Podcasts about congas

In this episode of Seeing Them Live, we are thrilled to have Jose Rivera, founder, manager, and lead vocalist of the band Five Guys Named Moe. Jose shares his extraordinary journey from a budding musician to a prolific performer. He narrates how his fascination with the trumpet began in his early childhood and flourished during his time as a section leader and soloist for the United States Marine Corps. Jose describes his experiences performing before U.S. Presidents and numerous heads of state from 1972 to 1977.He shares captivating anecdotes about sharing stages with trumpet legends like Doc Severinsen and Al Hirt, and his early inspirations such as Herb Alpert & The Tijuana Brass, and Bill Chase. One particularly memorable story includes a chance encounter with Chase the night before he left for Marine Corps basic training, which solidified his passion for high register trumpet playing. Jose also talks about the devastating impact of the plane crash in 1974 that tragically ended the lives of several members of the band Chase, and the emotional 40-year reunion concert that followed, filled with nostalgia and respect for the members who were lost. Jose reflects on his post-Marine Corps life and the formation of Five Guys Named Moe in 1988. The band quickly gained popularity with their unique style and vibrant performances, playing at numerous gigs across the Midwest every year. Jose's attention to professionalism and the importance of band dynamics and promotions are evident as he speaks about managing the band over the years. The impact of the Moe Heads, the band's loyal fans, is also a testament to their ongoing success. Jose underscores the hard work, dedication, and strategic planning required to sustain a band's longevity in the competitive music industry. As an experienced musician, he offers valuable insights about balancing artistic integrity with crowd-pleasing performances and the reciprocal importance of venue support in promoting events. By mingling with fans and maintaining a professional band practice, Jose ensures that Five Guys Named Moe remains a staple of vibrant live music in the Midwest.BANDS: Al Hirt, Bill Chase, Blood, Sweat, and Tears, Blues Brothers, Chicago, Chase, Doc Severinsen, Five Guys Named Moe, Herb Alpert & The Tijuana Brass, Lovecraft, The Kind, United States Marine CorpsVENUES: CD and Me, Cousins, North and Maple, Tailgaters, Ballydoyle, Buddy Pals, Q Bar, Poplar Creek, Superdome PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Con el veterano pianista y compositor Mario Fernández Porta y su guaracha "El Cubaniche" nos acercamos al catálogo discográfico independiente cubano de 1960. Buena ocasión para repasar las producciones de la etiqueta Velvet. El naciente sello, constituido legalmente a finales de 1959 por José Pagés, salió en poco tiempo al mercado proponiendo un sólido catálogo donde, junto a figuras y agrupaciones ya establecidas, llamaban la atención nuevas promesas. La banda del guitarrista holguinero Juanito Márquez con una espectacular versión del clásico de los hermanos Gershwin: "The man I love" nos permite seguir recordando las ediciones Velvet. Como vocalista de la banda de Juanito: Germán Piferrer. Caso similar al de Jesús Goris (fundador de la etiqueta Puchito) la experiencia como vendedor en una tienda de discos le permitió a José Pagés desarrollar una singular visión comercial que luego enfocaría en sus producciones. Luisito Bravo, una de las revelaciones del rock cubano de ese tiempo, con el respaldo del combo de Eddy Gaytán, encontró un espacio importante en el catálogo Velvet. De la balada rock al más puro bolero de victrola. Corrientes que entonces tuvieron igual aceptación. "La copa rota" a la manera de Orlando Morales con el Conjunto Casino llega desde otra producción Velvet. Desafortunadamente la política cultural enfatizada por el nuevo régimen político instaurado en Cuba en 1959 en su afán de controlar, a través de las llamadas "nacionalizaciones", todos los medios de difusión fue desarticulando el entramado de grabación y edición independientes poniendo así punto final a casi 20 años de discografia nacional durante los cuales Cuba logró posicionarse a nivel mundial como uno de sus principales referentes. Antes de abandonar la Isla definitivamente y anticipándose a los acontecimientos, los hermanos Pagés comenzaron a producir en Venezuela algunos álbumes. El venezolano Héctor Cabrera con "Los Naipes", Amado Lovera al arpa y el Conjunto de Mario Suárez, alcanzó mucha popularidad entre nosotros con esta versión de "El pájaro Chogüí". Con dos álbumes producidos por la etiqueta estatal EGREM entre 1987 y 1888, Pello el Afrokán reafirmaba su sitial en el parnaso de la música popular cubana. Así recordamos hoy el 92 aniversario de Pedro Izquierdo Padrón, notable percusionista, compositor y rumbero nacido en La Habana el 7 de enero de 1933. Con el nombre artístico de Pello el Afrokán, hasta el final de sus días, defendió el valioso legado musical de sus mayores. Creador del mozambique, uno de los ritmos que sin lugar a dudas marcó la banda sonora de los cubanos en el mismo centro de los convulsos años 60, poco más de 20 años después rendía culto a los barrios donde reinaron las comparsas animadas por la electrizante alegría de los desaparecidos carnavales habaneros. Álbum "Congas por los barrios", gracias a la entrega de este importante músico cubano escuchamos nuevamente algunos de aquellos toques y cantos. En la memoria Pello el Afrokán. Buen recuerdo para el cantante villareño Pepe Olmo. Junto a Felo Bacallao, dotó a la legendaria Orquesta Aragón de un sello distintivo durante más de tres décadas. En tiempo de bolero, con el respaldo de la orquesta de sus grandes triunfos le escucharemos: "Ya no alumbra tu estrella" de Miguelito Valdés, "La gloria eres tú ", de José Antonio Méndez, "Muy junto al corazón" de Don Rafael Ortiz "Mañungo" y del binomio Marcelino Guerra/Bienvenido Julián Gutiérrez, a dúo con Fernando Álvarez: "A mi manera". Con el arte y el feelin' del trompetista Julito Padrón nos despedirnos. Álbum "Cuba, mi mejor canción".

It's been a while since Paul & Eli grabbed their 7 inches and pleasured your ears with their meaty musical musings. It's time to see what odd audio discoveries they've found in another vinyl Platter Spectacular. There are six tracks to listen to this week, ranging from the wonderful to the woeful! Featuring such delights as dancing crocodiles, Atari themed ballads, rude remixes and conga line party hits! It's a proper weird mix of music and, as if that wasn't enough, there is the return of the tragic TrackBot. However, Paul has a plan to help the robot out from his usual mucky misfortune, but will it work? It's music time!! See pics/videos for this episode on our website: https://www.thecheapshow.co.uk/ep-418-congas-crocs-wallys And if you like us, why not support us: www.patreon.com/cheapshow If you want to get involved, email us at thecheapshow@gmail.com And if you want to, follow us on Twitter/X @thecheapshowpod or @paulgannonshow & @elisnoid www.thecheapshow.co.uk Now on Threads: @cheapshowpod Like, Review, Share, Comment... LOVE US! MERCH Official CheapShow Magazine Shop: www.cheapmag.shop Thanks also to @vorratony for the wonderful, exclusive art & merch: www.tinyurl.com/rbcheapshow Send Us Stuff: CheapShow PO BOX 1309 Harrow HA1 9QJ

House Bongos & Congas FANTASTiC | 06 January 2025 | 184.17 MB House Bongos & Congas is a new sample pack that was specifically conceived for those producers out there […]

Kiana Glanton, Development Intern at the Lighthouse Guild in NYC was in search of opportunity after vision loss. Today, she wants to help others by sharing what worked for her. Among them, Blind Baseball. She's also the reigning Miss Blind Diva & Miss Independent YouTube Challenge winner. Find out what drives her, keeps her motivated and definitely energized! Subscribe/follow wherever you get podcasts.  FB & IG: @ReidMyMindRadio  Twitter: @tsreid  Transcripts & more: www.reidmymind.com

Birger Sulsbrück aka "Krølle" er en vaskeægte dansk percussionlegende. Musiker, orkesterleder for legendariske Salsa Na Ma, komponist, underviser/formidler og ikke mindst forfatter til bogklassikeren "Latin American Percussion" og  "Congas & Tumbadoras". Krølle har sat sit aftryk overalt i det danske musikliv, og hans pædagogiske metoder er stadig en væsentlig del af både rytmisk og klassisk slagtøjsundervisning. Krølle indså nemlig som en af de første herhjemme, at rytmer,sang, fonetik og bevægelse hører uløseligt sammen når man skal lære og forstå at spille latin. Krølle har også haft væsentlig indflydelse i udviklingen af det danske "PJ Percussion" conga brand osv osv. Langt om længe får vi Krølles historie her i Trommernes Sjæl. 

After Sa Pa's isolatedmix contribution last month, we continue in an unintentional alphabetical spectrum of brilliant producers, with Saphileaum. There comes a time after listening to some musicians for many years that certain instruments and musical approaches begin to stand out. Sure, most of the time you probably know what album you're sticking on the turntable, but when you have those days you put on shuffle (or when you're listening to 9128.live, cough cough), some producers start to stand out and trigger the music-geek in you from the first few seconds. It can take many years or decades to find and hone a unique style, but I think Georgian producer Andro Gogibedashvili is well on his way to carving out a unique style of organic, new-age ambient and tribal-infused techno. Saphileaum's isolatedmix is a perfect example of his style as a whole, with elements you might hear in his productions stylistically coming to the fore throughout the 25 tracks, despite not including a single track of his own in the mix. I sent Andro a few questions to complement this wonderfully energizing trip. Check out his latest release on the revered Mule Musiq label, and expect more music from him soon. ~I first came across your work in 2019 with Silent Season, how have things changed for you since?My first release on Silent Season called "The Traveler" was a sort of a turning point for me and my sound. It was music that I'd created after a pretty long break recording-wise. Since the release was out, a sort of a new journey began for me. I started making more tribalistic and electro-acoustic musical pieces and was also trying to balance them out with downtempo and half-beat grooves, sometimes a bit techno-like maybe too. I also dived a lot into Percussions and eventually ended up learning and playing on real Congas, Bongos, and Georgian Dhol. I'm still in the process of learning and hopefully, it will never end! The Traveler by Saphileaum I can start to recognize your style over the years which is often a sign of a great unique producer. But how would you describe your sound to someone new?Thank you very much! I appreciate it. I would describe my music as "Background Music", "Music which you play at gatherings", "Music for Meditation", "Music for looking at the night sky". I would describe the sound as Tribal, Ambient, Cosmic, Joyful and Relaxing. Your Discogs profile states "Saphileaum is highly inspired by esoteric, mystic, new age, cosmic and visionary art and teachings". Do you think New Age music is becoming more prevalent today? Is this something you aspire to? Yeah, I think New Age music is slowly starting to get more and more recognized. It is quite a young genre still, compared with the other ones. Plus, there are some musicians and producers who are pushing the boundaries of what New Age music can sound like and it's really amazing to see it grow. First thing that I immediately fell in love with, before listening to the actual music, was the name itself, New Age Music... Saphileaum - Transpersonal Experience by Saphileaum You've been on several labels over the years including Oslated, Constellation Tapes, Mysteries of the Deep, Mule Musique and Good Morning Tapes (the GMT released in 2021 was one of my favorites of yours). What is the goal of releasing on different labels? I look at labels as traveling to another country that I've never been to. Meeting new people, exploring its culture and heritage, and contributing to it. There are always new possibilities, new inspirations, and new crowds in every label. It's very important for me that a label where I release music has a sort of a musical or ideological vision that I share and like and that it's represented well visually. I should feel inspired by and connected to it.Can you tell us about the mix you have prepared? The mix was mainly inspired by the music I've been enjoying recently. It's ambient, but it's rhythmical and diverse. There are a few ethnic tracks that might sound similar, but they have elements that differ them culturally. I like the thin multicultural line it has, which might be tricky to notice, maybe. To be honest, there was no particular vibe I was after, I just wanted to create an interesting musical journey to enjoy.There are quite a few artists in here I'm unaware of, are there any you'd like to call out in particular? I would like to thank all the artists, whose music I've included in this mix, for creating these pieces and putting them out in the world. I recommend checking them all out, there's much more to explore! astrangelyisolatedplace · isolatedmix 126 - Saphileaum Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3Tracklist:1. DJ Sports - Akrasia (Subsidiary Mix)2. William Arist - Black and White3. Andrew Pekler - Hy Brasil4. Don't DJ - Southeast Subteranne5. Another Fine Day - Esperanto6. Greville - Marbles7. Forest on Stasys - Atlantico Sur8. Eyot Tapes - Jungle Tapes9. Robert Rich - Rainforest Suite Drumsong10. Jeans - Ganglia11. Om Buschman - Prima Kalimba12. Guem et Zaka - Mouvements13. Sara Berts - Nova14. Mo Boma - Jijimuge Two15. Yves Tumor - Role In Creation16. Posm - Bamboo17. Steve Roach - The Reflecting Chamber18. Jorge Reyes & Antonio Zepeda - Wawaki19. Auragraph - Downcast20. Nicolas Gaunin - Marama21. Matthewdavid - Unfolding Atlantis22. Sage - Mind BodyAlgorythm23. Gigi Masin - Panama Girl24. Asa Tone - Perpetual Motion Via Jungle Transport25. Alex Kassian - Chopstick Romance~Saphileaum Bandcamp | Instagram | Soundcloud | Facebook

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Jimmy Bosch is a world-class salsa and jazz artist Trombonist, Director, and Vocalist,  Performing in over 100 countries, and has been revolutionary in the New York style Afro Caribbean music known as “Salsa Dura” or Hard Salsa. Salsa Masters is performed by Bosch and his incredible band, Adan Perez, with Piano, and Background Vocals. Alex Apolo Ayala, Bass. Brian Pozo, Bongos, Bells, Background Vocals. Ricky Rosa, Timbales,Background Vocals. Jesus Muñoz, Congas. Daniel Arboleda, Tenor Sax. Jorge Castro, Baritone Sax. Guiro Gonzalez, Trumpet. Dan Lehner, Trombone.  Bosch has worked with Eddie Palmieri, Ruben Blades, Ray Barretto, Mambo Legends, and Pete El Conde Rodrigez.Jimmy Bosch joins us for an extraordinary salsa podcast and will be Performing at SING AND SWING on Sunday, February 25th at 4 PM!   The concert is a celebration of the Great American Songbook featuring the spectacular trumpet and vocal talents, Bria Skonberg and Benny Benack III, with the opening act, the legendary salsa and jazz trombonist, Jimmy Bosch with his band Salsa Masters! Event: Lehman Center for the Performing Arts proudly presents Jazz at Lincoln Center SING AND SWING on Sunday, February 25th at 4 PM.Tickets: at LehmanCenter.orgSponsored by: Lehman Center!Support the show

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

January 29, 2024: For this week's edition of PSYCHOTIC BUMP SCHOOL, DJ ROME continues to focus on politics, primary voting, & controlling the narrativePART 1 : DR JANET YELLEN (center bottom), LAEL BRAINARD (left bottom), JOE BIDEN (left top), KAMALA HARRIS (center top)1) The Masterclass-Mastering the Message - A monologue/discussion regarding the week in politics, Iowa & New Hampshire election results, & the rising economic sentiment experienced across the countryPART 2: GAVIN NEWSOM (right top) & ROLAND MARTIN (right middle)Warning: Strong language2) The Masterclass-Mastering the Message - Politicizing the border & immigrationPART 3: GAVIN NEWSOM (right top) & SIMON ROSENBERG (The Voice of Reason) (right bottom)3) The Masterclass-Mastering the Message - Biden's age, Biden's results, Biden's chances in 2024A POWERFUL episode,, so press PLAY & SHARE with your friends.

January 29, 2024: For this week's edition of PSYCHOTIC BUMP SCHOOL, DJ ROME continues to focus on politics, primary voting, & controlling the narrativePART 1 : DR JANET YELLEN (center bottom), LAEL BRAINARD (left bottom), JOE BIDEN (left top), KAMALA HARRIS (center top)1) The Masterclass-Mastering the Message - A monologue/discussion regarding the week in politics, Iowa & New Hampshire election results, & the rising economic sentiment experienced across the countryPART 2: GAVIN NEWSOM (right top) & ROLAND MARTIN (right middle)Warning: Strong language2) The Masterclass-Mastering the Message - Politicizing the border & immigrationPART 3: GAVIN NEWSOM (right top) & SIMON ROSENBERG (The Voice of Reason) (right bottom)3) The Masterclass-Mastering the Message - Biden's age, Biden's results, Biden's chances in 2024A POWERFUL episode,, so press PLAY & SHARE with your friends.

Hoy en el tejado uno de los grandes discos de fusión jazz, funk y soul de los años 70s, un trabajo que es además un experimento interesante y poco habitual en la época ya que es una grabación en directo pero incorpora 5 temas registrados en estudio. Estamos hablando de Gratitude, el famoso doble blanco de los Earth, Wind & Fire que apareció en el mercado a finales de 1975 tras el éxito ese mismo año de otra grabación de la banda, That's the Way of the World, un larga duración que ya os acercamos al tejado hace unos meses. Analizaremos el disco y os hablaremos también sobre la historia de nuestros invitados en el programa de hoy, los Earth, Wind & Fire de Maurice White. Esperamos que lo disfrutéis. TRACKS 1-Introduction.Medley :Africano/Power M. White, L. Dunn 2-Yearnin' Learnin' M. White, C. Stepney 3-Devotion M. White, P. Bailey 4-Sun Goddess M.White, J. Lind 5-Reasons Bailey, Stepney, White 6-Sing a Message to You M. White 7-Shining Star M. White, P. Bailey 8-New World Symphony M. White, V. White 9-Sunshine M. White, A. McCay, P. Bailey, L. Dunn 10-Sing a Song M. White, A. McCay 11-Gratitude M. White, V. White 12-Celebrate M. White, Stepney, P. Bailey 13-You Can't Hide Love S. Scarborough Credits Drums, Percussion – Fred White, Ralph Johnson Engineer – George Massenburg Guitar – Johnny Graham Guitar, Percussion – Al McKay Piano, Organ, Synthesizer [Moog] – Larry Dunn Producer [Live Show] – Joe Wissert, Maurice White Producer [Studio Tracks] – Charles Stepney, Maurice White Saxophone – Don Myrick Saxophone, Percussion – Andrew Woolfolk Trombone – Louis Satterfield Trumpet – Michael Harris Vocals, Bass, Percussion – Verdine White Vocals, Congas, Percussion – Philip Bailey Vocals, Kalimba, Drums, Timbales – Maurice White

Hoy os vamos a acercar la cuarta grabación de un extraordinario pianista neoyorquino que se llama Bill O'Connell. El disco formó parte de una colección de trabajos a los que las discográfica Blue Moon llamó Signature featuring y que tenía por objeto dar a conocer a nuevos artistas dotados de una enorme calidad pero que no habían gozado de una gran difusión. Quizás por eso el disco no es demasiado conocido pero os podemos garantizar que Signature featuring Bill O'Connell es una grabación excepcional que cuenta con el aliciente de disponer de una potentísima sección rítmica además de la presencia de uno de los más conocidos músicos de jazz de la historia, el saxofonista Grover Washington Jr. quién participa en dos de los cortes. Esperamos que la disfrutéis. TRACKS 1- Main Street O'Connell 2- Hit Or Miss O'Connell 3- Dina Fambrough 4- Tell Me Again O'Connell 5- Alfalfa Sez O'Connell 6- Angels At Play Fambrough 7- Jazz Eyes Alston 8- St. Croix O'Connell 9- Cyclone O'Connell 10- Sammy's Song O'Connell CREDITS Piano, Keyboards – Bill O'Connell Bass – Charles Fambrough (pistas: 1 to 8) Congas, Percussion – Pablo Batista (pistas: 1 to 4, 6, 9) Drums – Ricky Sebastian (pistas: 1 to 9) Soprano Saxophone – Grover Washington, Jr. (pistas: 1, 6), Howard Alston (pistas: 3, 7, 10)

El PP cree que el debate a tres ha demostrado que Feijóo es la única alternativa a Sánchez. Sánchez asegura que a Feijóo le da vergüenza aparecer junto a Abascal. Yolanda Díaz termina en debate “satisfecha”. Abascal acusa al gobierno de “ocultar la realidad”. Israel y Estados Unidos firman un acuerdo para el pacto de exención de visas. Brasil prohíbe la importación de cannabis medicinal. No queda ya nada para que se termine la ola de calor. El guitarrista mexicano Carlos Santana cumple hoy 76 años. See omnystudio.com/listener for privacy information.

El PP cree que el debate a tres ha demostrado que Feijóo es la única alternativa a Sánchez. Sánchez asegura que a Feijóo le da vergüenza aparecer junto a Abascal. Yolanda Díaz termina en debate “satisfecha”. Abascal acusa al gobierno de “ocultar la realidad”. Israel y Estados Unidos firman un acuerdo para el pacto de exención de visas. Brasil prohíbe la importación de cannabis medicinal. No queda ya nada para que se termine la ola de calor. El guitarrista mexicano Carlos Santana cumple hoy 76 años. See omnystudio.com/listener for privacy information.

This week on the Wrap Party, we're diving in to some strange Marlon Brando stories we didn't tell in the full episode. We've got some more listener Capone reviews and heist movie recommendations, and we're talking season two of The Bear. What are your weird, improbable celebrity combos? Want to recommend a movie? Send a text or leave a voicemail at 617-906-6638 - or message @disgracelandpod on socials - and come join the Wrap Party. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our 14th episode features conga virtuoso, Gon Bops' Signature artist Roberto Quintero.   Originally from Venezuela, Roberto comes from a distinguished family of musicians and has made a respected name for himself, playing with many greats including Oscar de Leon, Celia Cruz, Eddie Palmeri and Marc Anthony, to name just a few.  Roberto has multiple releases, including the Grammy-nominated “Quintero Salsa Project” with his cousin, Luisito Quintero.  Enjoy this great conversation including some tracks from his solo album, “Transmission”. 

Congas, seeking out knowledge, and the Weezer fan club. Caitlyn Moss (The Altons, El Domingo, Nick Pagan) "Caitlin Moss is a drummer, percussionist, music educator born and raised in Los Angeles. Her style is rooted in jazz, funk, hip hop, classical, West African, Afro-Cuban, Brazilian, 90's grunge rock, electronic and experimental music. Some of her earliest influences were Max Roach, Elvin Jones, Art Blakey, Dannie Richmond, Bernard Purdie, and David Garibaldi. She currently performs with several bands in Los Angeles, in the genres of Latin, world, soul, and jazz music. She is also a music instructor for the Los Angeles Department of Cultural Affairs. Her style of playing is notable for its strong groove, consistent sound, and versatility among genres; Wil-Dog, bassist of Ozomatli, has said she reminds him of the legendary James Gadson." Excerpt from https://caitlinmossdrums.com/about Caitlin Moss: Website: https://caitlinmossdrums.com/home Instagram: @caitlinmossdrums The Altons: Bandcamp: https://thealtons.bandcamp.com Instagram: @thealtons Website: https://linktr.ee/thealtons?fbclid=PAAab67ZOH1z1DMiNyDcey2amKvsY0lIx1rXXeZ7Ad76qEVtFulHloXSSGSgM Merch: https://shopdaptonerecords.com/collections/the-altons El Domingo: Instagram: @el_domingo_music Website: https://linktr.ee/ElDomingomusic?fbclid=PAAaYfw8LVziSQob62FtY8f7eJnRs9u7pRoWMs0YjNutiZvAEsJQnzVmZxHu0 Nick Pagan: Bandcamp: https://mixtorecords.bandcamp.com/album/nick-pagan-hardly-use-my-hands-in-a-cave Instagram: @nickthepagan Website: https://fanlink.to/nickpaganmusic?fbclid=PAAaZ6Cye1iXqsr5XZZUddqrnzIrzezyLQYoS5s_71kS3jHfhacYSMkczgxgs Merch: https://nickthepagan.bandcamp.com/merch/nick-pagan-no-mames-t-shirt The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/channel/UCSn17dSz8kST_j_EH00O4MQ/videos

Imagine you're twenty-something years old. You're touring the world with your friends in your extremely popular pop/rock band, King Konga. You have a hit song that reaches #81 on the AC Hot 100 Pop Charts, and you've captured the eyes of many major record labels. You have the opportunity to take a big step toward fame, and you say... no. That's precisely what TONY LYMON did. But more than saying no to a lifestyle of world tours and hit songs, Tony said yes to how God was calling him to contribute to others. Listen in as we talk with Tony about his journey of saying yes (and where you can find his awesome new Eyrthbeat Coffee brand)!Thanks for listening to the Embodied Holiness Podcast. We invite you to join the community on Facebook and Instagram @embodiedholiness. You can find all our episodes and more at www.embodiedholiness.com. Embodied Holiness is a ministry of Parkway Heights United Methodist Church in Hattiesburg, MS. If you're in the Hattiesburg area and are looking for a church home, we'd love to meet you and welcome you to the family. You can find out more about Parkway Heights at our website.

Hoy os vamos a acercar uno de los trabajos mas desconocidos de un músico extraordinario, el compositor, saxofonista y clarinetista cubano Paquito D’Rivera. El disco se llama Mariel y nunca fue editado en CD. Quizás es por este detalle que el trabajo nunca ha gozado de una gran difusión y además no está presente en ninguna de las diferentes plataformas de streaming existentes a pesar de contar con varios temas que han sido esenciales en la discografía de D’Rivera como es el caso de Monk Tuno, dedicada a Theolonius Monk, Wapango o la deliciosa Claudia. Esperamos que la disfrutéis. TRACKS A1- Mariel D’Rivera A2- Miami Juanito Márquez A3- Claudia Chucho Valdés B1- New York It’s You D’Rivera B2- Wapango D’Rivera B3- Monk Tuno D’Rivera B4- Moments Notice John Coltrane CREDITS Acoustic Bass – Eddie Gomez (pistas: A3, B4), Jeff Fuller (pistas: B2) Alto Saxophone, Soprano Saxophone, Piano, Synthesizer, Arranged By – Paquito D'Rivera Drums – Ignacio Berroa (pistas: Except B1) Electric Bass – Jeff Fuller (pistas: A1. A2, B1, B3) Electric Piano – Jorge Dalto (pistas: A1, B1) Executive Producer – George Butler Flugelhorn, Trumpet – Randy Brecker (pistas: A1, B4) Guitar – Georg Wadenius (pistas: A1, B1) Percussion, Congas – Daniel Ponce (pistas: Except B1) Piano – Hilton Ruiz (pistas: A2, A3, B2, B3) Producer – Bert DeCoteaux, Mike Berniker Synth [Prophet 5] – Luis Buchillon (pistas: A1) Vocals – Brenda Feliciano (pistas: B1)

Follow up segment to the great King Errisson! He played Congas in "Thunderball" Good stuff here.

This is a fun impromptu set recorded live on Pressure Radio on a Sydney Sunday afternoon in January.I was joined by my mate Chucky (Howard Charles) a fellow Brit living in Sydney, who had come over to mine to have a jam with his congas.While we were jamming I checked to see if anyone was playing live on Pressure and saw it was just auto DJ, so we decided to go live.It's my first time having someone play live drums over the mix, and Chucky's first live performance on radio.Next time we'll have the congas louder on the mix.  We recorded it with a mic tied to his congas!Looking forward to more sessions with Chucky - keep an eye out.Tracklisting:1: Jasper St Co - Lift Every Voice2: Lisa Millet - When I'm Dancin' (DJ Spen's Circle Dance Mix)3: Timeline - Underground Resistance4: Tears Of Velva - The Way I Feel5: 95 North - Who's Who (95 North Dub)6: Funkatron - Second Choice7: Riva Starr, Todd Terry - This Is The Sound8: Cajmere, Dajae - Brighter Days (Marco Lys Remix)9: Dam Swindle - Call of the Wild feat- Jungle by Night10: Souldynamic - Fuze11: Mochakk Feat. Joni - Da Fonk12: Souldynamic - Paroaria13: Re-Tide - !!14: P-Funkateers - Final Fling15: Julien Jabre - Swimming PlacesEnjoy!

He's considered the Jimmy Hendrix of bassists, according to his peers, including Sting, Flea, Robert Trujillo, and Geddy Lee, just to name a few. He's recorded with Pat Metheny and Joni Mitchell, and served as the primary electric bass player for the band Weather Report after recording this album through 1981. Recorded in 1976, this album is recognized as his crowning achievement as a solo artists and his supporting band includes Herbie Hancock on Piano, Lenny White on Drums, Don Alias on Congas, David Sanborn on alto Sax, and many more. Give this album a listen as well as the podcast if you've never heard it. Think of the most awesome car chase music from Starsky and Hutch. This is 100 times better than that. Support the show

He's considered the Jimmy Hendrix of bassists, according to his peers, including Sting, Flea, Robert Trujillo, and Geddy Lee, just to name a few. He's recorded with Pat Metheny and Joni Mitchell, and served as the primary electric bass player for the band Weather Report after recording this album through 1981. Recorded in 1976, this album is recognized as his crowning achievement as a solo artists and his supporting band includes Herbie Hancock on Piano, Lenny White on Drums, Don Alias on Congas, David Sanborn on alto Sax, and many more. Give this album a listen as well as the podcast if you've never heard it. Think of the most awesome car chase music from Starsky and Hutch. This is 100 times better than that. Support the show

Episode 86 Merry Moog 2022 Vintage Holiday Music Performed on the Moog and other Synthesizers Playlist Frank Luther with Zora Layman, “Christmas Bells” from Christmas In Song (1939 Decca). This is the original 78 RPM release featuring a vocal quartet, bells, and music played on the Hammond Novachord. 0:38 Frank Luther with Zora Layman, “Christmas Day in the Morning” from Christmas In Song (1958 Vocalion). This is a reissue of the 1939 release featuring a vocal quartet, Zora Layman, bells, and music played on the Hammond Novachord. The stereo is simulated. There are some nice moments for the Novachord on this record. 3:12 Paul Tanner, “Holiday on Saturn” from Music for Heavenly Bodies (1958 Omega). This rare disc features Tanner playing the Electro-theremin, an imitation of the Theremin that was a box with an audio oscillator inside and a rotary dial to control the pitch. Tanner, a renown studio musician and trombone player, later provided the sound of the Electro-theremin on the Beach Boys hit Good Vibrations (1966). 4:16 Greg Lake, Emerson, Lake & Palmer, “I Believe In Father Christmas” from I Believe in Father Christmas (1995 Rhino). Produced by Keith Olsen; written by Greg Lake, Peter Sinfield; vocals, Bass, Acoustic Guitar, Electric Guitar, Greg Lake; Drums, Percussion, Carl Palmer; Hammond organ, Piano, Moog Synthesizer, Keith Emerson. This is the original version released in 1975 with a choir and Moog Modular. It differs significantly from the stripped-down mix, also included on this CD, originally appearing on Works Vol. 2 in 1977 and then later in 1994. Rhino Records was kind enough to package all of ELP's X-Mas related tunes onto a CD EP in 1995, from which this version comes. 3:34 Keith Emerson, “Troika (From Prokofiev's Lieutenant Kije Suite)” from The Christmas Album (1995 Rhino). This is the Prokofiev composition that Greg Lake adapted into “I Believe in Father Christmas.” Later on, Emerson released this interpretation of the Prokofiev piece on The Christmas Album” that appeared in the US in 1995. It doesn't appear on the original UK version in 1988. And again, this is taken from the nifty holiday CD EP also released in 1995 by Rhino. This album was made with instruments from Korg, Ensoniq, Alesis, and Opcode. 4:19 Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:44 Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 4:46 Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:52 Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Don wrote the original synthesized version of the NPR “All Things Considered” theme. It was created in his Electronic Studio of the University of Wisconsin. He used a Moog Modular Synthesizer plus a Fender Rhodes, Polymoog, and ARP string synthesizer and 16-track recorder. 1:02 Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:34 Douglas Leedy, “Good King Wenceslas” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. Leedy was an American composer, performer and music scholar. He founded the electronic music studio at UCLA where he had access to both Moog Modular and Buchla synthesizers, and it was during this period from about 1969-71 that he was commissioned to create several albums of electronic music. His training as a minimalist and experimental composer always flavored his music with unexpected sounds and patterns. 3:05 Moog Machine, “O Holy Night” from Christmas Becomes Electric (1970 Columbia). Moog Modular Synthesizer. 2:43 Armen Ra (Armen Hovanesian), “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). Moog Etherwave Pro Theremin. Armen Ra is an American artist and performer of Iranian-Armenian descent. He plays Theremin. His music fuses Armenian folk music with modern instrumentation, along with melodic lounge standards and classical arias. 4:43 Don Voegeli, “Carol of the Drum” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Philippe Renaux, “Noël Blanc” (“White Christmas”) from We Wish You A Cosmic Christmas (1977 Sinus). Belgium. Minimoog, Arp Axe, Arp Soloist, EMS Synthesizer, Stringman Crumar, Fender Rhodes, Electronic Drums. 3:21 Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by, Jean-Jacques Perrey. 1:58 Joseph Byrd, “Carol of the Bells” from A Christmas Yet to Come (1975 Takoma). ARP 2600 Synthesizer with an Oberheim Expander Module. 1:12 Андрій Кок (Andriy Kok), “Небо І Земля” (“Heaven and Earth”) from Різдво На Галичині. Колядки (Christmas in Galicia. Christmas carols) (2006 Ліда). Folk singer, accordion and synth player Andriy Kok has recorded many albums of Ukrainian folk music in addition to a number of holiday songs and carols. 5:00 Douglas Leedy, “In Dulci Jubilo” from A Very Merry Electric Christmas to You (1970 Capitol). Moog Modular Synthesizer and Buchla Synthesizer. 1:14 Bernie Krause, Philip Aaberg, “Deck the Halls” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. He later turned his attention to audio ecology and the recording of nature sounds, particularly of animals. This very special Holiday recording is composed entirely of animal sounds. Some you'll recognize as the natural animal voices themselves. Others may sound like instruments, but they are actually digitally transformed animal sounds. Wild Sanctuary Productions invites you to enjoy a truly unique celebration of both the wild kingdom and Holiday Spirit. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (K 2000/Emulator III) Phil Aaberg. 8:12 The Royal Philharmonic Orchestra, Paul Freeman, and The Chicago Synthesizer-Rhythm Ensemble, John Tatgenhorst, “The Little Drummer Boy” from Turned On Christmas (1985 Columbia). Conductor, Paul Freeman; synthesizers, The Chicago Synthesizer-Rhythm Ensemble; Orchestra, The Royal Philharmonic Orchestra. Keyboards & Synthesizer Concepts: Ed Tossing; Electric Bass, Steve Rodby or Bob Lizik; Drums, Tom Tadke; Guitars, Ross Traut and Bill Ruppert; Percussion, Russ Knutson. 4:08 Montana Sextet, “Little Drummer Boy Jam” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor And Bass Drum, Gene Leone. 8:46 Montana Sextet, “Have Yourself a Merry Little Christmas” from Christmas Time Is Here (1987 Philly Sound Works). Arranged By, Conductor, Producer, Fender Rhodes, Piano, Cowbell, Shaker, Yamaha DX7 Synthesizer, Musser Vibraharp, Vincent Montana Jr.; Congas, Greg Peache Jarman; Guitar, Ronnie James; Snare Drum, Tenor and Bass Drum, Gene Leone. 4:56 Mannheim Steamroller, “Good King Wenceslas” from Christmas (1984 American Gramaphone). Arranged, conducted, produced by, Chip Davis; Drums, Percussion, Soloist Recorder, Black Oak Hammered Dulcimer, Soprano Dulcian, Crumhorn, Bells, Vocals, Dry Ice, Chip Davis; Lute, Bass, Eric Hansen; Baldwin SD-10 Synthesizer, Harpsichord, Clavichord, Toy Piano, Prophet 5 Synthesizer, Fender Rhodes, Vocals, Bells, Jackson Berkey; Classical Guitar, Twelve-String Guitar, Ron Cooley; Flute, Willis Ann Ross; French Horn, David (High D) Kappy; Harp, Mary Walter; Oboe, Bobby Jenkins; Strings, Bill Ritchie, Grace Granata, Michael Strauss, Michelle Brill, Richard Altenbach, Richard Lohmann, Roxanne Adams, Wayne Anderson. 3:39 Don Voegeli, “Jingle Bells” long, short, and tag from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:56 Don Voegeli, “Lully, Lullay - The Coventry Carol” from Holiday & Seasonal Music (1977 EMI). Produced at the Electrosonic Studio of the University of Wisconsin-Extension. 1:01 Fossergrim, “Ave Maria” (2020 Bandcamp). Fossegrim is billed as “Dungeon Synth music from the Adirondack Mountains.” In Scandinavian folklore, Fossergrim is is described as an exceptionally talented fiddler. No fiddles here. I think Fossergrim is one Ian Nichols of Albany, New York. Check out his Bandcamp presence. 3:54 Phillip Fraser, “Rub A Dub Christmas” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. 2:53 Phillip Fraser, “The Lord Will Provide” from Rub-A-Dub Christmas (1985 Tuff Gong). Jamaican reggae recording for the holidays. Piano, Organ, Synthesizer, Bass, King Asher, Steely Johnson. There is some crazy synth material on this track. Despite it being recorded in 1985, it sounds quite analog for a synth. 3:17 Unconditional Loathing, “Carol, with the bells” from Holiday Mood (2018 Bandcamp). Every artist dreams of releasing an album of hit holiday songs that will surprise the world and bring great wealth. This is not that album. But it is remarkably noisy and dark. Check out Unconditional Loathing, from Fargo North Dakota, on Bandcamp. Self-described as “A footnote in the history of Midwestern noise that refuses to completely go away.” 1:51 The Smurfs, “Deck the Halls” from Merry Christmas With The Smurfs (1983 Dureco Benelux). This album is in English from the Netherlands. 2:17 Vatto Lofi, “Holiday Lofi” from A Merry Lofi Christmas EP (2021 Bandcamp). Providing a low-fidelity tune for the holidays, but I don't know if “lofi” refers to the low-fidelity sound that is currently a thing (and it does sound like that) or is the actual name of this Icelandic musician. 2:21 Rotary Connection, “Silent Night” from Peace (1968 Cadet Concept). I think this holiday album from the famed psychedelic soul ensemble was perhaps only their second album. Produced by Charles Stepney and Marshall Chess, I've included this track not only because it features some crazy electric guitar but also because Minnie Riperton's five-1/2-octave vocal range could effectively imitate a Theremin, which begins in this track around 1:30 into it. In an interview I once heard her say that one of her childhood fascinations was imitating that “science fiction stuff” with her voice. Interestingly, Charles Stepney also included a Moog synthesizer, used sparingly, on some Rotary Connection tracks, but I've heard none on this album. Co-producer Marshall Chess often added Theremin to Rotary songs but this is not one of them. It's pure Ripperton. The Rotary Connection vocalists: Bobby Simms, Jim Donlinger, Jim Nyeholt, Minnie Riperton, Mitch Aliota, Sidney Barnes, Tom Donlinger; The studio band, Leader, David Chausow; Bill Bradley, electronic effects; guitar, Bobby Christian; bass, Louis Satterfield; bass, Phil Upchurch; bass vocals, Chuck Barksdale. 3:52 Klaus Wunderlich, “Sleigh Ride” from Multi Orchestral Organ Sound (1982 Teldec). Wunderlich was a prolific musician who mastered the Hammond Organ. Occasionally, he performed with a synthesizer and this track comes from an album not of holiday music but of various favorites, performed in the style of the original artists. This is a Leroy Anderson song arranged in the Anderson style. The MOOS (Multi Orchestral Organ Sound) was produced by the Wersi organ company in Germany. This organ/synth/drum machine hybrid was also known as the Wersi Galad and play both synth and traditional organ sounds. There is a current musician advocate for this instrument in Florian Hutter (listen to the next track), of Germany. 3:11 Florian Hutter, “Frosty the Snowman” privately released (2022 No Label). Florian is a living master of the vintage Wersi Delta and Atlantis synthesizer/organ hybrids with a built-in rhythm box. In recent years he has begun to release his music on Spotify. This is taken from the first or second day of his Christmas Special 2022 during which he releases a new tune every day. I don't normally feature tracks recorded from YouTube, but this was too good to pass by and it fits with the vintage music played in the previous track by Wunderlich. Check him out. 2:34 Edwin Hawkins, “The Christmas Song” from The Edwin Hawkins Christmas Album (1985 Birthright). Produced when the Yamaha DX-7 became the top selling synthesizer on the planet, this is a great example of its tidy, digital sound. Richard Smallwood, keyboards, synthesizer; Edwin Hawkins, keyboards, synthesizer; Joel Smith, Drums and Fender bass; Kenneth Nash, percussion. Sounds like one or two Yamaha DX-7s. 3:57 Ryuichi Sakamoto (坂本龍), “Father Christmas” from Merry Christmas Mr. Lawrence (戦場のメ)(1983 Virgin). Music By, Composed By, Performer, Ryuichi Sakamoto. Our best wishes to Mr. Sakamoto who is suffering from Stage 4 cancer. In June he said, “Since I have made it this far in life, I hope to be able to make music until my last moment, like Bach and Debussy whom I adore.” 2:06 Bob Wehrman, John Bezjian and Dusty Wakeman, “Ring Christmas Bells” from Christmas Becomes Electric (1984 Tropical Records). Not be confused with an album by the same name by The Moog Machine in 1969. Unnamed synthesizer programmed and performed by Bob Wehrman and John Bezjian. From Marina Del Rey in California. 1:46 Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Keith Emerson, Emerson Lake & Palmer, “Nutrocker” (live) from Pictures at an Exhibition (1972 Cotillion). A fitting reworking of Tchaikovsky arranged by Kim Fowley and performed live, Newcastle City Hall, 26 March 1971. Hammond C3 and L100 organs, Moog modular synthesizer, Minimoog, Clavinet, Keith Emerson; bass guitar, acoustic guitar, vocals, Greg Lake; drums, percussion, Carl Palmer. "Nut Rocker", a rock adaptation of The Nutcracker originally arranged by Kim Fowley and recorded by B. Bumble and the Stingers in 1962. 3:48 Richie Havens, “End of the Season” from Alarm Clock (1970 Stormy Forest). A melancholic reflection on life from Mr. Havens, totally synthesized on the Moog Modular by Bob Margoleff. 3:32 Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 Opening background music: Jean Jacques Perrey and Sy Mann, “Rudolf the Red-Nosed Reindeer” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 2:16 Moog Machine, “Twelve Days Of Christmas” from Christmas Becomes Electric (1970 Columbia). Arranged by Alan Foust; Synthesizer Tuner, Norman Dolph; Moog Modular Synthesizer, Kenny Ascher. 3:55 Jean Jacques Perrey and Sy Mann, “Silent Night” from Switched on Santa (1970 Pickwick). Moog Modular Synthesizer, Sy Mann; Moog Modular Synthesizer Programmed by Jean-Jacques Perrey. 1:52 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation For additional notes, please see my blog, Noise and Notations.

El especial de este mes en Achilitime gira en torno a la figura del productor gitano más avanzado del planeta según Txarly Brown: Jack Jean Tarradellas "Jack Chakataga" Escoudé (Barcelona, 14/6/1984) hijo del mítico Johnny Tarradellas "Chipén". Jack es una figura imprescindible para entender la evolución de la rumba y el flamenco en el siglo XXI en nuestro país. Su curriculum es tan extenso como el de Pharrell. Un productor vocacional es el que no mira nunca el reloj en su estudio. Jack no sabe si es de día o de noche. Aparece con tan solo ocho años en los créditos de No Sólo de Rumba Vive el Hombre (BMG, 1992) de Albert Pla como corista. Su primer encuentro con los controles de un estudio de grabación se remontan al disco coral ideado por su padre, Som la Rumba (Zanfonia, 2000) con 16 años. Antes ya había formado su primer combo rumbero, Chipimaya, a duo con Chiqui Amaya hijo de José de Los Amaya. Más tarde cursa estudios musicales en el Taller de Mùsics donde forma (entre otros muchos) el proyecto de corte flamenco latin jazz Chakataga; uno de rumba arabesca junto músicos amazighs, Rumbamazigha, y otro de recuperación del legado de la rumba catalana con Rumba Vella. Todos ellos editan más de un disco que él mismo graba y arregla. También forma parte fundamental del proyecto Banda Achilifunk y actualmente del Achilifunk Sound System. Paralelamente arranca su carrera como productor, técnico de sonido y arreglista convirtiéndose en el pluriempleado más prolifico de la escena rumbera. Por sus manos han pasado Lady Gipsy, Sabor de Gràcia, Arrels de Gràcia, Viejos Rumberos, Micu, Ai Marai, Revolución, Manuel Malou, 4 de la Cera, Ramonet, Peret, Chacho y una lista interminable... También podemos otorgarle el mérito de ser el primero en grabar a Rosalía cantando Herois Obscurs en el disco Or Verd (Temps Record, 2014). Para más "inri", toca con solvencia prácticamente todos los instrumentos conocidos y si no, aprende en el tiempo que tarda en sujetarlos. Y es el inductor a la rumba y el flamenco de todo tipo de músicos: del pop al jazz. Algo así como lo que hizo Víctor Martínez en la mutación de C Tangana a la rumba: Musical Box, Handclaps, Guitar, Keyboards, Flamenco Guitar [Spanish Guitar], Electric Bass, Classical Guitar, Congas, Bongos, Bells, Maracas, Guiro, Backing Vocals, Timbales, Claves, Voice, Effects [Flamenco Percussion], Rhythm Guitar & Drums. Eso consta en los créditos.Veamos lo que hace Jack en un año de trabajo. Estamos en 2022. El programa de hoy recoge algunos de esos momentos. Desde sus conocimientos musicales y su bagaje sonoro, recrea y reinterpreta estilos dispares con una versatilidad y soltura impresionante. Arrancamos con el track que marcará el futuro presente. Cuando el rumbatón (o flamencotón) y la kinkydelia electrónica andaluza ya son mainstream (Tangana / Califato) Jack los adelanta a todos por la izquierda y se saca de la manga un taladro con adornos flamencos que dinamita las redes: Gipsy Drill. Jack hace tiempo que está a la vanguardia, a pesar de que nadie se entere de ello. Quizás su modestia y el no vivir a sueldo de una multinacional lo hacen único. Su espíritu libre y su caos vital lo acercan al genio indomable que siempre está un paso por delante. Si alguien se ofende lo sentimos, pero en este país de "catetos" Stromae o Tyler The Creator serian camareros. España es esa monarquía bananera en el que el Ministro de Cultura tiene menos ídem que un youtuber y lo más bochornoso es que no se avergüenza de ello. Eso lo explica todo.Volvamos al tracklist. Alternaremos a A93 con las 4th music sessions: trap, drill y rumbaton de salida a toda velocidad. Pasando por las baladas electrónicas de Iria M caeremos en la electrónica arabesca experimental. Con ella nos mudaremos al anime japonés. Lo de Jack es realmente de otro planeta: trasladar al flamenco sintonías de videojuegos. Otro salto estilístico: de la sintonía del Festival Flamenco Trocadero de Sotogrande de aire salsero gitano caeremos en la copla modernizada de Manuel Fernandez y su Bien Pagá. Repite Iria M, la musa de Jack (que en cuanto la descubra una multinacional volará hasta la luna). Sigue el programa con un surtido de rumbas al estilo moderno, sumándole samba, electrónica, balkan beats, metales preciosos, catalanismo o lo que haga falta, Jack siempre sorprende. Hasta Machado sucumbe al taladro. Y como colofón una sinfonía experimental de flamenco jazz. Talento en estado puro. Estos son algunos proyectos recientes, no es un "Lo Mejor de..." porque sería imposible sintetizar su carrera en una sola hora. Simplemente es un muestrario reciente de la extraordinaria versatilidad del mejor productor gitano en activo. Un crack.

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

This is the music born of the love affair of the electric guitar blues and the Afro Cuban Rhythms played with the Congas adding sex, dance and excitement to Rock music. In the early sixties the Mission district (San Francisco), where a young Mexican teenager and future rock star, Carlos Santana, grew up, kids gathered in the park to play music. It came naturally to play the new music of rock & roll with the conga players who added the Afro Cuban beat. At home his parents' music of Cuban rhumba, mariachis and rancheras was integrated with the music he listened to on their radio favourites programmes of Blues, Rock & Roll, Motown & Stax music and the Rock music coming from England with the Beatles, Kinks, Stones and later on with Jimi Hendrix, Sly & the Family Stone and the San Francisco own home-grown psychedelic music scene of Grateful Dead and Jefferson Airplane. Put them all together, mix them well in the perfect doses and new music is born. One of the first hybrids of Rock was called Latin Rock. In the uptown of NY, Latin music had already been mixed with Soul music and Rock & Roll in the creation of the Boogaloo. The new Latin Rock was a more bluesy version of Latin music and also more guitar leaning than the Boogaloo, which is more close to the Soul music. Soon the Boogaloo and Latin Rock became a music mixing all their elements as more complex percussion units were mixed with Rock guitar and Soul. When you hear Sympathy for the Devil by the Rolling Stones or watch Soul Sacrifice by Santana at the Woodstock festival you know this more percussive music is exciting and made for dance. It is when Rock recovers its Roll as Joe Big Turner would sing 'Shake, rattle and roll.' The playlist of this show includes influential music that preceded this genre and some of the most vibrant Latin Rock pieces. Latin Rock was an important musical genre to invigorate the status and cultural heritage of the Spanish-speaker communities in the US (Mexican, Puerto Ricans, Cubans or Dominicans) Music. 1- Louie Louie - RICHARD BERRY & THE PHAROAHS (intro) (1957) (US) 2- Loco Cha Cha Cha - RENE TOUZET (1956) (CUBA) 3- Farmer John - THE PREMIERS (1964) (US) 4- 96 Tears - QUESTION MARK & THE MYSTERIANS (1966) (US) 5- Candombe - LOS SHAKERS (1968) (URUGUAY) 6- Chicano Power - THEE MIDNITERS (1967) (US) 7- Soul Sacrifice - SANTANA (live at Woodstock August, 16th, 1969) (US) 8- Meshkalina - TRAFFIC SOUND (1969) (PERU) 9- Viva Tirado - EL CHICANO (1970) (US) 10- Spill the Wine - ERIC BURDON & THE WAR (1970) (UK/US) 11- Oye Como Va - SANTANA (1970) (US) 12- Guajira Sicodélica - FLASH & THE DYNAMICS (1971) (US) 13 - El viajecito - BLACK SUGAR (1971) (PERU) 14- Heavy Duty - THE HARVEY AVERNE BARRIO BAND (1971) (US) 15- Más Zacate - AZTECA (1972) (US) 16- Oye Mama - MALO (1972) featuring Jorge Santana (brother of Carlos) (US) 17- Got this Happy Feeling - GUETTO BROTHERS (1972) (US) 18- Bailando Despacio - KATUNGA (1973) (ARGENTINA) 19- Sapo's Montuno - SAPO (1974) (US) 20- Mira pa' ca - CHANGO (1975) (US) 21- Guarafeo - JOSE “CHEPITO” AREAS (1974) (NICARAGUA/US) 22- El Narco - BROWNOUT (2007) (US) 23- La Bamba - LILA DOWNS (2004) (US)

Rev. Doug Bunnell, pastor of First Presbyterian Church of Bellingham, WA and Rev. John Mason, co-pastor of Mountain View Presbyterian Church (Marysville, WA) celebrate the many ways Dr. Corey Schlosser-Hall has blessed the Northwest Coast Presbytery with his leadership over the past 15 year as Executive Presbyter.   Mentioned in this EpisodePresbyterian Mission AgencyWhere Corey begins his new role as Director of Rebuilding and Vision Implementation.  Read an article about this new role.CREDITSGuest Hosts:  Rev. Doug Bunnell, Pastor, First Presbyterian Church, Bellingham WARev. John Mason, Co-Pastor, Mountain View Presbyterian Church, Marysville, WAJean Chaumont is producer, composer, recorder of all original music is https://www.jeanchaumont.comJenine Taylor is copy editor https://www.northwestcoast.org/jenines-bio"On the Verge: From Inspiration to Incarnation" is sponsored by the Northwest Coast Presbytery. 

Tito Puente, eigentlich Ernest Anthony Puente Jr., (* 20. April 1923 in New York City; † 31. Mai 2000 ebenda?) war ein US-amerikanischer Jazz-, Salsa- und Mambo-Musiker sowie post mortem Podcast-Philanthrop. Puente war, wie man es umgangssprachlich bezeichnet, ein Nuyorican, ein in New York geborener Sohn puerto-ricanischer Eltern. Er wuchs in Spanish Harlem – auch El Barrio genannt – auf, einem Stadtteil von Manhattan, östlich des eigentlichen Zentrums von Harlem. Er wurde El Rey del Timbal (span. „König der Timbales“) oder King of Mambo („König des Mambo“) genannt und ist bekannt sowohl für seine Mambo- als auch seine lateinamerikanischen Jazz-Kompositionen, auf die er seine über 50-jährige Karriere aufbaute. Er spielte Saxophon, Klavier, Vibraphon, Timbales, Congas und Bongos. Musikalisch kommt Puente Eddie Palmieri sehr nah. Sein ursprünglicher Berufswunsch war Mambo-Tänzer. Im Jahre 1948 bekam er einen Plattenvertrag von George Goldners Latin-Plattenlabel Tico Records. Puente befand sich auf dem Höhepunkt seiner Beliebtheit und brachte afro-kubanische und karibische Musik wie Mambo, Son und Cha-Cha-Cha einer großen Öffentlichkeit näher. Später wechselte er zu mehr universellen Musikrichtungen, z. B. Pop und Bossa Nova; schließlich blieb er bei einer Mischung von afro-kubanischem und lateinamerikanischem Jazz, die Salsa genannt wurde. Für sein Werk erhielt er fünf Grammy Awards, die National Medal of Arts (1997), die James Smithson Bicentennial Medal (1999), den „Status“ einer Living Legend des Library of Congress (2000) und zwei Ehrendoktorwürden. Er starb im Jahr 2000 in New York City an Herzversagen. Sein Stück Oye Como Va erlangte durch Carlos Santana große Bekanntheit. 2022 sponserte der tot geglaubte Puente die 34. Folge des Schnelle Nummer Podcasts und erhielt den Titel El Rey del Numero Rapido (span. „König der Schnellen Nummer“).

Novedades 2021 last call. Este año en Achilitime hemos reunido en cuatro programas las principales novedades del espectro rumbero actual español. "Cruce de Caminos", "El Rumbero" y "Verano del 2021" son los tres precedentes. Este es último del año y llega tras la grata noticia de los tres Grammys Latinos para el sagaz C. Tangana "El Madrileño", gracias a su reciente reconversión rumbera y previo pago del canon de participación en el certamen. Sin restarle ningún mérito, pero no todo el mundo se lo puede permitir sin una multinacional que te respalde. Pero es igualmente motivo de alegría para la semilla rumbera local que siembra este programa desde hace meses. Recordemos que el capítulo de mayo llamado "El Rumbero" se auguraba: "Arrancamos el programa con la sensación del año: El Madrileño. C. Tangana se corona rumbero mayor de la mano de los clásicos para facturar un disco que marcará su punto de inflexión..." Payo dame un Grammy!. El nuevo Rey de la Rumba, a tenor de sus números, inicia gira mundial en breve. A ver cuanto le dura la fiebre del Hawaiano. Su formula rumbero flamencotona se llama Víctor Manuel Sánchez Martínez (de Elche) que "solamente" le ha ayudado -según los créditos del disco- con: Musical Box, Handclaps, Guitar, Keyboards, Flamenco Guitar [Spanish Guitar], Electric Bass, Classical Guitar, Congas, Bongos, Bells, Maracas, Guiro, Backing Vocals, Timbales, Claves, Voice, Effects [Flamenco Percussion], Rhythm Guitar & Drums.Vamos con las novedades del último trimestre del 2021. Alex Melero lanza este diciembre su Latin Persuasive Funk, donde rumba y ritmos latinos se reúnen en plan dream team para conformar un LP temático como los de antes. Grabado hace cuatro años, por fin ve la luz de la mano de Gutifunk Records. Una batería de instrumentales profundos y bailables, ellos abren y cierran el programa. Otra novedad es la versión en single del tema de Van Halen, Jump, por obra de Boogalizer, combo barcelonés heredero de los míticos Fulanos que inicia su despegue tropical. Dale Meneíto, de Raúl Latino es el último proyecto sabrosón del ex líder de Latino y los Llobregantes. Heredero de la pasada década de apogeo de la rumba catalana, años en los que Muchachito Bombo Inferno o Los Manolos dieron que hablar, y que lanzan sendos singles que podrás oír a continuación en clave swing brass band y hip-hop rumba. De ahí ya saltamos directamente al rumbatón puro y duro que ha sabido rentabilizar El Madrileño: Canelita, Luisa Fernanda, Moncho Chavea, Manuel "El Popeye", El Polo... la lista es interminable. Todos merecedores de su Grammy visto lo visto. En medio se cuelan Derby Motoreta's Burrito Kachimba, que han incrustado su trianismo de manual en la BSO de Las Leyes de la Frontera (Daniel Monzón, 2021). Han pasado del progresismo kinkydelico a la rumbita chichona, ¡super oportunos! Otro tema nuevo de nuestra querida Poochyeeh y sus Sweet Barrio se cuela en esta lista de novedades: Naide. Junto con Rosario "La Tremendita" o Lucia Fernanda no se les debería perder la pista. En la parte final rozando la navidad nos topamos con Sabor de Gracia en clave villancico trap, poniéndose al día a toda velocidad. Les sigue Pep Lladó que lanza nuevo disco en solitario del que rescatamos el himno neoclásico Brama la Fera, en el que colaboran todos los vocalistas de Ai Ai Ai: Rafalito Salazar, Sicus, Mikel Gorriz, Jordi Gas. Y acabamos con Rambo y su Timba que, vistas las cifras de seguidores y visualizaciones en redes, podemos asegurar que hoy por hoy es la gran esperanza gitano rumbera salseada de Catalunya. ¡Caramba, carambita, carambirulí! Desde luego que por su simpatía lo merece, pero además por ser el mejor percusionista gitano del país según Txarly Brown. De grabar para Sony tendría la casa llena de Grammys.

Feeden är kvar då Ahmed & Branne går offline och kör vanlig podd under nytt namn. Tack till alla komiker och publik som varit på våra shower under året. Vi hada blast! Inspelad 13/12-21 SUPPORTA OSS PÅ SWISH! 123 360 39 90 Se Brannes special "Logos" https://bit.ly/3uu3JcQ

Every week a new dj set brodcasted live at eurobeat radio with exclusive promos and some classics in between

Episode 55 Drum Machines: A Recorded History, Part 2: Digital Drum Machines   Playlist Linn Drum Gary Numan, “My Brothers Time” from Dance (1981 Beggar's Banquet). Early use of the Linn LM-1 by John Webb on this track. Note the sound of the claves, played by Numan but not digital. Bass, Saxophone, Mick Karn; Linn LM-1 drum machine, John Webb; Piano, Claves, Gary Numan. 4:37 Rajie, “ストーミー・ナイト (Stormy Night)” from Acoustic Moon (Sony 1981). Early recognition in Japan of the original Linn LM-1 drum machine. Rajie, vocals; Guitar, Mikihiko Matsumiya; Bass, Tsugutoshi Goto ; Chorus,  Hiroshi Koide,  Raji ; Composed By,  Akira Inoue ; Drums,  Tatsuo Hayashi ; Electric Guitar-Tsuyoshi Kon; Flute,  Motoya Hamaguchi ; Lyrics By,  Etsuko Kisugi ; Percussion,  Motoya Hamaguchi ; Prophet-10, Linn LM-1, Electric Piano,  Akira Inoue. Early Linn Drum Computer. 5:08 Herbie Hancock, “The Twilight Clone” from Magic Windows (1981 Columbia). If you want to study the latest in emerging electronic music instruments, just listen to the many albums by Herbie Hancock throughout the 1970s and 1980s. He was an early adopter of the Linn LM-1, heard here and played by Hancock. Bass, Louis Johnson; Linn LM-1 Drum Machine, Herbie Hancock; Ghanian Drums, Moody Perry III; Ghanian Drums, Bells, Kwasi Dzidzornu, Kwawu Ladzekpo; Lead Guitar, Adrian Belew; Percussion, Paulinho Da Costa; Rhythm Guitar, George Johnson; Written by, A. Belew, H. Hancock. 8:16 Don Henley, “The Boys of Summer” Linn Drum demo version (excerpt) (1984 private). Guitar and Linndrum, Mike Campbell; Synthesizer, Steve Porcaro; Synthesizer, Guitar, Danny Kortchmar. Bass, Larry Klein; vocals, lyrics, Don Henley. The instrumental part of the song came first and was put together by Tom Petty bandmate Mike Campbell who had just purchased a LinnDrum machine which was a more affordable model than the original LM-1 released in 1980. Campbell put together a rhythm track and played some guitar. Tom Petty wasn't interested in the song at that time, so it went to Henley, who wrote the lyrics. This demo was close to the final version. The final mix of the song also included some human drumming, as did live performances where a human drummer tried to replicate the sound of the original Linndrum. 0:42 Jean Michel Jarre, “Zoolookologie” from Zoolook (1984 Disques Dreyfus). A fascinating exploration of samples both of voice and drums. This is the later version of the Linn Linndrum machine, just before the introduction of the Linn 9000. There is pure joy in this track as Jarre uses the Linndrum to create many unexpected sounds and atypical rhythms. Bass, Marcus Miller; Composer, Producer, Ethnic Vocals Processing, Keyboards, Electronics, Jean-Michel Jarre; Drums, Yogi Horton; Daniel Lazerus; Guitar Ira Siegel; Guitar, Effects, Adrian Belew; Keyboards, Frederic Rousseau. 4:13 David Van Tieghem, “In-A-Gadda-Da-Vida” from In-A-Gadda-Da-Vida (1986 Wide Angle). Drummer and percussionist Van Tieghem created this version of the Iron Butterfly song using electronic drums (Octapads) and digital drums. Engineer, Programmed By Fairlight Programming Assistance, Eric Liljestrand; Guitar, Larry Saltzman; Vocals, Synthesizer Digital, Analog, Percussion Acoustic, Electronic, Mixed By, Producer, David Van Tieghem; Written-By, Doug Ingle. Basically a one-person performance aside from guitarist Saltzman. Van Tieghem was using both hand played electronic drums (the Octapads) plus some digital drum machines. 5:36 Suzanne Ciani, “Mosaic” from Neverland (1988 Private Music). Composed, Arranged, Performed, Produced by Suzanne Ciani. Among the many electronic instruments used by Ciani were keyboards made by Yamaha, Roland, and Bode (vocoder). For drum programming, she turned to the Linn 9000. This track has some decidedly simple, yet complex rhythms using the Linn 9000 that are truly nuanced and more jazz like. The care with which she programmed this track is in contrast to the typical drum machine beats you hear on records. Ciani also used a Roland TR-707 on this album, which you may also detect on this track. 4:37 Oberheim DMX Todd McKinney, “Kimberlite” from The Sound Of The System (1982 Oberheim). This 7-inch demo disc includes music created by Todd McKinney and Daniel Soger, two Oberheim employees. “Kimberlite” was composed and performed by McKinney using the DMX Programmable Digital Drum Machine, the DSX Digital Polyphonic Sequencer, and the OB-Xa Polyphonic Synthesizer. 2:28 Tangerine Dream, “Poland” from Poland (The Warsaw Concert) (1984 Jive Electro). You can hear the Bohn Digital Drums in the first half of the song and the Oberheim DMX in the second half. But that's a bit of a guess. Dr. Böhm DIGITAL DRUMS was a rhythm machine made in Germany from 1982-83, also known as ''the German Linndrum.'' Composed, performed, and produced by Tangerine Dream. Jupiter 8, PPG Wave 2.3 Waveterm, Minimoog, Korg Monopoly, Sequenced by EEH CM 4 Digital Sequencer, Bohm Digital Drums, Roland Tr 808 Drums, Roland SDE 3000 Delay, MXR 01 Digital Reverb, MXR Digital Delay, Johannes Schmoelling; Prophet 5, Prophet 600, Prophet 1, E-mu Custom Programmable Synth, Moog Custom Programmable Modular Synth, MTI Synergy, Sequenced by the PE Polyrhythmic Sequencer, Compulab Digital Sequencer, Syntec Custom Digital Drum Computer, Electronic Drums Simmons Drum Modules, Effects Quantec Room Simulator, Roland SDE 3000, Electronics Hill Multi-mixer, Chris Franke; Yamaha DX 7, Yamaha YP 30, Jupiter 8, Jupiter 6, Prophet 5, PPG Wave 2.2, Sequenced By Pe Polyrhythmic Sequencer, EEH Cm 4 Digital Sequencer, PE Custom Trigger Selector, DMX Oberheim Digital Drum machine, Edgar Froese. 8:43 Herbie Hancock, “Earth Beat” from Future Shock (1983 Columbia). In addition to the DMX, this track includes evidence that Garfield Electronics Dr. Click Rhythm Controller was a much-needed rhythm device for wrangling the otherwise incompatible signals prior to the introduction of MIDI a few years later. Craig Anderton wrote the following about Doctor Click in an article in Keyboard from 1983: "Doctor Click is not a keyboard instrument, not a drum machine, and not a signal processor: What it does is synchronize and interface these three families of devices together. Not only can it interface to existing sync tracks, it can build up click tracks from incomplete click tracks, and even create sync and/or click tracks which are referenced to a live musician." Hancock masters Dr. Click on this album. Fairlight CMI, Yamaha GS-1, Yamaha CE-20, Dr. Click Rhythm Controller, Herbie Hancock; DMX Drum Machine, Synare Electronic Drums, Memory Moog Programming, Michael Beinhorn; Bass, Bill Laswell; Bata, Daniel Ponce; Turntables – Grandmixer D. ST. 5:09 Herbie Hancock, “Hardrock” from Sound System (1984 Columbia). The sound of the Oberheim DMX digital drum machine as used by Herbie Hancock. This album was his follow-up to the album Future Shock on the DMX made a famous appearance in the song Rockit, which was unusually a top-selling hit for Hancock. The DMX is played here by non-other than Bill Laswell. Note that Simmons electronic drums are also being played on this track by Anton Fier, but I think you can tell the difference. Bass, Drum Machine DMX, Tape, Bill Laswell; Bata, Daniel Ponce; Simmons electronic drums, Sound Plates, Cuica, Anton Fier; Guitar, Henry Kaiser, Nicky Skopelitis; Fairlight CMI Programming, Will Alexander; Fairlight CMI, Rhodes Chroma, Apple IIe, Yamaha DX7, Emu 4060 Digital Keyboard, Herbie Hancock; Synthesizer (XMD), Rob Stevens; Turntables, D. St; Written-By, B. Laswell, D. Showard, Herbie Hancock. 6:10 Davy DMX, “Bonus Beats” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberhheim DMX digital sampling drum machine. He is also known as David Franklin Reeves, Jr. Here is a bonus track of only drum machine and turntable. 1:47 Davy DMX, “One For The Treble (Fresh) (Instrumental)” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberheim DMX digital sampling drum machine. Another track from that same 12-inch. 7:31 Movement MCS Drum Computer John Foxx, “Pater Noster” from The Garden (Virgin 1981). This album was produced after Foxx left Ultravox. It is another example of the MCS Drum Computer. This track only features Foxx on synthesizers, voice, drum programming, and a manually struck Tom Tom. 2:30 Roland El Escuadrón Del Ritmo, “Las Cucarachas” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). I discovered this wonderful collection of Mexican synth-pop tracks, some never before heard, and immediately dug-out a track using a drum machine. This track is from 1982. In this case, the drum machine is the Roland Compu-Rhythm CR-78, which was a transitional analog device with analog drum sounds and digital control for programming patterns. 3:44 Nahtabisk, “La Dama De Probeta” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Another hidden gem from Mexico. This track is from 1984 and features the Roland drumTR-606 Drumatix. The TR-606 featured PCM-encoded sounds of real drums. This small device, that ran on batteries, helped define the sound of early techno. 3:20 E-mu Joe Mansfield, “Drumulator (Instrumental)” from Drumulator (2014 Get On Down). This is a track featuring the sounds of the E-mu Drumulator that was sold from 1983 to 1985. It had twelve, 8-bit sampled sounds of real drums and at about $1000 was more affordable that drum machines like the Linndrum and Oberheim DMX. It was created on the heels of the sample synthesizers they made under the Emulator name. It also had a relatively short life so few recordings from the time were made. This demo is an example of what could be done with the Drumulator and Herbie Hancock took a liking to it prior to switching to the Oberheim DMX. 2:02 Richard Souther, “Uncharted Waters” from Innermission (1986 Meadowlark Records). Music and realization by Richard Souther. Includes synthesizers from Roland, PPG, Sequential Circuits, and Casio. He also used both the Linn 9000 and E-mu SP-12 drum machines, which are both heard on this track. You can clearly hear the Linn 900 and its distinctive snare and bass sounds, while the E-mu, which was built around the circuits in the company's popular keyboard samplers, provided some of the more unusual, even exotic, percussion sounds. 3:23 Alesis Slant, “Sheep” and “Ducks” from Hive (1989 These Records). This amazing group, although short-lived, was a British experiment in rock with noise elements that included Cris Cheek, Philip Jeck, Sianed Jones, and Osian Tam. Cross used an Alesis HR-16, which is showcased in the second of two tracks, “Ducks.” I think that is probably the same drum machine in the first track, “Sheep” so I thought this represented some good contrast in the way that the sound could be treated. This had 49 digital samples of drums that could be programmed in real-time by playing the velocity sensitive drum buttons. Double Bass Julia Doyle; Guitar, Cabasa, Engineer, Co-producer Maciek Hrybowicz; Keyboards, Accordion, Synthesizer DX7; Piano, Clarinet, Voice, Marimba, Goblet Drum Darabouka, Tambourine, Bells Agogo Bells, Sampler Cassette Samples, Flute Souffara, Rattle Seed Pod Rattles, Performer Emax, Alesis HR-16, Breath Rhythms, Face Slap, Mixed By, Co-producer Cris Cheek; Turntables, Radio Philip Jeck; Violin, Piano, Vocals, Organ, Fife, Viol Viola Da Gamba, Harmonium, Claves, Performer Emax, Breath Rhythms, Mixed By, Co-producer Sianed Jones; Voice Osian Tam. 4:31 Closing, Linn LinnDrum Mikel Rouse, “Quorum part 2” from Quorum (1984 Club Soda Music). It was inevitable that a composer would create an extended piece of music using only the Linn Linndrum. Mikel Rouse was that person. Listen to the hypnotic patterns of this work. From the composer's notes: “Quorom is a piece for LinnDrum machine (or 18 percussion players) in 9 parts running approximately 1 hour and 45 minutes in length. Though the sequence of parts 1 through 9 must be maintained, the parts may be divided into sections, or run continuously. Themes are produced through the synchronization of the 3 generators, 3-5-8, and their complimentary factors yield counterthemes. Power series are then applied to produce harmonic contrasts from the original themes. Thematic material is developed through multiple variation techniques (circular permutations, accents through superimposition of an additional component, natural growth through the summation series). I decided to undertake the programming myself and, with the aid of Jim Bergman, successfully completed the programming in about 5 hours. I would like to stress that all programming was done through the step-by-step process provided in the operator's manual for construction “songs” from “patterns”. No special treatments or extensions (including cassette interfaces) were required.” Such was the versatility of the Linn Linndrum. 11:16   Background Sounds Volti, “Corazón” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Mexican electro-pop group. This track is from 1986 and features unknown drum programming. vocals, synthesizer, Lyndell Brookhouse; bass, synthesizers, drum programming percussion, Eddie Rubello; Backing Vocals, Katie Taylor; Congas, Edgar Herrera; Piano, Vincent Kenis; Timbales, Pedro Ortiz. 3:45. Adams and Fleisner, tracks “a1, a2, b1, b2, b3” from Modern Digital Recorded Drumcomputer Rhythm Tracks (1983 Break Records). I think this track of library digital drum samples from the Netherlands was made with the Drum Computer MCS II (or Percussion Computer) from Movement Computer Systems, a rare British made-drum machine circa 1983. It had an integrated CRT monitor and had an orange (or black) case. It used 8-bit samples of drums and featured 14 voices and programmable patterns. Opening: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations. There are dozens of drum machines that dot the history of electronic music. For an encyclopedic list of almost every drum machines ever made, and there were dozens of variations and models up until around 1985, check-out the excellent books by Alex Graham, a UK-based drum machine collector and specialist.

En "That's The Way of the World" (1975) el trabajo que hemos decidido acercar hoy a nuestro tejado, los E,W&F funcionan como una máquina perfecta, capaz de elaborar sofisticadas melodías y acompañarlas con una sección rítmica de extraordinario nivel técnico. El larga duración está trufado de temas que serán claves en la trayectoria de la banda, como el mencionado "Shinnig Star", pero también la preciosa balada que da título al trabajo, "That's the Way of the World" o "Happy Feelin'" o "Yearnin' Learnin'" o "Reasons", que nos muestra a un Phillip Bailey en su estado más puro. Hoy os hablaremos de él. TRACKS 1-Shining Star Bailey, Dunn, White 2-That's the Way of the World Stepney, White, White 3-Happy Feelin' Bailey, Dunn, McKay, White, White 4-All About Love Dunn, White 5-Yearnin', Learnin' Bailey, Stepney, White 6-Reasons Bailey, Stepney, White 7-Africano Dunn, White 8-See the Light Anglin, Bailey, Dunn CREDITS Bass - Verdine White Vocals, Congas – Philip Bailey Drums – Fred White, Maurice White, Ralph Johnson Flute, Soprano saxophone, Tenor saxophone – Andrew P. Woolfolk Guitar – Al McKay, Johnny Graham Kalimba – Maurice White Moog synthesizer, Piano, Organ, All Keyboards – Larry Dunn Percussion – Al McKay, Fred White, Maurice White, Philip Bailey, Ralph Johnson, Verdine White Additional Saxophone – Ernie Watts Strings – Saini Murira & Matepe Ensemble (track 8) Trombone – George Bohanon Trumpet – Oscar Brashear Vocals – Maurice White, Philip Bailey, Verdine White Producer – Maurice White , Co-producer – Charles Stepney

In today's episode we will be celebrating the 47th anniversary of the iconic Fania All Stars performance, Live In Africa. We are also going to honor the life and work of Roberto Roena who joined the ancestors yesterday at the age of 81. There are links to see the videos of the performance. Songs: Quimbara Fania All Stars Live In Africa feat. https://www.youtube.com/watch?v=1_uamNoDhP4 El Raton Fania All Stars Live In Africa feat. Cheo Feliciano https://www.youtube.com/watch?v=U-gyQ2M-Upw En Orbita Fania All Stars Live In Africa https://www.youtube.com/watch?v=P-uvOriFxXI Mi Gente Fania All Stars Live In Africa feat. Hector Lavoe https://www.youtube.com/watch?v=Ah2GLqomT9c Ponte Duro Fania All Stars Live In Africa feat. Ray Barretto, Nicky Marrero and Roberto Roena (on percussion; Congas, timbales and bongos) https://www.youtube.com/watch?v=LFgB1Y-ZwyY Guantanamera Fania All Stars Live In Africa feat. Ismael Quintana, Hector Lavoe, Ismael Miranda and Santos/Santito Colon. https://www.youtube.com/watch?v=dPaZHqn5FHM Traición Roberto Roena Y Su Apollo Sound; Apollo Sound 6 Read my article about Roberto Roena http://voiceofthelily.water.blog/2021/09/24/roberto-roena-1940-2021-has-joined-the-ancestors/ Here is the full video. https://www.youtube.com/watch?v=-SJfoBFjdnQ --- Send in a voice message: https://anchor.fm/anani-kaike/message

The Deep Purple Podcast Show Notes Episode #125 September 6, 2021 Deep Purple - The House of Blue Light (Part 1) Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! How To Support Our Show: Leave us a 5-Star Review on Apple Podcasts Buy Merch at Our Etsy Store! Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Thanks to Our Executive Level Patrons: Social Media Update: Deep Dive Podcast Network Dead Daisies coming to Joliet, IL on September 11, 2021! Lead up to the Album: Personnel: Bass, Synthesizer [Peavey, Steinberger, Vigier, Yamaha Qx1, Emulator 2] – Roger Glover Composed By – Gillan*, Paice* (tracks: A2), Lord* (tracks: A1 to A3, A5), Blackmoore*, Glover* Drums [Pearl], Cymbal [Paiste] – Ian Paice Guitar [Fender Stratocaster] – Ritchie Blackmore Keyboards [Hammond B3, Minimoog, Yamaha Dx1, Cp70 (midi), Dx7, Emulator 2] – Jon Lord Vocals, Congas, Harmonica – Ian Gillan Technical: Producer – Deep Purple, Roger Glover Production Manager – Raymond D'Addario Engineer – Nick Blagona Recorded By – Guy Charbonneau Tour Manager – Colin Hart (2) Management – Bruce Payne, Thames Talent Ltd. Mastered By – Greg Calbi Mixed By – Harry Schnitzler Crew – Charlie Lewis (4) Crew – Cookie Crawford Crew – John Murphy (15) Crew [Maintenance] – Dawk Sound Album Art & Booklet Review Photography By [Portraits] – Dieter Zill* Design, Art Direction – Andrew Ellis Design, Art Direction – Davies And Starr Cover Symbols theories Thanks to Our Core Level Patrons: Album Tracks: Side One: Bad Attitude (Gillan, Blackmore, Glover, Lord) The Unwritten Law (Gillan, Blackmore, Glover, Paice) Call of the Wild (Gillan, Blackmore, Glover, Lord) Mad Dog (Gillan, Blackmore, Glover) Black and White (Gillan, Blackmore, Glover, Lord) Thanks To Our Foundation Level Patrons: For Further Information: Deep Purple: A Matter of Fact by Jerry Bloom Smoke on the Water: The Deep Purple Story by Dave Thompson Black Knight: Ritchie Blackmore by Jerry Bloom Child in Time by Ian Gillan The Complete Deep Purple by Michael Heatley A Hart Life by Colin Hart with Dick Allix Listener Mail/Comments Comments about the show? Things you'd like us to cover? We'd love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

Mixed By IliasRo ARTISTS: Stoto, Hugo Samba, Congas & Rimbu, Omer Balok, Anton Inshutin, Stephanie Saleno, Billy Esteban, Nhil, Christos Papaopouklops, Dim Angelo, Cigarretes After Sex.

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Music of Latin America Mr. Henry and Mr. Fite have an amazing adventure to another dimension in today’s episode. They explore all kids of cool instruments used in Latin American music. Conga, maracas, cajon, oh my! They also compete in a cool game show hosted by Jerry Slapdash (who thinks he’s really handsome). We hope you enjoy today’s adventure learning about the music of Latin America! Check out our YouTube channel: https://www.youtube.com/channel/UCdGhqK_DWpRIKS45ICqN3eQ ***Classroom and Homeschool Teachers***  Find our digital resource to help enhance your classroom HERE! Like us on Facebook!    Mr. Fite Check out original fun and educational music from Mr. Fite at  https://brucefite.com/music and subscribe to Mr. Fite’s YouTube Channel   Mr. Henry Learn music and the piano with Mr. Henry by subscribing to his YouTube channel:  Mr. Henry’s Music World (Transcript) Let the music begin in 3, 2, 1... Learning music, having fun. That’s what we’re gonna do. Mr. Henry, Mr. Fite, exploring along with you. Learning music, having fun. That’s what we’re gonna do. Mr. Henry, Mr. Fite love hanging out with you. The Music Podcast for Kids! Hello and welcome to The Music Podcast for Kids we're your hosts Mr. Henry and Mr. Fite - Music educators extraordinaire! The Music Podcast for Kids is a fun and educational podcast where we learn and explore the best subject ever -  music!     And now, the music joke of the day. We love jokes, so if you have a joke, please visit our website themusicpodcastforkids.com to submit your joke. And guess what? It doesn't even have to be a music joke; it can be any joke. We will read and enjoy your joke on the podcast and also let everyone know who it came from and where you are in this great big wonderful music world.    Our joke of the day is: Bill: Welp, I think it’s official.  Bruce: Official?  Bill: Yup, officially lost.  Bruce: No way….. I know exactly where we are going. It’s up there, straight ahead. The fastest piano player in the west  Bill: Well, alright, I sure hope you're right it’s getting hot out here and my back is kinda hurtin’. Gonna hop off this horse and take a break for a minute. (Hops off and walks but there is a shaking sound) Bruce: Umm, what is that sound?  Bill: (scared ... ) you mean that rattle sound… Bruce: Yes, that rattle sound…. It gotta be a rattler!!  Bill: (shaking and shivering scared) Ohhhh no, where is it? Can you see it? Bruce: Just relax, I can’t quite see it yet, Bill: Relax? How can I relax? There's a rattler near me.. oh it’s getting louder!  Bruce: I don’t really see that rattler but yeah just relax and don’t move… Bill: don’t move?  I can’t stop shaking…. I’m just too scared of rattlers!  Bruce: wait a gosh darn tootin second here…. what you got in that bag? Bill: What does it matter what’s in my bag… there’s a rattler near me! I don’t wanna get bit! I wanna see the fastest piano player in the west! Bruce: (gets off horse) now get on over here and let me see that bag. Bill: No stay on your horse! Save yourself, save the horse!  Bruce: Give me that bag!.... (takes bag) Yup, just what I thought…. a bag of maracas… there’s your rattler for ya.  Bill: aw well shucks I... I knew that… forgot  about that bag of maracas... Bruce: Well that’s enough drama for one day, let’s get a move on. Bill: Sounds good, just take a swig of this here water can and get back on my horse and……(rattle sound) Together: Rattlers!!!  Make sure to send in your jokes by visiting our website themusicpodcastforkids.com a link to the website can be found in the show notes.   And now, the music word of the day. Bill: Before we get to our main subject of the day, Music from Latin America, let’s check out the music word of the day: Conga!  Bruce: Congas are drums that are tall and narrow. You can play them by sitting down, but many times you will see them paired together and mounted on a rack.    Bill: It’s important to not get the congas mixed up with the bongos.  Bruce: That's right, bongos are like a mini version of the conga drums. Congas are big and bongos are small.  Bill: Conga drums are used in all types of music but originated in Afro Cuban Music.  Bruce: The conga drum became more well known after the popular Conga Line tune and dance came about.  Bill: Oh yeah I love the conga line. That's the one where everyone gets in a big line to form a circle to follow some fun three step shuffle.  Bruce: That's right, and that's the word of the day Together: Conga!  The music podcast for kids is brought to you by Mr. Henry's Music World YouTube channel. If you are interested in learning how to play the piano with a fun and engaging curriculum geared towards kids please subscribe to Mr. Henry's YouTube channel called mr. Henry's Music World. Links will be found in the show notes. Again, we thank you so much for tuning in.  Thank you so much for listening. We hope you are enjoying the show so far. Please subscribe to the podcast to receive the latest episodes and leave a review through iTunes or wherever you get your podcasts. Also get updates on what we are up to Facebook and Instagram by finding us at Music Podcast for Kids. Links will be found in the show notes. On to the show! And now, the main subject of the day. Bill: (as if behind a door, while trying to open up a door)  I don’t know Mr. Fite, I don't think there are any instruments up here anymore, they may have been sold at a garage sale…(door opens up) Together: Woooooaaaaahhhhhh  Bruce:   Gee, it’s a little dusty up here in the attic.  Bill: Sure is! Wow, there is a bunch of stuff up here.  Bruce:  Ok, there has got to be some instruments from Latin America in here somewhere.  Bill: I don’t know Mr. Fite, but we can certainly look.  Bruce:  Whats this small box thing here?   Bill: Oh man, that's my pre-tendo.   Bruce:  Pre-tendo?  Bill: Yeah, it's where I get to pretend to play video games, oh man I remember my most favorite game of all…. shmelda.    Bruce:  Shmelda? Are you sure you don’t mean... Bill: Ahh yes, shmelda, where you try and guess the smell of the...  Bruce: Oh wow, look over here! I think I found something.  Bill: Oh cool. What is that?  Bruce:  Its the...it’s the…. maraca!  Bill: Nice! So maybe the instruments were not sold. Sweet! You found one, is there another?  Bruce: Lets see here….. Umm…. eeshhh…… yup here it is!  Bill: Awesome! Let's hear the sweet sound of the maracas!  Bruce: Yup, these will do just perfectly for our presentation on music from Latin America.  Bill: Sure will. What's the story about with these instruments?  Bruce: Well first off, the maracas is made from a tree fruit in Puerto Rico called the higuera.  Bill: From a fruit? Oh I’ve heard about this before ...and I’m pretty sure that doesn't work...I tried to make a maracas with apples the other day and it just turned into a bunch of mushy apple… sauce….  Bruce: Oh no no… this type of fruit has a hard shell, and once the pulp is taken out of the fruit, the hard shell sits until completely dried out, then seeds or pebbles are put inside and it is closed on up with a handle and boom, you have a maraca.  Bill: Sweet!  Bruce: Yeah, there are all different types of maracas that are used in particular parts of latin America. This one is made with cuero, which is a type of animal skin which are often found in the Carribbean.  Bill: Cool! Let's find some other instruments from latin America. I’m going to check back here.  Bruce: Sounds good, I will keep looking through this box…..dum da dum…..aghrghgh… oh what could this be? Hey Mr. Henry I think I found something...  Bill:.Ummmm Mr. Fite? Uhhhh I think I found something as well….. I don't think you are going to believe me though.  Bruce: oh well, what is it? Bill: No seriously, I think you need to come see this…  Bruce: Oh come on, just tell me!  Bill: Well ok, it looks like a portal to another dimension!  Bruce:What? A portal to another dimension! Come on Mr. Henry, stop playing around.. Bill: I’m not playing around! You gotta see this…. Bruce:  (walking towards) Mr. Henry, I’m pretty sure its not a portal to another dimension that's impossible, plus check out this instrument I just found its the gui…… (blast sound)  Together:  (epic music playing..) Wooooooooooaaaaaaahhhhhhhh  Bill:  See, I told ya Mr. Fite. I opened up this door that said “portal to another dimension”  Bruce: Why would you open a door that ever says that!?  Bill: You’re joking right?  Why wouldn't you open a door that says that! Come on we gotta check this out!  Bruce: Oh no...no way...I’ve seen this in movies before, it doesn't seem to ever work out quite right. There is usually something that will end up chasing after you, and you have to run a bunch and I already did my morning run, so I am set to….  Bill: Oh come on, nothing bad will happen. We may even be able to find more instruments from Latin America for our presentation!  Bruce: Oh boy...well...that's true I guess…  Bill:. Ok, cool..let's get going ... (portal music plays and crashes in) (music from a game show is playing) Bruce: Woah, that was crazy….  Bill: Yeah it was….  Bruce: What is going on…. Slapdash: (in background) Hahahaha! Welcome!  Oh boy I am looking handsome today…. Welcome, welcome!  Bruce: Mr. Slapdash?  Bill: Yeah Mr. Slapdash? What is he doing here?  Bruce: Oh boy...already regretting going through that portal.  Bill: Oh no...it’ll be fine...I’m sure Mr. Slapdash has become a better game show host since the last time we saw him…. Bruce: Yeah lets hope Slapdash: Step right up Mr. Fite and Mr. henry! Great to see you both! You two seem very confident and totally in tune with what's going on  Bruce: Ummm no Mr. Slapdash, we have no idea what's going on...I mean we just stepped through some wierd portal and now, bam, here we are talking with you... Bill: Wait did he say we are “totally in tune”...haha… I get it Slapdash: Right! Well, welcome to the instrument identification game, where you will listen to these instruments from Latin America and figure out which instrument it is.  Bruce: Wait, did you say instrument from Latin America? This is perfect! We were just talking about instruments from Latin America  Bill: yeah, this is perfect. See I told ya so Mr. Fite.  Slapdash: Ahh right! Let’s get on with the game today! And it appears we are out of time!  Bruce: What? Out of time? We just started  Bill: Yeah Mr. Slapdash, we didn't even get to start the game yet..  Slapdash: Ahhh right LOL, JK…(clears throat).... Ahhh ok. You will listen to two different instruments. One is from Latin America and the other is not. You must tell me which one is from Latin America, and write a 32 page essay about that instrument. You have 10 seconds...here...we ….  Bruce: Wait, did you say write a 32 page essay with only 10 seconds of time?  Bill: Yeah mr. Slapdash that's impossible.   Slapdash: Ahh right..uhhh.. Did I say that? Oh whatever...just figuring out the instrument will do just fine. Ok...here ...we ...go! Number 1 instrument: (plays) Number 2 instrument… which one is from Latin America?  Bruce: Umm, I think i’ m going with the second one. Sound just like the conga drum!   Bill: Yeah totally does. Good thinking Mr. Fite. We are going with - the conga drum!   Slapdash: No sorry, that is not my favorite instrument, actually my favorite instrument is the nose harp...it just twangs along so nicely.. Bruce: Mr. Slapdash!  Bill: Yeah Mr. Slapdash… we are not supposed to be picking your favorite instrument; the nose harp…  Bruce: Wait..did you just say picking the nose...har… Slapdash: Hahaha just JKing you both there ...You are correct! The conga drum! From Latin America! (music plays, audience claps) Bruce: Oh great! Bill: Sweet!  Slapdash: Ok, onto the next question. Who stole the cookie from the cookie jar?  Bruce: What?  Bill: Oh boy….  Slapdash: Haha.. Ok, here is the next listening challenge. Which is from latin America. Is it number 1 (plays) or number  2 (plays)  Bill: I’m going with number 1. Sounds like the steel drum!  Bruce: Yeah, I think you're totally right Mr. Henry. The steel drum can also be called the steel pan.  Slapdash: Why would you want to steal a drum or a pan. That doesn’t seem like a good idea you know, you could get in big trouble... Bruce: No no, Mr Slapdash, the steel drum or steel pan is spelled S T E E L.. like the metal material “steel”.  Bill: Right! The steel drum can actually be made from a 55 gallon industrial drum. They carefully craft each part of the steel to have different pitches to create that cool sound.  Slapdash: Ah well right...let me see here...I am going to look over here to pretend like there is someone to check that answer and it looks like, yes Bob, is that correct…. Ummm (continues in background…)  Bruce: Who is he looking at? I don’t see anyone…  Bill: Yeah..there is no Bob.. In this room… oh boy Slapdash: Ahah!, Well yes, that is the answer! The Steel Drum! (music plays audience claps)  And you are today's winners!  Bruce: Wooohoo! Awesome.  Bill: Yeah for sure, what do we win?  Slapdash:  Well, what do you have for them Johnny? Ummm johnny?  Bruce: I don't think there is a johnny…  Slapdash:  Ahh right of course… well...guess what, you get a fantastic trip to the Caribbean to learn more about the instruments from latin America!  Bill: Oh sweet!  Slapdash: Yes! And right over here is the teleportation zaporoonie 3000 s model  Bruce: Oh no, remember Mr. Henry, we already tried this thing… I’m still trying to get all of my hair back…  Bill: Oh, I think they have updated the system since then. I’m sure there is nothing wrong with the teleportation zaporoonie 3000 s model now. Right Mr. Slapdash?  Slapdash: Oh yes, of course, nothing will happen..yes, they have ...umm...upgraded the system, the only thing I have seen is some folks come back in mini form... Bruce: Mini form?? Bill: Oh I’m sure he means we feel so small in this great big music world..right Mr. Slapdash?  Slapdash: uhh well, are you familiar with the size of a spoon?   Bruce: Well of course Mr. Slapdash.  Slapdash: Well yes, uhhhh you would be able to walk on the spoon Bill: Yikes, so that kinda mini form.  Bruce: Nope no way am I getting into that machine Bill: Oh come on there is no way we will shrink, the chances are probably like 1 in a shma-zillion.   Slapdash: One out of four.  Bill: And plus we won this...for free! Lets celebrate by checking out more music from Latin America!  Bruce: Wait did he just say 1 out of 4 get shrunk down to a sp… Bill: Put in the coordinates, buckle up the seats belt and fire this bad boy up... (ride music) Bruce: Oh no...look that spoon is huge...it happened we shrunk down...oh no… Bill: (Reading) Here lies the biggest spoon in the world. 200 feet long. Oh no Mr. Fite, we are still normal size,...it just so happens they have the biggest spoon ever here. Oh what's that noise?  Bruce: Oh, sounds like those conga drums we heard earlier.  Bill: Awesome, so what's the deal with the congas?  Bruce:  Well, the conga drum originally came from Cuba.  Bill: Cool!  Bruce: Yeah, and it can be played in a bunch of different ways. We call each way a different “tone”. There is the open tone, bass tone, muffled tone slap tone and rim shot tone.   Bill: Wow, so you can create five different sounds on one drum? I just figured you just hit and with your hand and that's it.   Bruce: Actually, you can play variations of just one of those tones. So, you could play the open tone in three different ways!  Bill: Wow, that seems tough.  Bruce: Sure is, so you could have 15 different types of sounds on the conga drum.  Bill: Wowzers, that would take some serious practice.  Bruce: Now, in an elementary school you may only learn two types of tones on the conga drum. The “low tone” which sounds like this…… and the “high tone” which sounds like this.  Bill: Cool. It looks like the low tone is played in the middle of the drum with a cupped hand.  Bruce: You got it, and the high tone is played on the side of the drum with a flat hand; using the fingers and high part of the hand.  Bill: Sounds fun! Boy, I’m getting kinda tired. I am going to sit down on this box chair here for a second. Bruce: Oh wow! Cool, check it out, you're sitting on the cajon!  Bill: Cajon? Ummm… it's just a box.. How is this an instrument?  Bruce: Well, that's no ordinary box, although it does look like a box made of wood. It's actually a really cool instrument. The cajon is a box drum.  Bill: Hmm , so how do you play this box drum thingy….  Bruce: It’s kinda played like the conga drum but you sit on it while performing. It does have a bunch of tones, but if we focus on the low and high tone, you would play near the middle of the cajon to get a deep, low sound...it almost sounds like a bass drum.  Bill: Wow, thats awesome!  Bruce: Then, if you play towards the top it sounds like a snare drum.  Bill: Neat! How does it have that rattle sound to it?  Bruce: Well, there are these wires called snare wires which are of course found on a snare drum. They use those same wires and put them in between the wood.   Bill: Wow, it's like a drum set in a….box!  Bruce: Yessir!  Bill: So many cool instruments from Latin America.  Bruce: For sure, well it's getting kinda late and I’m getting kinda hungry.. Bill: Yeah samezees. Ok, lets get back to the teleportation zaporoonie 3000 s model.  Bruce: oh great….  Bill: Ok, put in the coordinates.. “Mr. Henry's Dusty Attic”, cool, emergency break off, buckle up…. (ride music)  Bruce: Did we make it back? Wow... I don't remember you having such a large dusty couch in your attic… Bill: Hmmm. ….yeah that's a pretty large cup of water there… i mean I’m thirsty, but that's a ton of wa….. Bruce: Mr. Henry! You shrunk the music teachers!  Bill: Oh I’m sure we can reverse this...let me get the manual let's see….just turn this knob here and do the cha cha slide while clucking like a chicken, then three turns. Bruce: (crying) I don't want to be tiny! I don't want to be tiny I don't want to be tiny (fades away with dreamy sequence) Bruce: (as if sleeping with a bad dream- drooling mouth open saying): I don't want to be tiny I don't want to be tiny.  Bill: Hey Mr. Fite, wake up wake up… you're having a bad… Bruce: Ahhh ghhghagah Oh… boy. I was having a crazy dream about Mr. Slapdash, and learning about all the cool instruments from Latin America, but then getting shrunk into a little...  Slapdash: Hahaha..did you say my name? Don't I just look so smart today and good looking... Bill: Come on Mr. Fite, we are about to go onto the Music Listening Challenge game! The winner gets a trip to the Caribbean!  Time to wrap it up folks! Thank you so much for tuning in to the Music Podcast for Kids. We hope you enjoyed the show, and most importantly, learned something cool today about music. Remember to send in your jokes or even a topic in music you would like us to discuss by visiting our website themusicpodcastforkids.com. If you are interested in awesome educational and fun songs for your kids to listen and sing along with, please visit brucefite.com. Music is available to download with iTunes, CD Baby, and Facebook streaming platforms like Spotify and Amazon Radio. Links will be found in the show notes. If you are interested in learning how to play the piano with a fun and engaging curriculum geared toward kids, please subscribe to Mr. Henry's YouTube channel called Mr. Henry's Music World. Links would be found in the show notes. Please visit iTunes to leave a review of the podcast and also share the podcast with friends, relatives, aliens, whoever! Again we thank you so much for tuning in! 

Taroleando Podcast #44 Brandon Lopez - Baterista y Percusionista de Mazatlan, SIN. En este episodio Brandon nos cuenta de sus inicios en la percusión, la transición de Batería a Tarolas y también su gusto por las Congas. Nos habla de sus maestros de Banda y su tiempo en la Escuela de La Tambora de German Lizarraga. También hablamos de la importancia de ser versátil en la percusión, consejos para practicar, su equipo favorito y muchas cosas más. FB Brandon Lopez Salazar IG @brandito_drums Tarolas + Hablando=Taroleando

In which the conversational spotlight alights upon the great Hilton Valentine (RIP), adventures with the KLF, Phil Collins' disastrous session for All Things Must Pass, DJ EZ's marathon, Clare Torry on the Great Gig In The Sky, Carey Mulligan v Variety magazine and John Otway's version of House of the Rising Sun. Plus be prepared to play ... "Rave DJ or Household Cleaning Product?" and "Queen track or fantasy novel by George RR 'Games Of Thrones' Martin?".Want exclusive early access to every future Word Podcast (and in full audio-visual glory!) alongside a whole host of additional exciting, enlightening and entertaining content and benefits? Of course you do! Make sure you're signed up to our fabulous Patreon for all this and more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

_00:00 Bumper _00:49 Intro _01:29 Release the Kraken _02,:00 UFOs & Beaver _03:47 What's the Mather? _04:27 Leave it to Synchronicity _05:38 No Video for You! _07:24 Ed is Dead (RIP Ken Osmond LAPD) _08:11 GO PHER IT… REPRESENT! _08:27 Stanley (and Barry) Livingston I presume _09:30 Dating two of My Three Sons _09:41 Bad Girls of Hollywood _10:34 I Steal, U Steal, We all Steal… _11:46 Smokin' in the Girls Room _13:29 Between two Livingstons _14:09 Dating Younger “men” _16:01 Stained Glass For Joni? _16:20 Barry not Hairy _16:57 Myster E's Hollywood Family _21:10 Chip at the Beach! _21:45 So and So from Something _22:18 Greaser Girls Get around _23:51 The Krisna Mharaj Ji connection _24:37 No such thing as a free lunch? _24:46 Crazy for Krishna! _25:16 Drop that potato _26:51 Psychic Nintendo _27:46 Seth Speaks, and Speaks, and Speaks… _30:16 Magically thinking _31:18 The Trip to London _32:16 Premature Congratulations _33:10 The Kaufman connection _36:55 Chopped Liver on the Beach _38:48 Geographers Don't Ask Directions _39:27 The Corky Crossroads Connection _40:12 The Road to Andy _41:33 Find Food - Lose Hair _42:20 Elephant Pants - Maternity Shirt _43:16 Shaky Pills _43:41 The Call _43:56 Look Her Up! Look Her Up! _44:36 The Invitation _45:30 Tears for Father Knows Best _45:46 Cindy (this is nuts) Williams _46:16 Day after Day, and Charlie Chaplin _46:37 This guy's a performer? _47:02 On stage with a Tiger in Bed? _48:07 Meeting Budd (sort of) _48:36 The Act _49:00 The IMPROV _49:46 Silent Chauffeur - in the Thing _50:16 Andy's Little Sister “sings” Sioux City Sue _51:21 Mom & Midnight Snacks _51:45 Shape up and Ship out? _53:45 In Capable Hands _54:06 Crowd Control _55:07 Yay Jay! _55:26 Robin Williams Richard Prior Joe Rogan _58:06 Sam Kinison - Troop? _58:32 Tony (Smoke free) Clifton _49:46 Sign off _01:00 Bumper _01:01 Disclaimer GRAY MATTER JUKEBOX: _01:02 Andy & Congas at the IMPROV LINKS: *Andy at the IMPROV 1977 and early Tony Clifton https://youtu.be/fzKbqbjEjEE Corky on the Comedy Store basketball team with David Letterman and others. https://mobile.twitter.com/NickHurlbut/status/1116858887892652033

This week we discuss the happenings on The Vulfpack Facebook Group for the week of 03/03/2019. Please be advised that this is a Fan-made Podcast. Even though we would love nothing more, we are not associated with Vulfpeck, Vulf Records LLC., Vulf Productions Inc., or any associated acts tied to the greater Vulf umbrella. We … Continue reading #2 Is it Congas or Bongos? →Support this podcast at — https://redcircle.com/the-conscious-club-podcast/donations

Episode 019 of *The Upful LIFE Podcast* welcomes our good friend LUKE QUARANTA to the show for another long and winding discussion, the last interview I conducted over two weeks in NOLA during Jazz Fest 50. I first encountered Luke and his band TOUBAB KREWE at Bear Creek Music and Arts Festival, at Spirit of Suwannee Music Park, around 2008 or 2009. Ever since, I've been a big fan of his percussion magic, and of course the amazing Toubab Krewe, who released their latest LP Stylo in 2018. Toubab Krewe is always very active over Jazz Fest, and the members play in a lot of other bands as well, not the least of which is Luke himself. Nonetheless we were able to track him down at the end of our stay in NOLA, and he more than delivered with a fascinating interview that was at once informative and entertaining. LUKE QUARANTA Intro>Interview at 11 Mins Quaranta takes us on a lengthy journey of his inspiring career as a drummer, starting with his humble beginnings growing up in New Rochelle, NY and spending some time in the Bronx as a young adult. He discusses formative influences on him as a youth, and how he developed an interest in the different drums he employs when creating with Toubab Krewe. Originally and primarily based in Asheville, NC, Toubab Krewe members came together in organic fashion, shared a passion for West African instrumentation and it's music, and a strong curiosity to make it something new and evolved of it, yet still in tribute to the traditions. Over time, Luke began working with Djembe, Congas, Dundun, Sangban, and KenKeni drums, and he explains how he came in contact with these instruments and where he picked up knowledge and understanding of these ancient drums along the way. From there, Quaranta describes the context of these instruments, music from Mali, Guinea, and the Ivory Coast, and how he/his bandmates internalized it, and then repurposed it as their own creation, with permission and a blessing. Quaranta discusses mentors and friends from his travels in West Africa. I asked him how he was able to get together and study at length with master drummers in Africa and in the US, to such depth and understanding. He describes several trips to Africa to live with and make music among the people in Mali, Guinea and Ivory Coast. Quaranta explains how they received blessings from the master teachers to take this music to the West; they were invited to live with them and their families, spending a month a time, on more than one occasion, to get a proper orientation from the musicians who know it best. We talk a bit about Toubab Krewe in the early days, and Luke appears to have a fond time reminiscing on the start of this band and it's journey in the early 00's, he takes great detail in the narrative of how the music was instilled in them in Africa, how they hosted master drummers here in the States and traveled extensively with them and traditional dance groups too, and how it all tied together with the embryonic phase of Toubab Krewe.   Luke explains how Toubab carries echoes of African greats like Ali Farka Toure, Orchestra Baobab and Salif Keita, but are ambassadors of the music into the future, they are not bound by the same traditions, and the Krewe was encouraged to play this music from their own hearts.  From there, Quaranta explains the etymology of the name "Toubab Krewe", how it pertains to non-Africans AND is a nod to the heartbeat of jazz music, New Orleans, where our conversation was taking place. Which brings us to the discussion around current Toubab Krewe drummer Terrence Houston, who's been George Porter Jr's drummer for several years and is very admired in the local community and around the US. Quaranta explains how Houston came into the Toubab picture, and how his inclusion has informed the sound of the band in their modern era, most specifically with regard to the material found on STYLO. We finish up the conversation on Toubab with discussing their newest LP STYLO, including the writing and recording processes for both studio and live efforts past and present. After a lengthy powwow on all things Toubab, we take some time to talk about the incredible Weedie Braimah, who appeared on Episode 004 of *The Upful LIFE Podcast*, a master djembefola whom Luke has studied with, collaborated with, and befriended for many years. They both live and work in New Orleans, and the two have united for some amazing musical endeavors, not the least of which is Weedie Braimah & the Hands of Time. Quaranta takes a few minutes to flesh out the concept for this group and explain the nature of their music in a language everybody can easily understand. This is a powerful collection of world music masters and it was quite informative to hear about what goes into making the Hands of Time happen. A little bit about Jazz Fest, and the myriad of side bands that come to life in NOLA that Weedie, Luke, and collaborators include Raja Kassis (Antibalas), and Terence Higgins (Mad Skillet, Ani DiFranco). We touch on Luke's role in some of those bands, such as Pirate's Choice, Wahala Boys, FuFu All-Stars, and MEGAWATT, a project spearheaded by Kassis that include's musicians from outside of NOLA, such as Lettuce's Adam Deitch, Break Science's Borahm Lee, among others. Blake Quick/Rachel Murray (THE QUICKENING) Interview at 1hr 11mins  After Luke's chat, we pivot to a NOLA-based buzz-band I'm very fond of, The Quickening, with a sweet 22-minute interview with founder/guitarist/vocalist Blake Quick and vocalist Rachel Murray. Their 2018 LP Begin Again made Upful LIFE's Favorite 18 Albums of 2018, and we've had our eyes and ears on The Quickening for a couple years now. Enjoy a peak behind the scenes of a Crescent City band cutting their teeth in that great environment, and some perspective on the hard work and grueling efforts it takes to make or break a band in this crowded, vibrant, and often cut-throat music scene. Both Quick and Murray also shout out some of their favorite underground NOLA musicians. Vibe Junkie JAM of the Week   Garage-a-Trois debut EP, vinyl only, "Mysteryfunk". Fog City Records, 1999. I just let the whole 24mins EP ride out. 3 full songs and a minute-long outro. This features the original lineup of Stanton Moore, Charlie Hunter, and Skerik, Produced by Dan Prothero. You may think you know these guys as players, or even GAT, but you likely haven't heard them quite like this. Almost an electronic album, Moore unfurling boukou trip-hop breakbeats and drum & bass jungle riddims, underneath the kaleidoscopic eccentricities of Hunter and Skerik in full bloom. The Upful LIFE Podcast is available on iTunes! Theme Song: Mazel Tov by CALVIN VALENTINE

Matt Phone, Enoch, Nathan P, and the grand return of Quinton! Ought - Room Inside the World https://open.spotify.com/album/3vF1GQeq3Mnu13x0Rkakhv MGMT - Little Dark Age https://open.spotify.com/album/7GjVWG39IOj4viyWplJV4H Ezra Furman - Transangelic Exodus https://open.spotify.com/album/3avy9ZvrDRdDQKRcf1kJ6V U.S. Girls - In a Poem Unlimited https://open.spotify.com/album/5mcuyVRQmrRlfFqDDfJI1q and....BINGO BONGO! A new segment brought to you by Nathan "Bongos or Congas?" Conga Vid: https://www.youtube.com/watch?v=EW4ovaasocM