Podcasts about hedzoleh soundz

"In the beginning was the Word, and the Word was with God, and the Word was God".  So what does this familiar Biblical quote suggest, or could it be a literal explanation of the principles of Universal Creation?  Prior to the advent of scientism, Alchemists described the Ether as a stratified creative mechanism, which they successfully duplicated in microcosmic fashion through laboratory processes.  They referred to the third Etheric level as the Water element, or "Sound Ether".  The study of both Wave Form Mechanics and Cymatics go further to reveal that our functional Realm is, in fact, a byproduct of pure resonance, or sound.  On this Alfacast we further explore this phenomenon to understand how the use of specific sound frequencies could very well be the future of medicine and of all technological endeavor. Our tour guide for this episode is special guest, Randy Masters, a multi disciplined alchemist, an award winning composer, a professional musician and multi-instrumentalist, a former university music teacher, and the designer of sacred geometry and sound products. As a recording artist and musician, Randy has produced many recording of his own music with his highly acclaimed fusion group Solar Plexus, and also his Multi-National band as well as having composed for international musicians Cal Tjader, Tito Punte, Charlie Byrd, Laurindo Almeida and Hedzoleh Soundz.  Randy has performed on many instruments including piano, keyboards, trumpets, guitar, base and percussion and is also very fluent in international music styles and has performed with well known musicians from Ghana, Brazil, Nigeria, The Congo, India, Mexico, Puerto Rico to name a few. Randy was a featured trumpet player on the American Gamelan recording by famous composer Lou Harrison. Randy has been a featured speaker at many sound healing conferences and expos, including the New Living Expo and Santa Fe, San Francisco and Los Angeles Sound Healing Conferences, where he speaks on subjects such as Sacred Geometry, Sacred Sites, Sound Healing and the Music of the Spheres – Unified Field. His company Resonant Living makes specially tuned wind-chimes, desktop chimes, tuning forks, sacred geometry energy jewelry and other custom designed specialist sound tools and musical CDs. A key to Randy's mission statement and lifetime work is to reconnect spirituality and science to reveal the creation science and codes of existence that assist in raising the frequency of human consciousness. Randy is currently collaborating and co-producing sound healing projects for many artists and weaving his extensive knowledge and discoveries into creative sonic endeavors. Show links: https://universalsong.net/ Learn The True Nature Of Dis-Ease & How Our Bodies Actually Work: https://alfavedic.com/themyth/ Join Our Private Community And Join In The Discussion: https://alfavedic.com/join-us/ Follow our new YT channel: / @offgridelegance   Get our favorite blue blocker glasses! https://alfavedic.com/raoptics Learn how to express your law and uphold your rights as one of mankind. https://alfavedic.com/lawformankind Alfa Vedic is an off-grid agriculture & health co-op focused on developing products, media & educational platforms for the betterment of our world. By using advanced scientific methods, cutting-edge technologies and tools derived from the knowledge of the world's greatest minds, the AV community aims to be a model for the future we all want to see. Our comprehensive line of health products and nutrition is available on our website. Most products are hand mixed and formulated right on our off grid farm including our Immortality Teas which we grow on site.  Find them all at   https://alfavedic.com​​​​​​​​​​​​​​ Follow Alfa Vedic: https://linktr.ee/alfavedic Follow Mike Winner: https://linktr.ee/djmikewinner

All'inizio degli anni settanta Masekela sente il bisogno di riallacciare il rapporto con l'Africa: nel '73, dopo tredici anni negli Stati Uniti, il trombettista è in Guinea, Zaire, Liberia, Ghana e Nigeria. A Lagos è per un mese alla corte di Fela Kuti. Fela poi lo mette in contatto con un gruppo del Ghana, gli Hedzoleh Soundz, con cui Masekela incide l'album Masekela introducing Hedzoleh Soundz, precoce esempio di incontro musicale panafricano. Nell'album successivo, I Am Not Afraid, inciso nel '74, oltre ai musicisti del Ghana Masekela ha accanto due colonne del gruppo jazz-funk Crusaders, in un eccellente amalgama di musica africana e americana: per Masekela e il produttore Stewart Levine l'album è il più notevole risultato conseguito con la loro collaborazione; fra i brani Stimela, che diventerà uno dei grandi cavalli di battaglia di Masekela. Nel '75-76, con una nuova band con alcuni dei musicisti di Hedzoleh, e altri musicisti del Ghana e della Nigeria, Masekela incide The Boy's Doin' It e Colonial Man, all'insegna di una musica afro che oltre che di jazz e Sud Africa si nutre di soul-funk e di Brasile, brillante anticipazione della world music di cui Masekela sarà poi negli anni ottanta uno dei maggiori protagonisti.

All'inizio degli anni settanta Masekela sente il bisogno di riallacciare il rapporto con l'Africa: nel '73, dopo tredici anni negli Stati Uniti, il trombettista è in Guinea, Zaire, Liberia, Ghana e Nigeria. A Lagos è per un mese alla corte di Fela Kuti. Fela poi lo mette in contatto con un gruppo del Ghana, gli Hedzoleh Soundz, con cui Masekela incide l'album Masekela introducing Hedzoleh Soundz, precoce esempio di incontro musicale panafricano. Nell'album successivo, I Am Not Afraid, inciso nel '74, oltre ai musicisti del Ghana Masekela ha accanto due colonne del gruppo jazz-funk Crusaders, in un eccellente amalgama di musica africana e americana: per Masekela e il produttore Stewart Levine l'album è il più notevole risultato conseguito con la loro collaborazione; fra i brani Stimela, che diventerà uno dei grandi cavalli di battaglia di Masekela. Nel '75-76, con una nuova band con alcuni dei musicisti di Hedzoleh, e altri musicisti del Ghana e della Nigeria, Masekela incide The Boy's Doin' It e Colonial Man, all'insegna di una musica afro che oltre che di jazz e Sud Africa si nutre di soul-funk e di Brasile, brillante anticipazione della world music di cui Masekela sarà poi negli anni ottanta uno dei maggiori protagonisti.

All'inizio degli anni settanta Masekela sente il bisogno di riallacciare il rapporto con l'Africa: nel '73, dopo tredici anni negli Stati Uniti, il trombettista è in Guinea, Zaire, Liberia, Ghana e Nigeria. A Lagos è per un mese alla corte di Fela Kuti. Fela poi lo mette in contatto con un gruppo del Ghana, gli Hedzoleh Soundz, con cui Masekela incide l'album Masekela introducing Hedzoleh Soundz, precoce esempio di incontro musicale panafricano. Nell'album successivo, I Am Not Afraid, inciso nel '74, oltre ai musicisti del Ghana Masekela ha accanto due colonne del gruppo jazz-funk Crusaders, in un eccellente amalgama di musica africana e americana: per Masekela e il produttore Stewart Levine l'album è il più notevole risultato conseguito con la loro collaborazione; fra i brani Stimela, che diventerà uno dei grandi cavalli di battaglia di Masekela. Nel '75-76, con una nuova band con alcuni dei musicisti di Hedzoleh, e altri musicisti del Ghana e della Nigeria, Masekela incide The Boy's Doin' It e Colonial Man, all'insegna di una musica afro che oltre che di jazz e Sud Africa si nutre di soul-funk e di Brasile, brillante anticipazione della world music di cui Masekela sarà poi negli anni ottanta uno dei maggiori protagonisti.

It turns out that the first American city to host a roster of local African bands was not New York, Miami or Chicago, but the San Francisco Bay Area of northern California. Hugh Masekela brought Hedzoleh Soundz from Ghana, and they settled in Santa Cruz. Nigerian maestros O.J. Ekemode and Joni Haastrup lived in Oakland in the 1970s. South African musicians from the touring stage show Ipitombi also settled in the Bay Area and started the band Zulu Spear. By the early ‘80s, the Bay Area “worldbeat” scene was in full swing, and along with it came Kotoja, Mapenzi, Big City, the Nigerian Allstars and more. Join us for a tour through the sounds and stories of the Bay Area’s catalytic African music scene. Produced by Banning Eyre. Follow Afropop Worldwide on Facebook at www.facebook.com/afropop, on Instagram @afropopworldwide and on Twitter @afropopww. Subscribe to the Afropop Worldwide newsletter at www.afropop.org/newsletter/ APWW #713 Distributed 9/21/2017

April 7th 2016 #713 Afropop By The Bay Produced by Banning Eyre Original Airdate 7/30/2015 San Francisco: Afropop by the Bay It turns out that the first American city to host a roster of local African bands was not New York, Miami or Chicago, but the San Francisco Bay Area of northern California. Hugh Masekela brought Hedzoleh Soundz from Ghana, and they settled in Santa Cruz. Nigerian maestros O.J. Ekemode and Joni Haastrup lived in Oakland in the 1970s. South African musicians from the touring stage show Ipitombi also settled in the Bay Area and started the band Zulu Spear. By the early ‘80s, the Bay Area “worldbeat” scene was in full swing, and along with it came Kotoja, Mapenzi, Big City, the Nigerian Allstars and more. Join us for a tour through the sounds and stories of the Bay Area’s catalytic African music scene.

[APWW #713] [Originally aired 2015] It turns out that the first American city to host a roster of local African bands was not New York, Miami, or Chicago, but the San Francisco Bay Area. Hugh Masekela brought Hedzoleh Soundz from Ghana, and the settled in Santa Cruz. Nigerian maestros O.J. Ekemode and Joni Haastrup lived in Oakland in the 1970s. South African musicians from the touring theatre show Ipitombi also settled in the Bay Area and started the band Zulu Spear. By the early ‘80s, the Bay Area “worldbeat” scene was in full swing, and along with it came Kotoja, Mapenzi, Big City, The Nigerian Allstars and more. Join us for a tour through the sounds and stories of the Bay Area’s catalytic African music scene.

Descendants of Lebanese immigrants have had a surprising impact on the development of Ghanaian popular music. This report by Afropop's Banning Eyre digs into the history of the late-60s Afro-rock band, The Psychedelic Aliens, and producer, bandleader, and club owner Faisal Helwani. Helwani's band Hedzoleh Soundz eventually attracted the involvement of South African trumpet legend Hugh Masekela. And Helwani's club, The Napoleon, was the home base for Fela Kuti during his crucial proving years in Accra, Ghana. That means a Lebanese-Ghanaian was an important shepherd of the incipient, worldwide Afrobeat movement.

Come on, Ghana!!! you are hiting me too hard with your full on rockin, grindin, heavy soulness and even with that disco. straight up engergia! Ghana 1) Lagunta – Hedzoleh Soundz 2) Bindiga – The Wellis Band 3) Eyi Su … Continue reading →