Go to Street Corner Music on Greenfield and 9 ½ Mile, and get YOURS, Two great songs out of 16 that will have you shaking you head as longas you here them!!!!.....”People Make The World Go Round”...and “Wes” (Is Still In The House)....
Preserving The Past and Presenting The Future of Jazz Music
Saxophonist Duane Parham is one of Motor City’s most beloved jazz artists. He is recognized as an innovator and top performer in Smooth Jazz, R&B and Gospel Music. Born and raised in Detroit, Michigan, Duane’s latest project, “Motor City Sax Appeal: My Tribute to the Motown Legends” delivers a Mo-Jazz tribute to Motown Records.
As an artist, Duane has amassed many accolades acknowledging his talent and civic contributions. He is the recipient of five Mayoral Proclamations of Achievement from Mayors Coleman A. Young, Dennis W. Archer and Dave Bing of Detroit along with Mayor Martha G. Scott of Highland Park, MI for his accomplishments in the development of Music Arts and his outstanding contribution to the progress of both communities.
Duane also received the Spirit of Detroit Award from the Honorable Mayor Dave Bing for producing and arranging “Dream Detroit” and his documentary entitled “The Unsung Musicians of Motown Empire.
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Ellis Louis Marsalis, Jr. (born November 14, 1934) is an American jazz pianist.Active since the late 1940s, Marsalis came to greater attention in the 1980s and '90s as the patriarch of a musical family, with sons Branford Marsalis and Wynton Marsalis rising to international acclaim.
He can usually be seen performing on Fridays at Snug Harbor jazz bistro in New Orleans.
Marsalis was born in New Orleans, Louisiana, the son of Florence (née Robertson) and Ellis Marsalis, Sr., a businessman and social activist. Marsalis and wife Delores Ferdinand have six sons: Branford Marsalis, Wynton Marsalis, Ellis Marsalis III (1964), Delfeayo Marsalis, Mboya Kinyatta Marsalis (1971), and Jason Marsalis. Branford, Wynton, Delfeayo, and Jason are also jazz musicians. Ellis is a poet, photographer, and network engineer based in Baltimore.
Ellis started out as a tenor saxophonist, switching to piano while in high school. From his first professional performance with "The Groovy Boys" over fifty years ago, Ellis Marsalis has been a major influence in jazz. At that time, Marsalis was one of the few New Orleans musicians who did not specialize in Dixieland or rhythm and blues. He played with fellow modernists including Cannonball Adderley, Nat Adderley, and Al Hirt, becoming one of the most respected pianists in jazz. Though he has recorded almost twenty of his own albums, and was featured on many discs with such jazz greats as David “Fathead” Newman, Eddie Harris, Marcus Roberts, and Courtney Pine, he shunned the spotlight to focus on teaching. Marsalis's didactic approach, combined with an interest in philosophy, encourages his students to make discoveries in music on their own, through experiment and very careful listening.
As a leading educator at the New Orleans Center for Creative Arts, the University of New Orleans, and Xavier University of Louisiana, Ellis has influenced the careers of countless musicians, including Terence Blanchard, Harry Connick Jr., Nicholas Payton; as well as his four musician sons: Wynton, Branford, Delfeayo and Jason. In May, 2007, Marsalis received an honorary doctorate from Tulane University for his contributions to jazz and musical education.
On December 7, 2008, Ellis Marsalis was inducted into The Louisiana Music Hall of Fame.
The Ellis Marsalis Center for Music at Musicians' Village in New Orleans is named in honor of Ellis Marsalis. In 2010, The Marsalis Family released a live album titled Music Redeems which was recorded at The John F. Kennedy Center for the Performing Arts in Washington, DC as part of the Duke Ellington Jazz Festival. All proceeds from the sale of the album go directly to the Ellis Marsalis Center for Music.
Marsalis and his sons are group recipients of the 2011 NEA Jazz Masters Award.
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Rahsaan Roland Kirk
Rahsaan Roland Kirk (August 7, 1935 – December 5, 1977) was an American jazz multi-instrumentalist who played tenor saxophone, flute and many other instruments. He was renowned for his onstage vitality, during which virtuoso improvisation was accompanied by comic banter, political ranting, and the ability to play several instruments simultaneously.
Kirk was born Ronald Theodore Kirk in Columbus, Ohio, but felt compelled by a dream to transpose two letters in his first name to make Roland. He became blind at an early age as a result of poor medical treatment. In 1970, Kirk added "Rahsaan" to his name after hearing it in a dream.
Preferring to lead his own bands, Kirk rarely performed as a sideman, although he did record with arranger Quincy Jones and drummer Roy Haynes and had notable stints with bassist Charles Mingus. One of his best-known recorded performances is the lead flute and solo on Jones' "Soul Bossa Nova", a 1964 hit song repopularized in the Austin Powers films (Jones 1964; McLeod et al. 1997).
His playing was generally rooted in soul jazz or hard bop, but Kirk's knowledge of jazz history allowed him to draw on many elements of the music's past, from ragtime to swing and free jazz. Kirk also absorbed classical influences, and his artistry reflected elements of pop music by composers such as Smokey Robinson and Burt Bacharach, as well as Duke Ellington, John Coltrane and other jazz musicians. The live album Bright Moments (1973) is an example of one of his shows. His main instrument was the tenor saxophone, supplemented by other saxes, and contrasted with the lighter sound of the flute. At times he would play a number of these horns at once, harmonizing with himself, or sustain a note for lengthy durations by using circular breathing, or play the rare, seldom heard nose flute. A number of his instruments were exotic or homemade, but even while playing two or three saxophones at once, the music was intricate, powerful jazz with a strong feel for the blues.
Kirk was politically outspoken. During his concerts, between songs he often talked about topical issues, including black history and the civil rights movement. His monologues were often laced with satire and absurdist humor. According to comedian Jay Leno, when Leno toured with Kirk as Kirk's opening act, Kirk would introduce him by saying, "I want to introduce a young brother who knows the black experience and knows all about the white devils .... Please welcome Jay Leno!"
In 1975, Kirk suffered a major stroke which led to partial paralysis of one side of his body. However, he continued to perform and record, modifying his instruments to enable him to play with one arm. At a live performance at Ronnie Scott's club in London he even managed to play two instruments, and carried on to tour internationally and even appear on television.
He died from a second stroke in 1977 after performing in the Frangipani Room of the Indiana University Student Union in Bloomington, Indiana.
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Carter was born in Detroit and was one of three children in her family.
She began piano lessons at the age of two after playing a melody by ear for her brother's piano teacher. After she deliberately played the wrong ending note at a concert, the piano teacher suggested she take up the violin. She suggested that the Suzuki Method was more conducive to her creativity. Carter's mother enrolled her at the Detroit Community Music School when she was four years old and she began studying the violin. She still studied the piano, as well as tap and ballet.
Carter attended Cass Technical High School with a close friend, jazz singer Carla Cook, who introduced her to Ella Fitzgerald. In high school, Carter performed with the Detroit Civic Orchestra and played in a pop-funk group named Brainstorm. In addition to taking violin lessons, she also took viola, oboe, and choir lessons.
Carter was studying classical violin at the New England Conservatory of Music in Boston when she decided to switch to jazz, but the school did not have that as a program. She transferred to Oakland University in Rochester, Michigan. Here she studied jazz with Marcus Belgrave. Through Belgrave Carter was able to meet a lot of people active in the Detroit jazz scene, including Lyman Woodard. She graduated in 1985. After graduating, she taught strings in Detroit public schools. Needing a change of scene, she moved to Europe and spent two years in Germany. While making connections, she worked as a nanny for a German family and taught violin on a U.S. military base.
Carter returned to the U.S. and first came into the spotlight as the violinist for the all female pop-jazz quintet Straight Ahead in 1987, with Cynthia Dewberry, Gailyn Mckinney, Eileen Orr, and Marion Hayden. In the early to mid-1990s, Branford Marsalis was quoted as saying, "They truly swing.” They released a trio of albums on the Atlantic Jazz label including their self-titled debut, Body and Soul, and Look Straight Ahead. Carter went solo before the release of their third album, Dance of the Forest Rain, and began an impressive run, establishing herself as a force in the jazz world on the violin. In 1991 she left the band and moved to New York City.
While in New York she was a relative unknown and undertook work accompanying performers such as Aretha Franklin, Lauryn Hill, Mary J. Blige, Billy Joel, and Dolly Parton. She also played with Max Roach and Oliver Lake, as well as being in the String Trio of New York. Carter worked on the albums Intermobility (1993), Octagon (1994), and Blues...? (1996) with the group.
While with the trio, she released her first solo CD, Regina Carter (1995). 1997 saw the release of her second solo album dedicated to her mother, entitled Something For Grace. She toured with Wynton Marsalis for the 1997 production Blood on the Fields. She then changed record companies, from Atlantic Records to Verve Music Group, which allowed her more artistic freedom and she released Rhythms of the Heart (1999).
She released Motor City Moments in 2000, paying homage to her hometown.
In December 2001, she played a concert in Genoa on Il Cannone Guarnerius, once owned and favoured by Niccolò Paganini, a violin that was made in 1743. The violin was bequethed to Genoa after Paganini's death in 1840. The name of instrument is given because an "explosive" sound can be achieved. Carter was invited to play after the incidents of the September 11 attacks as a gesture of solidarity. She was both the first jazz musician and African American to play the instrument. She later recorded Paganini: After a Dream for Verve Records. The album featured classical works by Maurice Ravel and Claude Debussy, and Cinema Paradiso by Ennio Morricone.
I'll Be Seeing You: A Sentimental Journey, Carter's sixth CD and was conceived as a tribute album to her late mother, which included some of her favorites as well as American standards from the 1920s-1940s. Some songs include Blue Rose (Duke Ellington), Sentimental Journey (Les Brown), A-Tisket, A-Tasket (Ella Fitzgerald), as well as I'll Be Seeing You.
She currently performs at the head of a quintet. In May 2006, she was touring with Mark Krose (clarinet), Xavier Davis (piano), Alvester Garnett (drums)(still with her in 2011), and Matt Parish (Upright bass).
Regina Carter was awarded a MacArthur Fellows Program grant, also known as a "genius grant," in September 2006. The award includes a grant of $500,000 over five years, and the committee stated this about Carter:
Regina Carter is a master of improvisational jazz violin. Though her work draws upon a wide range of musical influences--including Motown, Afro-Cuban, Swing, Bebop, Folk, and World--she has crafted a signature voice and style....Carter's performances highlight the often overlooked potential of the jazz violin for its lyric, melodic, and percussive potential. Her early training as a classical musician is reflected in the fluidity, grace, and balance of her performance. Carter's repertoire retains a firm connection with the familiar while venturing in new, unexpected directions....Through artistry with an instrument that has been defined predominantly by the classical tradition, Carter is pioneering new possibilities for the violin and for jazz.
Carter married Alvester Garnett in Detroit, Michigan on September 5, 2004. They knew each other because Garnett plays drums in her band.
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Long respected sideman in R&B circles, Byron Miller has thus far only had a couple opportunities to lead his own record dates. Although he had started playing piano when he was five, Miller did not take music seriously until he had a football injury while a junior in high school. He soon taught himself bass and keyboards. Shortly after high school Miller joined Roy Ayers' Ubiquity for several years (with whom he recorded several dates). Other associations included Carlos Santana, George Duke (appearing on 14 of his albums), Herbie Hancock, the Crusaders, Chaka Khan, Marvin Gaye, Whitney Houston, Luther Vandross and Doc Powell. Byron Miller recorded a pair of CDs in the 1990's as a leader including Until for Discovery.
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Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong often stated that he was born on July 4, 1900, a date that has been noted in many biographies. Although he died in 1971, it was not until the mid-1980s that his true birth date of August 4, 1901 was discovered by researcher Tad Jones through the examination of baptismal records. Armstrong was born into a very poor family in New Orleans, Louisiana, the grandson of slaves. He spent his youth in poverty, in a rough neighborhood of Uptown New Orleans, known as “Back of the Town”, as his father, William Armstrong (1881–1922), abandoned the family when Louis was an infant and took up with another woman. His mother, Mary "Mayann" Albert (1886–1927), then left Louis and his younger sister Beatrice Armstrong Collins (1903–1987) in the care of his grandmother, Josephine Armstrong, and at times, his Uncle Isaac. At five, he moved back to live with his mother and her relatives, and saw his father only in parades.
He attended the Fisk School for Boys, where he likely had early exposure to music. He brought in some money as a paperboy and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, the famed red-light district, and listened to the bands playing in the brothels and dance halls, especially Pete Lala's where Joe "King" Oliver performed and other famous musicians would drop in to jam.
After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. But he also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony's Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. Armstrong hardly looked back at his youth as the worst of times but instead drew inspiration from it, “Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans... It has given me something to live for.”
He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk hauling business and gave him odd jobs. They took him in and treated him as almost a family member, knowing he lived without a father, and would feed and nurture him. He later wrote a memoir of his relationship with the Karnofskys titled, Louis Armstrong + the Jewish Family in New Orleans, La., the Year of 1907. In it he describes his discovery that this family was also subject to discrimination by "other white folks' nationalities who felt that they were better than the Jewish race... I was only seven years old but I could easily see the ungodly treatment that the White Folks were handing the poor Jewish family whom I worked for." Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination." The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a non-profit organization dedicated to accepting donated musical instruments to "put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience."
Armstrong with his first trumpet instructor, Peter Davis, in 1965.
Armstrong developed his cornet playing seriously in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for a long term after firing his stepfather's pistol into the air at a New Year's Eve celebration, as police records confirm. Professor Peter Davis (who frequently appeared at the Home at the request of its administrator, Captain Joseph Jones) instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The Home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the Home, living again with his father and new stepmother and then back with his mother and also back to the streets and their temptations. Armstrong got his first dance hall job at Henry Ponce’s where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He played in the city's frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe "King" Oliver, who acted as a mentor and father figure to the young musician. Later, he played in the brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as, "going to the University," since it gave him a much wider experience working with written arrangements.
In 1919, Joe Oliver decided to go north and resigned his position in Kid Ory's band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band, a society band.
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Help Us Keep Jazz Music Alive!
Gee Caver In Support of Baker's Keyboard Lounge
The tag line for my company, Key of Gee, is “Have A Very Musical Day”. My life is filled with rhythms and sounds. I am listening, writing reviews, singing and humming all day. A friend asked if I could go 24 hours without turning on music. I told him I could and then began to wonder “what was I thinking?”
I took the dare and learned a great lesson. I kept to my regular routine – up early tied up my walking shoes – headed out for some exercise with no IPod – no music!
Walking my regular route, I noticed a large pothole in the street. Every vehicle that hit that hole had a different sound da-dum da-dum. The business on the corner flies three flags. As the wind blew the flags there was a whip, pop, whip sound and the rope on the flags was banging the pole, clang um clang. I started smiling, is nature making me cheat?
Car horns blowing, loud mufflers, dogs barking, birds chirping -- the leaves on the tree – the sound of my shoes hitting the pavement -- everything has a sound – its own cadence.
For 24 hours, I didn’t turn on any music. I took the time to be present in the moment and enjoy my surrounding and heard some wonderful sounds. And I still had a Very Musical Day.
This year, Baker’s Keyboard Lounge celebrated 76 years of Jazz – maintaining its standing as the world’s oldest Jazz Club.
In an effort to keep the music playing, Roger Tucker and Three Quarter Step will host a Wednesday Night open mic Jazz Jam at Baker’s Keyboard Lounge. Come out and hear Jazz-America’s music performed by Detroit’s premier artists. In the weeks to come there will be fabulous door prizes and special celebrity guest performances. You won’t want to miss a week.
The open mic Jazz Jam starts Wednesday, October 20, 2010, 9:30pm. All Musicians and vocalists are invited to perform.
Baker’s is known for hosting the best in Detroit’s Jazz including: James Carter, Rayse Biggs, Calvin Brooks, Al McKenzie, Penny Wells, Allan Barnes, Vonne', Jazzeray, Gwen Dommond, David Myles and Mylestones, Guymon Ensley, Ange Smith, Ola Hemphill, Rene King-Jackson, Earl Klugh, Straight Ahead, Port of Call, to name a few. Come and experience standing on the stage that also hosted: Dave Brubeck, Donald Byrd, Oscar Peterson, Sunny Stitt, Kenny Burrell, Jon Lucien and Sea Wind. Mix with the spirits of Nat King Cole, Ella Fitzgerald, Liberace, Dr. Teddy Harris, Ken Cox, Donald Walden and the list goes on and on.
Calling All Past Performers -- It’s up to us to keep the music playing!
Baker’s Keyboard Lounge
Detroit, MI 48221
HAVE A VERY MUSICAL DAY!
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Born c. 1969, in St. Petersburg, FL; daughter of Lance (a saxophone player and keyboardist) and Linda Abair. Education: Attended University of Northern Florida; graduated from Berklee College of Music, magna cum laude, 1991.
At a time of sagging sales for contemporary and smooth jazz, pop-inspired saxophonist Mindi Abair has brought the cool factor back onto the jazz scene, boosting not only her own popularity, but that of an entire genre as well. With her heavy emphasis on the sounds of R&B and dance music as well as pop and rock, her jazz tunes defy categorization, and have attracted many new, young listeners to the genre. Although most clearly defined as a jazz musician, she cut her teeth playing the saxophone for pop superstars the Backstreet Boys. That connection showed clearly in her 2003 major label debut, It Just Happens that Way. "Lucy's," a single from the album, debuted at the number one position on the Radio & Records chart for most airplay. Following on the single's heels, the album itself landed in the top ten on the Billboard contemporary jazz chart.
Abair grew up in St. Petersburg, Florida, in a family of musicians. Her father, Lance, was a saxophone player and keyboardist. His band, the Entertainers, frequently played on the road, and Lance took his family along with him, including Abair and her mother, Linda. Abair was the third generation of musicians in the family; her grandmother had been an opera singer. Young Mindi Abair learned to play the piano when she was five years old, while on the road with her father. She soon fell in love with the saxophone, again following her father's example. She had learned to play the sax by the time she was eight years old, and that same year she began writing her own music.
By the time she reached high school, Abair was an accomplished musician, playing in her high school marching band, in which she also played drums. There was never a point at which she decided to make music her life, she recalled later, she simply always was a musician. Her early influences were not only the music of jazz musicians such as Bill Evans, Miles Davis, and others, but top 40 hits as well, and this blend of tastes defined her work in later years.
After graduation from high school, Abair won a full scholarship to the University of Northern Florida to study music. But she soon found that the music department was not receptive to her interest in contemporary jazz. "It was a great experience," she later explained to Kevin Walker in the Tampa Tribune, "but they were very traditional." After a year she transferred to the renowned Berklee College of Music in Boston. There she found herself at home with instructors and fellow students, who appreciated her desire to fuse jazz with rock, dance, and pop sounds. Among her most influential teachers was famous saxophone instructor Joe Viola, who helped her further hone her composition skills. After class she got even more experience playing in jam sessions with classmates in the dorms.
Following her graduation from Berklee, Abair moved to Los Angeles. Unlike many of her peers, she chose not to get a day job to help support herself; she expected her music to support her immediately. To this end, she put together a band to play in clubs at night and, lacking other work, she played on the streets of Santa Monica during the day. The gamble paid off when new age recording artist John Tesh spotted her in one of her club gigs and invited her to join a concert tour he was putting together. She accepted, and her career was off and running. More job offers rolled in, and soon she was playing with such acts as the Gap Band, Adam Sandler, Mandy Moore, Teena Marie, and perhaps most significantly, from 1999 to 2001, the pop group the Backstreet Boys.
Bud Harner, a Verve record label representative, caught one of Abair's acts in concert. He later described the scene to Dave Scheiber in the Chicago Sun-Times: "The whole place was just mesmerized by her, this beautiful, young, blond woman ... just burning on the horn." Abair was already committed to a long-term tour with the Backstreet Boys tour, so she and Harner agreed to talk when she returned.
For Abair, the gig with the Backstreet Boys--two years on the road as the band's featured sax player--marked a major milestone in her career. She played in 50,000-seat venues throughout the United States and Europe, making professional contacts and gaining valuable experience that would serve her well in her later career as a soloist. After her return from the tour in 2001, she sent Harner a demo CD, and Verve gave her a contract. The result was an album called It Just Happens that Way, Abair's major label debut. The title of the album came from a 1962 live album by jazz saxophone great Cannonball Adderley, on which he can be heard saying, as quoted on the Verve Music Group website, "Hipness is not a state of mind. It's a fact of life. You don't decide you're hip. It just happens that way."
The album debuted to brisk sales and to critical acclaim. A single from the album titled "Lucy's" hit the number one spot on the Radio & Records chart for most airplay, and the album itself climbed to the top ten on the Billboard contemporary jazz chart. The record label began receiving fan letters from teens, an accomplishment normally reserved for pop stars. Abair has said of her debut that it was the culmination of a lifetime of work, that all of her playing and practicing and performing had been leading up to this achievement. She couldn't have been happier, too, with the success of the album at music stores and among critics, who praised it for its fresh approach to jazz. Abair was proud, not only of landing her own recording contract and playing her own compositions, but for having achieved success in a field largely dominated by men.
Abair has continued to live in Los Angeles. As for the future, she has said she plans to produce many more albums, and to one day start a family. "I grew up on the road," she explained on the Verve website, "so I think I can pull it off.... But I have to meet someone first."
by Michael Belfiore
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(born 4 January 1942, Doncaster, South Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion.
In 2010 guitarist Jeff Beck called him "the best guitarist alive". The Indian tabla maestro Zakir Hussain has called him "one of the greatest and one of the important musicians of our times". In 2003 McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".
After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.
From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child and took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stephane Grappelli. He moved to London from Yorkshire in the early 1960s, playing with Alexis Korner and the Marzipan Twisters before moving on to Georgie Fame and the Blue Flames, the Graham Bond Organisation (in 1963) and Brian Auger. During the 1960s he often had to support himself with session work which he often found unsatisfying but which enhanced his playing and sight-reading.
McLaughlin moved to the U.S. in 1969 to join Tony Williams' group Lifetime. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!"
He played on Miles Davis' albums In A Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist on "Go Ahead John") and A Tribute to Jack Johnson. In the liner notes to Jack Johnson, Davis called McLaughlin's playing "far in." McLaughlin returned to the Davis band for one night of a week-long club date, recorded and released as part of the album Live-Evil and of the Cellar Door boxed set. His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.
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Hello Sir/MadamWe know that you are very busy,but our organisation needs your support for our efforts to combat alcoholism and drug addiction amongst our people in Africa through our education…Continue
Det finns en mängd av finansinstitut som kan vara leverera forskare hjälp finansiella poster, lan och betalkort men det är kritisk att de flesta här kreditvärdering kommer med ordentlig assistans att se till att de fragar förnuftigt. Mycket bra märkte jag du vägen. En kontant avlöningsdag lan eller hur t svart för att fa flesta ganger. Pa internet fax mindre snabb avbetalning lan leverera pengar upp till 1500 för den tid av en enda till 1 manad. Trots den svag förbättring konsumentkrediter i…Continue
[MIXTAPE] Reb Skylarker
R.E.B.E.L.S World Vol. 1: Don't Be A Target
Hosted By: DJ Azul
CMExDPG RebelCrew x Urban Legends DJs x Connections DJs… Continue
The usually ultra-glam star has turned herself into a... normal person for a TV show
So it's no surprise that Kim Kardashian was completely unrecognisable when she underwent a dramatic make-UNDER for a new TV show.
Looking like... well, a normal person, the reality star donned a frizzy wig, bad teeth and prosthetics to prank some unsuspecting girls - and the results were hilaire.
Proving that she doesn't mind looking bad *sometimes*, the fashion fanatic got all dressed up as, like, a civilian called Cynthia for Oxygen's new show Undercover Celebrities.
And the transformation was so mentally good that even sister Kourtney and Scott didn't recognise her when they bumped into her.
Oh Kim, you are a joker.
The mum-of-one bore more than a passing resemblance to Ugly Betty in a unfashionable purple smock, glasses and the unkempt wig.
And with the addition of the teeth and some *very* heavy make-up, the KUWTK star looked like a totally different person.
Anyways, the idea of the segment was for 'Cynthia' to 'interview' young fans who had applied to be Kim's PA - to test how much they *actually* love her, because... why not?!
One of the 'tests' involved being told that Kim had slept with Eminem, and then being offered money by a gossip reporter to sell it.
Luckily all the girls passed, after which they were offered gifts meant for Kim... to see whether or not they'd take them.
Again, they all managed to resist as the hidden cameras rolled. Phew.
The moral of the story? Everyone loves Kim Kardashian... and she looks uggers in a frizzy wig.
By Jennifer | omg
Kim Kardashian had a major make-UNDER for a new show. Copyright [Oxygen]
Kim Kardashian looked a *little* like Ugly Betty for the prank. Copyright [Oxygen]
Kim looked a far cry from her usual ultra-glam image. Copyright [WENN]
She’s known for creating some truly car crash TV moments.
But now Kim Kardashian has found herself in an actual car collision – luckily coming out unscathed.
The 33-year-old Keeping up with the Kardashians star was involved in a minor car accident on Sunset Boulevard, California, after she smashed her $100,000 Mercedes G Wagon into another vehicle.
According to TMZ.com, Kim was reportedly turning left at an intersection when the other vehicle travelling in the opposite direction indicated that is was turning right.
However, the driver failed to make the turn, instead carrying on straight, resulting in the collision.
Luckily, no one was hurt with Kim and the other driver pulling into the Beverly Hills hotel to exchange insurance details.
They even shared a hug before going their separate ways,how lovely.
By Chris | omg
Kim Kardashian was left shaken after a car accident in Beverly Hills. Copyright [AKM-GSI]
Kim Kardashian's $100,000 car was damaged. Copyright [AKM-GSI]
Kim Kardashian and the other driver hugged out their differences. Copyright [AKM-GSI]
The reality star hit the shops in NYC looking very posh indeed, It’s important that she looks glam 24/7.
So perhaps that’s why Kim Kardashian hit the shops in New York dressed in super high heel boots and a faux fur coat this afternoon.
Ah, to be a Kardashian, eh?
Yep, Kim looked super posh as she took to the shops in the Big Apple in a high waisted black skirt and cropped faux fur jacket.
Of course wherever she goes shopping the paparazzi will follow – so it’s important she is looking her best!
Even in the blimmin’ snow! Yep, somehow she managed to wear heels and the snow and there wasn’t even a hint of a slip.
Kim was out shopping for her baby North West and was seen heading into various children’s clothes shop in NY.
The reality star has been in New York to celebrate her best friend, Jonathan Cheban's 40th birthday.
Jonathan is great friends with all the Kardashians and has even featured in a number of episodes of Keeping Up With The Kardashians.
The 33-year-old wrote on Twitter yesterday: “Happy Birthday @jonathancheban !!!!! I love you soooo much!!!!”
Kim and Kanye spent last night celebrating with Jonathan at his home after having lunch in the big city.
By Amy | the juice
Kim Kardashian looked super glam in NY. Copyright: [Splash]
Kim Kardashian spotted out shopping in NYC in the snow! Copyright: [Splash]
Kim Kardashian looks glam 24/7, this is a celeb fact. Copyright: [Splash]
She had a tough time of it in 2013.
Lady Gaga has admitted that following the cancellation of her tour to have hip surgery, splitting from her long-term manager, Troy Carter, and receiving mixed reviews for her third album ARTPOP, she fell into depression.
Speaking in an interview with Harper’s Bazzar magazine, Gaga revealed the full extent of her state of mind.
She explained: "I went through a rough time last year. I felt very taken advantage of by people I trusted.
"I became very depressed at the end of 2013. I was exhausted fighting people off. I couldn't even feel my own heartbeat. I was angry, cynical, and had this deep sadness like an anchor dragging everywhere I go.
I just didn't feel like fighting anymore. I didn't feel like standing up for myself one more time -- to one more person who lied to me.
"I really felt like I was dying -- my light completely out.”
However, rather than letting the depression take hold, the 27-year-old admitted that it was her fans and family that pulled her through.
"I said to myself, 'Whatever is left in there, even just one light molecule, you will find it and make it multiply. You have to for you. You have to for your music. You have to for your fans and your family,” she explained.
The ‘Do What You Want’ singer also rediscovered her love for her career through the experience.
She said: "Depression doesn't take away your talents -- it just makes them harder to find. But I always find it.
“I learned that my sadness never destroyed what was great about me. You just have to go back to that greatness, find that one little light that's left. I'm lucky I found one little glimmer stored away."
By Chris | the juice
Lady Gaga has revealed she battled with depression last year. Copyright [Rex]
Lady Gaga said she felt 'angry, cynical, and had this deep sadness'. Copyright [Rex]
Lady Gaga opened up to Harper’s Bazaar.
SAG Awards stunners! See what Jennifer Lawrence, Lupita Nyong'o and other stars wore on the red carpet of the 2014 Screen Actors Guild Awards at the Shrine Auditorium in Hollywood on Jan. 18.