Συνεχίζεται που δαμέ τζαι δαμέ.
Ένας που τους λόγους που εν τόσο σημαντική η μουσική του James Brown για τους σκοπούς τούντου blog εν τζαι το πως επηρέασεν τους χιπ-χοπ DJs τζαι παραγωγούς. Επειδή εν έχω τζαι τόσην όρεξη να γράψω σήμερα τζαι επειδή έναν τραούδι ισον 1000 λέξεις...
2 πολλά σπουδαία τραούθκια του εγγλέζου DJ Format καμωμένα αποκλειστικά που τραούθκια του James Brown σε στυλ Lessons.
DJ Format - Stealin James 1 (2007)
DJ Format - Stealin James 2 (2007)
Τζαι έναν που τα ορίτζιναλ Lessons:
Double Dee and Steinski - Lesson 2 (the James Brown Mix) (1985)
brown brown brown brown
Παρασκευή, Δεκεμβρίου 30, 2011
Τετάρτη, Δεκεμβρίου 28, 2011
James Brown B - ρίζες της funk
Συνεχίζεται που δαμέ.
(κόφκεται γαμώτο)
Επιμένω για τον James Brown αλλά έννεν για το άτομο του ως σταρ ή showman. Έν θέλω να φάω κόλλημαν πάνω του όπως παθαίνει ο κόσμος με τραγουδιστές... φακκούν μου έτσι μαλακίες. Το σημαντικό εν ότι τα τραούθκια του είχαν τζείνην την συγκεκριμένη την ενέργεια τζαι ήταν ο πρωτοπόρος τούτης της ενέργρειας. Εν σημαντικός επειδή άλλαξεν την σύγχρονη μουσική τζαι ειδικά την χορευτική μουσική, επειδή εδημιούργησεν την Funk.
Τωρά για να είμαστεν πιο σωστοί έννεν κάτι που έκαμεν μόνος του, εν κάτι που έκαμεν μαζίν με άλλους, με τους διάφορους μουσικούς που επαίζαν στην μπάντα του - τζαι γεννικά φακκά μου η προσωπολατρεία του τραγουδιστή/band-leader τζαι η αντίστοιχη υποτίμηση των υπόλοιπων μουσικών. Εν ούλλοι τους που εκάμαν τζείνα τα τραούθκια μαζίν. Με τον James Brown ως αρχηγό όμως, καλώς ή κακώς.
Συγκεκριμένα τι ακριβώς έκαμαν τζείνος τζαι η μπάντα του που εν υπήρχεν πριν:
"A black music revolution spread across the country just as the social upheavals of the sixties were taking center stage. Changes took place in the people's dance music and the themes expressed within their entertainment began to take on much more meaning...[many musicians] were experimenting with a new groove, a wild new upside down rhythmic chop that was first worked on the public by the James Brown Revue and was spreading everywhere fast.
The Godfather himself broke down the breakthrough song, the 1965 "Papa's got a brand new bag": "that was the turnaround song. It turned everybody around. Because I went on one and three as opposed to the music count bein written on two and four. But I also took gospel and jazz and defied all the laws." The jerky guitar, absurdly offbeat bass line and sharp bursts of brass and guitars had a percussive feel that was never heard before...
The rhythm in rhythm and blues was getting a shakedown. "The real important thing that changed" writer and drummer Lee Hildebrand said in 1995 "was that the high hat pattern was no longer a 'shuffle'." Since at least world war 2 the standard rhythmic structure of R&B drumming had been a shuffle, a skipping kind of rhythm in which drummers double-timed their own counts, as in da dat, da dat, da dat, that came from the swing rhythm in jazz. The "new thing" developed by the Godfather went toward the even, pulsing hi-hat pattern of domp domp domp domp - domp domp domp domp. The "even" hi-hat opened the door for the stomping funk beat, with open holes of anticipation extending the rhythmic tension on each beat. With The Funk, a hard hitting stomp came along with roots as far back as the French Quarter marching bands of New Orleans, and the 'shuffle beat' was rendered obsolete."
(από Rickey Vincent, Funk - the music, the people and the rhythm of the one, p 60-61)
drum shuffle
(καλλύττερο παράδειγμα δαμέ αλλά εν επιτρέπεται η ενσωμάτωση)
funky drummer
Τζιάλλοι ορισμοί & χαρακτηριστικά της Funk
The tendency to approach the organization of rhythm based on the principle of rhythmic and implied metrical contrast... Beyond mere melodies and beats, grooving dance music generates a life of its own: a groove. There is no way to transcribe or translate this effect. A jam either has it or it doesn't. As Duke Ellington put it "It don't mean a thing if it ain't got that swing". The often dense structure of funk music was such that many instruments could develop independent melodic lines tat grooved simultaneously, with their accents in different yet complementing places in the count.
...
The tendency to approach singing or the playing of any instrument in a percussive manner. This was an innovation that James Brown brought into soul music, particularly with the rhythm guitar, a style that he learned years later was African in origin. Brown utilized the rhythm guitar in such a fashion that its role changed from a secondaru or primary melodic instrument to an almost totally percussive sound... Even Brown's vocals were arranged highly rhythmically, often ad libbed like scat-singing, while many song lyrics were arranged in repeating syncopating chants, like "I got ants in my pants / and I need to dance," or "I'm payin taxes, what am I buyin"
(p 34-35)
(κόφκεται γαμώτο)
Επιμένω για τον James Brown αλλά έννεν για το άτομο του ως σταρ ή showman. Έν θέλω να φάω κόλλημαν πάνω του όπως παθαίνει ο κόσμος με τραγουδιστές... φακκούν μου έτσι μαλακίες. Το σημαντικό εν ότι τα τραούθκια του είχαν τζείνην την συγκεκριμένη την ενέργεια τζαι ήταν ο πρωτοπόρος τούτης της ενέργρειας. Εν σημαντικός επειδή άλλαξεν την σύγχρονη μουσική τζαι ειδικά την χορευτική μουσική, επειδή εδημιούργησεν την Funk.
Τωρά για να είμαστεν πιο σωστοί έννεν κάτι που έκαμεν μόνος του, εν κάτι που έκαμεν μαζίν με άλλους, με τους διάφορους μουσικούς που επαίζαν στην μπάντα του - τζαι γεννικά φακκά μου η προσωπολατρεία του τραγουδιστή/band-leader τζαι η αντίστοιχη υποτίμηση των υπόλοιπων μουσικών. Εν ούλλοι τους που εκάμαν τζείνα τα τραούθκια μαζίν. Με τον James Brown ως αρχηγό όμως, καλώς ή κακώς.
Συγκεκριμένα τι ακριβώς έκαμαν τζείνος τζαι η μπάντα του που εν υπήρχεν πριν:
"A black music revolution spread across the country just as the social upheavals of the sixties were taking center stage. Changes took place in the people's dance music and the themes expressed within their entertainment began to take on much more meaning...[many musicians] were experimenting with a new groove, a wild new upside down rhythmic chop that was first worked on the public by the James Brown Revue and was spreading everywhere fast.
The Godfather himself broke down the breakthrough song, the 1965 "Papa's got a brand new bag": "that was the turnaround song. It turned everybody around. Because I went on one and three as opposed to the music count bein written on two and four. But I also took gospel and jazz and defied all the laws." The jerky guitar, absurdly offbeat bass line and sharp bursts of brass and guitars had a percussive feel that was never heard before...
The rhythm in rhythm and blues was getting a shakedown. "The real important thing that changed" writer and drummer Lee Hildebrand said in 1995 "was that the high hat pattern was no longer a 'shuffle'." Since at least world war 2 the standard rhythmic structure of R&B drumming had been a shuffle, a skipping kind of rhythm in which drummers double-timed their own counts, as in da dat, da dat, da dat, that came from the swing rhythm in jazz. The "new thing" developed by the Godfather went toward the even, pulsing hi-hat pattern of domp domp domp domp - domp domp domp domp. The "even" hi-hat opened the door for the stomping funk beat, with open holes of anticipation extending the rhythmic tension on each beat. With The Funk, a hard hitting stomp came along with roots as far back as the French Quarter marching bands of New Orleans, and the 'shuffle beat' was rendered obsolete."
(από Rickey Vincent, Funk - the music, the people and the rhythm of the one, p 60-61)
drum shuffle
(καλλύττερο παράδειγμα δαμέ αλλά εν επιτρέπεται η ενσωμάτωση)
funky drummer
Τζιάλλοι ορισμοί & χαρακτηριστικά της Funk
The tendency to approach the organization of rhythm based on the principle of rhythmic and implied metrical contrast... Beyond mere melodies and beats, grooving dance music generates a life of its own: a groove. There is no way to transcribe or translate this effect. A jam either has it or it doesn't. As Duke Ellington put it "It don't mean a thing if it ain't got that swing". The often dense structure of funk music was such that many instruments could develop independent melodic lines tat grooved simultaneously, with their accents in different yet complementing places in the count.
...
The tendency to approach singing or the playing of any instrument in a percussive manner. This was an innovation that James Brown brought into soul music, particularly with the rhythm guitar, a style that he learned years later was African in origin. Brown utilized the rhythm guitar in such a fashion that its role changed from a secondaru or primary melodic instrument to an almost totally percussive sound... Even Brown's vocals were arranged highly rhythmically, often ad libbed like scat-singing, while many song lyrics were arranged in repeating syncopating chants, like "I got ants in my pants / and I need to dance," or "I'm payin taxes, what am I buyin"
(p 34-35)
Κυριακή, Δεκεμβρίου 25, 2011
James Brown Α
έτσι θέλω να ντύνεστε τζαι σείς αγαπητοί μου αναγνώστες.
Ινταλος χορεύκει ο πελλός α. Ήταν 41 χρονών δαμέ ρεε κουνόσιυλλοι.
Αλλά ο χορός του εν δευτερεύον σε σχέση με την μουσική του για τους σκοπούς τούντου μπλογκ, τζαι για τους σκοπούς τούντου μπλόγκ ο κύριος Τζίμις έσιει πρωταγωνιστικό ρόλο μέσα που ούλλες τες αντιφάσεις του γιατί ο Τζίμις άλλαξεν ούλλην την σύγχρονη μουσική, πάνω κάτω, τζαι ειδικά την μουσική που ασχολείται τούντο μπλογκ - είπαμεν το τζαι που την πρώτην ανάρτηση δηλαδή.
Εν να συνεχίσω με τζιάλλα κείμενα τζαι τραούθκια για τον James Brown τούντες μέρες να το έσιετε υπόψην αγαπητοί μου αναγνώστες αφού εξάλλου αμελήσαμε τες φανκίλλες στο μπλογκ τζαι ήταν τζαιρός τους, τζαι έναν ππόουστ εν νάταν λλίον του.
σοβαρά πράματα οϊ πελλάρες
James Brown May 3, 1933 – December 25, 2006
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