptones, Mighty Diamonds. A: Yeah it was my song. Produced by me. North Parade Street. A: No. Douglas Boothe.
He always say he was his brother, but then I find out it was not his real brother. Know ye that the Lord is God, cause He made us and not we ourself. We are His people and the sheep of His pasture. So we take that song from there. And whosever believeth in Him shall never perish but ever live in light. With spiritual rhymes. Of Rastafari. Which we intend might be God or Jesus. But his version was very good. I still admire the way he do it.
Shenley Duffus first did that as adapted song, a do-over song, on Upsetter label. I used to sell it in the shop. So we do that piece from that version.
That mean a certain amount of respect due to your mother and father and elders. It was a musical fight. So each time a artist come with a hit, you find something to answer back. But with love in our heart, we can show the world that there is no war. People who is not righteous do not bear much Push On Jessie Jackson - Pace-Setters* - Push On Jessie Jackson / Freedom And Justice (Vinyl), or good fruit. Bitter fruit them bear. So, they are not governed by the spirit of God, or Jah.
Q: When you did these great lyrics, did you sit down and work them out or…. A: That song came very quick, usually in those days songs came very quick to me, just like you hear the riddim, listen the riddim, and then [snaps his fingers] the inspiration just come.
A: Yeah [pants several times]! And Scratch laugh and say he running from something, police want him or something. A: Yeah. I think it was Horsemouth [Leroy Wallace] playing a little melody. You mean the world to me.
It never press a lot but it a good song. It sound good. It could have sold a lot if I had press more. That was a nice one too. DJ version. A: [laughing] Jim Screechy mean when a man coming up on you dodging. Hide and seeking. Not coming up full to you. Chat behind your back. So me say never do them thing deh. A righteous Rasta man never deal with that. Me and Scratch mostly used to put things together by-clipping through things that happening and take things from it.
We do Colombia Colly and then we do a lot more songs, which is where I gone and do my thing from then. And just hang on until now. He lift up my eyes onto the hills from whence come my help. I have come from Jah which made heaven on earth. By his protection the sun shall not smite me by day nor the moon by night. My group. And later for Rupie Edwards me and Joe Higgs sing it and he say him write it.
I saw a canoe passing, which him row with two stick. The old-time canoe, they row them with stick. Me used to love the sea Sunday morning time. Where it come from. They only sing it. And gone home. And the Congoes record it and say it is them write it.
I have a lot of songs that I write which I never get credit for because I never know much about performing rights. But the rights of them, the original work, is mine. But we do some great works at Upsetter studio. Nuff songs. Nuff song that people create them not even know where it come from. Retrieved September 17, Wins Primary in Chicago Published ". ISSN Retrieved October 28, Chicago Tribune. Rubin, Alain L. Sanders, and Sidney Urquhart December 11, Archived from the original on December 1, December 17, Sanders, and Sidney Urquhart December 25, Archived from the original on March 7, Sworn in as House Member".
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Jackson holds symbolic groundbreaking for Peotone airport". Archived from the original on April 22, Library of Congress. Archived from the original on April 30, Chicago Sun-Times. Retrieved July 5, The Washington Free Beacon. July 11, Retrieved July 12, Jackson suffering from "mood disorder " ".
CBS News. Time Inc. Retrieved August 16, Retrieved October 13, February 15, Charged in Misuse of Campaign Money". Retrieved February 15, Retrieved September 23, Retrieved August 15, June 22, Retrieved May 14, Raises Voice for the Left". Daley discusses the Wal-Mart controversy, the fall elections and his city's Olympic bid". Eyes a Run at Chicago's Mayor". July 25, Archived from the original on September 3, National Briefing. September 7, June 26, Throws His Support to Dean".
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