– Ether, healing, meditation
”WORLDMUSIC – Malou Berg, renowned in Uppland, Sweden, continues to investigate musical borderlines in her fourth album of the Pleiadian Suite. Now with songs in her own language for which she has been rewarded the Word Prize of the Swedish Word Festival (Ordfestivalens ordpris). This time Malou Berg bases her music on the tones of the ancient Solfeggio Scale and she does this in co-operation with Xavier Desandre Navarre, French percussionist and multi-instrumentalist.”
With her new album ALIGNMENT, Malou Berg continues to compose music that crosses all borders and she began the release with a triumphant concert at The Boulevard Theatre in Stockholm on September 7, 2010. Alignment is the fourth album in Malou Berg’s ground-breaking Pleiadian Suite. In 2009, she was awarded The Word Price at the annual Word-Festival in Sweden for her language in this song suite. That same year, Malou was invited to be the main feature by the South Korean annual HwaEom Spirit Music Ritual.
The music in ALIGNMENT carries the listener to new worlds that inspire, uplift and release in a magical way. A musical rainbow of vocals and sounds of crystal and Tibetan bowls, the beating of drums and soft, dancing melodies. An album that is both meditative and exciting.


Words by Jasmine Bourgeois
Photo by Felipe Pipi
Drummer SunMi Hong says that the most memorable moment in her career was “The first day I went to drum academy in Korea. I practiced nonstop for about four hours, feeling somewhat liberated. At the end of my day, my legs wouldn’t stop shaking.”
Hong is the type of drummer who has an innate flow in the way she plays. She’s been drumming for about a decade, but you’d think she’d been playing since she was old enough to hold a set of sticks.
After years of being enamored with the drummers at her church, she finally convinced her parents to let her take drum lessons at 17. She was a natural, and shortly thereafter immersed herself in music, studying under drum masters Martijn Vink, Marcel Serierse, Lucas Sebastiaan van Merwijk, Gerhard Jeltes, and Michael Carvin at the Conservatorium van Amsterdam, one of Europe’s most renowned jazz schools.
Hong has a deeply felt softness to her playing. She’s one of the lucky few who seems to have an intuitive knack for rhythm and genuinely feels groove in her bones. She plays with a warmth that feels uniquely hers. She approaches her music in a somewhat meditative fashion, thinking of music as something bigger than any individual player, and something that takes sacrifice. She’s come a long way since her first nerve-wracking day at a drum academy. Now, Hong’s involved in a few different big projects, including the Daahoud Salim Quintet and a project with pianist Young Woo-Lee and bassist Brodie Jarvie—and trust us when we say that SunMi Hong will be a name you’ll see again.
Featured in the ‘Bands We Like’ section of Issue 33. Purchase a copy here.


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The Mainly Mozart Youth Orchestra (MMYO) serves San Diego students through a music education and performance program that offers:
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Emmanuelle Bertrand Pascal Amoyel duet
Since 1999, those two talents compose a duet whose recordings (Alkan, Liszt, Strauss, Block, Grieg, St-Saëns...) published by Harmonia Mundi got the best awards: Cannes Classical Awards, Diapason d’Or of the year, « Choc » of the Monde de la Musique, 10/10 from Classica...
They both won a Victoire de la Musique. They paly all over the world. In 2005-2006, they created the theatrical concert « le Block 15, la musique en résistance », directed by Jean Piat, the testimonies of two musicians saved by music during World War II. This show was played all over France and has been adapted or the French television (France 3).
They both have been appointed Chevaliers de l’Ordre des Arts et des Lettres by the French Minister of Culture.


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**Guest post written by Katie Lott, Songwriting & Voice Coach, as featured in her blog Modern Songstress.
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Jay S. Harrison, music editor of The New York Herald Tribune from 1948 to 1960, died yesterday at St. Luke's Hospital after a long illness. He was 47 years old and lived at 741 West End Avenue.
Mr. Harrison, a graduate of New York University, resigned from the Herald Tribune to become executive editor of Music magazine. Three years later he was named senior editor of Musical America.
Mr. Harrison was a member of the Metropolitan Opera's Saturday “Opera Quiz” broadcast, a music teacher at N.Y.U., musical consultant to Harper's Bazaar, director of the classical and opera division of the RCA Victor‐Reader's Digest Record Clubs and he wrote for both radio and television.
A monodrama entitled “Last Day,” written by Mr. Harrison with music by Ned Rorem and, staged by the New School Opera Workshop, received favorable comment in 1967.
Mr. Harrison's marriage, to Jane Cohan, ended in divorce in 1966. Surviving are two daughters, Paige and Troy, and his mother; Stella Smolens.


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Hey Matt, give the bass spa a call, they make their own tail pieces, so they might be able to custom make one
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Sonny And Brownie songs Product Information
Sonny And Brownie album for sale by Brownie Mcghee / Sonny Terry was released Jan 01, 1990 on the Universal Music label. Sonny And Brownie CD music contains a single disc with 12 songs.
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Hub New Music debuted at Jordan Hall Sunday night with a concert dedicated to one composer, Kati Agócs. For someone who was new to Agócs, the evening was nearly ideal: short enough (about an hour, without intermission) that fatigue never set in, and consisting of stunningly varied works that clearly from a single personality. [BMint’s introductory article is here.]
Agócs has been on the NEC Composition faculty since 2008, and Hub New Music is in its second full year of concertizing. The concert carried a paradoxical title, “Strength in Fragility”, which was misleading: “fragility” is not a term I think applied to this music, which even in its quietest moments displayed an unshakeable emotional core. It is often delicate and hushed, but never brittle or unstable.
Two works that featured the entire (or nearly the entire) Hub ensemble bookended the proceedings: the opener, Crystallography (2013), for Pierrot ensemble (flute, clarinet, violin, cello, piano) with percussion and soprano, and the closer, Immutable Dreams (2007), for Pierrot ensemble alone. The intervening works had smaller and more unusual instrumentation: “John Riley”, a movement for solo harp; Saint Elizabeth Bells for cimbalom and cello; and Hyacinth Curl (2016, and a world premiere) for soprano, mezzo-soprano and handbells.The larger instrumental works made the greatest impression.
Crystallography set inscrutable texts drawn from the language of geology and rhetoric by the Canadian experimental poet Christian Bök. The poems, which selected carried the names of gems, were not intended to make semantic sense. For example, “Ruby” reads, in its entirety: “alizarine albedeo/oriflamme, orchestrina/oxyacetylene”. A “palindrome” according to the composer, it did not easily reveal the reversals one would expect, but it did possess a clear arch-like structure, with textures that increase and then decrease in density, and with a similar dramatic gradient, with a peaking perceptibly at the center. Agócs preserves remarkable clarity in her music despite the constant, complex layering was the preferred mode of development on display in these pieces. In Crystallography the percussion (played by Hub’s Maria Finklemeyer) set up beats that underpinned the long melodies in the soprano, rhythmic cells that shifted just often enough to keep the thoughtful listener on edge. Those melodies are picked up, modified and then transformed by the instruments, developing through accretion, repetition and deformation. The work remains a bit distant from the listener, a beautiful object observed at arm’s length. Guest artist Adrienne Arditti rendered the texts with a rich soprano and generous vibrato, italicizing the shifting vowels of the poems and giving the texts an aesthetic that the words themselves lacked. However, she missed the potential of the clashing consonants (“oblique optics”, “oriental nachtmusik”); the performance as a whole tended to sound soft-edged and blurry.
Immutable Dreams closed the concert with an indelible impression. Muscular and direct, it comprised three intense and strongly contrasted movements. “I feel the air of other planets…”, a discursive study in color and articulation beggars description: my notes say things like “shapes and rising calls”, “folding/unfolding shafts of light”, “fallings and cascades.” “Microconcerto (in Memoriam György Ligeti)”, only “micro” in its relative brevity, featured authoritative playing from Hub pianist Ashley Zhang. She realized the wide-ranging textures from cool soliloquy to crashing clusters with a visceral force that never turned harsh or ugly. This set up the essay in extremities of tone that defined the final movement, “Husks”, that culminated in a manic, occasionally shrieking race to the end. This experience lingered well after the concert ended.
The middle pieces were less ambitious but no less well executed: Saint Elizabeth Bells conjured up a hallucinatory world of overtones, musical material derived from church bells near the hospital where father lay dying in 2011. The peculiar richness of the cimbalom (played by Nicholas Tolle) generated layers of harmonic haze within which Hub’s Allison Drenkow’s cello sang with lyric melancholy. “John Riley”, a movement from a work for solo harp called Every Lover is a Warrior, the slightest piece on the program, freely adapted an Appalachian song that cycled prettily through a number of decorative variations. Guest artist Ina Zdorovetchi, the coordinator of the Boston Conservatory harp program, played it with an elegant and relaxed virtuosity.
Before the premier of Hyacinth Curl, Agócs spoke of her desire to write a work that moved away from her predilection for complexity. Two voices, soprano and mezzo-soprano sing a text that Agócs derived from a Farsi ghazal (a sonnet-like poem), punctuated here and there by handbells played by the vocalists themselves. With only two voices the piece cannot engage in the dense layering that characterizes Agócs textures elsewhere. Instead we hear a constant intertwining of melodies recognizable as Agócs’s singing lines that are rich and occasionally angular. Subtle expression thus comes to a heated text that describes a “night of Power”, filled with “Beauty’s divan” and “ambrosial perfume” and “a chalice of the red wine of dawn-tide,” ending with the poet turning to worship the face of his beloved as the bells ring over and over. Arditti and Emily Harmon (another guest joining Hub for this concert) blended beautifully, achieving a restrained but effective aesthetic seduction.
Having first worked together in a classroom a couple of years ago, the composer and ensemble made an immediate connection; the performers displayed deep affinity for the music. If I have not singled out the remaining members of Hub New Music (Michael Avitabile, flute; David Dziardziel, clarinet; and Orin Alan Laursen, violin), it is because the ensemble plays as a single, sensitive organism that draws more attention to the music than to itself. Both Crystallography and Immutable Dreams works were conducted unfussily by guest David Yi, who must have had some hand in creating the two very different sound environments generated by similar instrumental forces.
On this evening’s evidence, Agócs possesses a distinct voice that is challenging without being elusive. She invites the listener without condescension. Her self-contained compositions make their impression quickly. In their brevity and variety they suggest a composer still seeking and discovering; a certain restlessness hints at more evolution to come. As it happened, the evening doubled as an informal release party for Agócs first CD, a disc of orchestral works recorded by the Boston Modern Orchestra Project which contains her largest work to date, The Debrecen Passion. I look forward to hearing what she does with a large ensemble, and to things to come.


There is also another scale called Pentatonic Blues scale but we will not discuss this scale in this lesson. Once you've practiced 12-bar blues progression and feel comfortable playing those seventh chords, you can get to work deepening your blues abilities by trying out different ways to play your chords. Description. This goes for all aspects of guitar. Posted in Blog: Harmonica Articles. You need to be diligent and find the time to practice. Some of the chords will be repeated several times, others just twice. In blues, the 1 chord is always the same as the key name. In blues, the 1 chord is always the same as the key name. The 12-bar blues is by far the most popular form for the blues. Steve breaks down the basics of 12 bar blues piano in a really simple and fun way. Getting That "Bluesy" Sound You can play the blues with major and minor chords, but one thing that helps add the distinctive sound associated with the genre is making liberal use of seventh chords in your playing. Those flats are called blue notes. Stick with it, and you shall be rewarded.eval(ez_write_tag([[250,250],'blackspotguitars_com-large-mobile-banner-1','ezslot_11',112,'0','0'])); The 12 bar blues in the key of G will require that you learn the following 7th chords: The C7 chord is a very versatile chord shape. You may recognise the sound of a turnaround from the start or end of your favourite blues tracks. We play the blues chords with just 2 strings/notes. Once you learn to play the 12-bar blues on the guitar, you can play such classic blues pieces as “Hound Dog,” “Stormy Monday,” “Kansas City,” “St. If the scale starts with the note A (1st degree) we will call this “Position I). Let’s take the A minor Pentatonic scale as an example. As I mentioned, there are so many different ways of playing blues chords. Don't worry if you can't play it perfectly yet, it takes a while. The chord diagrams below show easy open chord shapes you can use to play them. Here’s a look at a blues guitar lick in G that focuses mostly on the G Minor Pentatonic Scale , but adds the major 3rd at the end. Blue notes. This forces you to be creative and helps emphasize the importance of phrasing (so that you don’t sound like you’re stuck in … The shuffle rhythm The additional note we add to the chord is called “extension” and the chord will be called “extended chord”. Learn How To Play Dominant 7th Chords. The seemingly complicated chord shape is a rather natural way to hold your fingers. Instead, we will focus on how to play the blues on acoustic guitar using fingerpicking technique. This is possible because we will only pluck the three most important notes of the Dominant 7th chord, the I – III – VII. Legendary Delta blues guitarist Robert Johnson used open G tuning for many of his greatest songs, such as “Crossroad Blues,” “Walkin’ Blues,” and “Come On in My Kitchen,” among others. There’s a feeling you get from playing blues music that you don’t get from any other genre of music. Step 1. 6 Simple Blues Harmonica Riffs (That You Can Play Today!) Through these tabs you'll improve your technique by learning many beautiful blues compositions.. Now go grab your guitar, and start practicing. This structure is the number one formula every guitar player, learn. They are strongly connected to each other and found in every style of music, whether you’re playing rock, country, jazz or metal. Don’t get frustrated if one day you don’t see the progress. The simple acoustic blues chord progression is the backbone of making the music we call 'the blues'. What are 7th chords? Create your free account and access the student area where you will find a ton of fingerstyle guitar lessons for beginner and advanced guitar players. Become a Patron and access the full tab. Enjoy the songs, Each red box contains a bunch of single notes (most of the time 4) that can be played with either a guitar pick or the right hand fingertip. Why blues rhythm first - because it instills the rhythm of the blues into your nervous system and makes soloing over the chord changes seem so natural you'll think you were born to play the blues. In G minor, the 4 chord would be C minor. Do you know some? Typically, a turnaround is a 2 bar phrase that sits over the 11th and 12th bars of your usual 12 bar blues and acts to “turn around” the phrase back to the first chord. The backbone of the blues is the 12 bar blues, but of course, the blues is so much more than that. They’re easier than you think. In this section I am going to show you how to play the dominant 7th chords, also called blues chords. The difficulty of the songs increase from top to bottom. The main characteristic of the blues chord is the extended 7th (the seventh note starting from the root note) added to the chord. If you are a total beginner, take things step by step and learn one thing at a time. Do just learn the best guitar chord on guitar! You may notice that there are flats in the music. The notes in a G blues scale are as follows: G, B flat, C, D flat, D, F. A Blues Scale Bass TAB – Open Position. the top. This means that if you know the root note or chord, you can construct the rest of the 12 bar blues progression as well. I've put together blues guitar lessons in 3 steps. Download. It is easier to understand by hearing it: The above paragraphs are meant to give you a blues guitar primer. These three notes are the root note (I), the 3rd (III) and the 5th (V). The Pentatonic scale is the most used scale in Blues. Easy Blues on Acoustic Guitar for Beginners Combine Chords and Melody. In this guitar lesson, we are going to combine chords and melody. And don’t forget to swing! The second note on the 2nd fret, the E, is the 5th note from E. We will follow the same chord structure for the D7 to. For me guitar and blues are like salt and pepper, or like Yin and Yang. I suggest that you strum the chords several times. Hey, I'm making a compilation of blues songs in the key of G, to play along with my blues harp. In this week’s blues guitar lesson, I’ll show you how to improvise a blues lead using only 4 notes. The blues in G uses the three chords G7, C7 and D7. Nobody was born with a guitar in their hands. Both of these scales become super easy in the open position… I really relate to the fretboard in patterns. The guitar tab above (learn to read guitar tab) is an example of a very simple intro and outro, which you can memorize and use. In our key of G major, that would be C major. Playing the blues often comes down to a straight forward chord progression, which anyone can learn and play on the piano within minutes. Hundreds of songs have been recorded using it or variations of it. You're very welcome, glad you got something out of it! The Blues Power Chord has two notes only, the I and V. We can play around with the V degree and go up a whole step. Note: The disadvantage of learning such easy blues chords is that you can’t transpose them in a different key. The Dominant 7th chord will have these three notes, I – III – V plus the VII degree. Session template SOLO GOTO. Another chord used in blues progressions is known as the 4 chord, also called the subdominant. Thanks Brian for all you do for us guitarists who simply want to express ourselves with music, and get better. These are the notes we will play for each chord. The final chord in typical blues progressions is the 5 chord, also called the dominant. I found this site while I was browsing for scale charts, and I’m so glad I did. Easy Blues Guitar - Step by Step. This melody and rhythm combination is one of the basic building blocks of both the Blues and Rock and Roll. Though you might have employed a simple quarter note strumming pattern in learning the above blues progression, that's not the only way to go about it. For the minor Pentatonic only play the I III IV V VII from the minor scale. Alternative collabs. In this section, I am going to show you how to play blues chords on three strings only. 20 essential blues intros Listen: Intros 1-2 Intro 1: Easy acoustic in E. This should sound familiar to anyone who's ever listened to the blues. The 12-bar blues is by far the most popular form for the blues. With this special monthly pass you access all the courses on the site. One of the reasons why guitar players love the Pantatonic scale so much is because of its simple shape. Blues is based on a simple pattern. The shape will be the same. SoundCloud SoundCloud. A common form for the blues is a repeating 12 bar form (each bar has 4 beats). If you do not know it I have tabbed out one of the fingerings of the scale in the chart below. It was originated by African American in the deep South of America. The above isn't the only way the 12-bar blues can work, but it is fairly representative of what you can expect from a blues progression and a good way to get started. Well, today we have a Top 20 Easy Guitar Songs for Beginners. The notes in an A blues scale are as follows: A, C, D, E flat, E, G. Note: this scale is the same pattern as that used in the E blues scale open position scale, but played on the adjacent strings. “extension” and the chord will be called “extended chord”, difference between the C major chord and the C7 chord, the three left hand golden rules we talked about in the beginner course, I am going to show you how to combine chords and melody, 1 Weird Trick to Memorizing Pentatonic Patterns. In the G major scale, the notes are: G (the 1, or root), A (the 2nd), B (the 3rd), C (the 4th), D (the 5th), E (the 6th), and F# (the 7th), and then you are back to G again. Here’s a video to help you learn how to do some easy improvisation using the 12 bar blues on ukulele. Easy Blues Guitar - Step by Step. We pay attention to the accent of the notes and get a blues rhythm going. What is the shuffle rhythm? Here is a list of 18 easy blues songs to learn: “Boom Boom” - John Lee Hooker. Playing in the key of G means that we can use Em Diatonic OR Em Pentatonic. This lesson can help you. Because we are playing a slow shuffle blues, the basic blues chords for beginners, the blues chords with bar chords and the fingerstyle chords we learned at the beginning of this article won’t work. There are three elements in this twelve bar blues (in order): The melody in this blues lesson is very simple. Another chord used in blues progressions is known as the 4 chord, also called the subdominant. If we start the scale with the note G, which is the 5th degree of the scale, we will call this position “Position V”. Notice how the chords in the square have two notes. So it’s a good thing for every guitar player to learn some vital blues skills. Listen to mp3 12 Easy Slide Licks in Open-G For the major Pentatonic, only play the I II III V VI from the major scale. Drums: akethesnaker 2741 jams . Here’s a look at a blues guitar lick in G that focuses mostly on the G Minor Pentatonic Scale, but adds the major 3rd at the end. Remix step I MUTE. Louis Blues,” “Easy Rider,” and “Corrina, Corrina.” Each of these songs follows the 12-bar blues pattern […] The Pentatonic formula is very simple: Check the diagram below to learn the difference between the major and minor Pentatonic in A. Check the tab below to learn the fingerstyle blues chords. https://www.learnjazzstandards.com/blog/28-jazz-blues-heads-you-need-to-know 12 Bar Blues Chords & Scales for Guitar The 12 bar blues is a 12 bar long chord progression that solo blues musicians can easily improvise over the top of because the chord progression is familiar to them. Notice that all the chords are Dominant 7th or simply called 7th chords. This is put together as 3 phrases or sections, each being 4 bars long. Read on: 1. A simple variation for the twelve bar blues could be adding the D7 on the second bar. The Blues is one of the simplest styles of music of the 19th Century. Instead, we are going to use a different type of chord called “Blues Power Chord”. Sign in Create account. For all you blues beginners out there, in this video I will teach you the A pentatonic scale and three basic blues licks that use this scale. For this you would use the blues scale. The blues has been prominent in modern music since the 1930s and has a deep, soulful, rich sound, Whether it’s a killer solo from the guitarist or a tight rhythm section working together; blues music has a great groove. They practiced a lot! Step 1. Literally only two notes! So to form a 7th chord, you need to include the following notes in your chord: This lesson will teach how to play easy 12 bar blues progressions with open chords. Guys, I hope you enjoyed this easy blues lesson. The chord progression is easy for beginners because it only uses three chords, the root, the fourth, and the fifth. The opposite of straigth rhythm. One of the challenges of playing in different tunings is the need to learn a bunch of new shapes to play chords you already know how to play in standard tuning. I know we covered many things. Leigh Fuge of MGR Music works through 10 easy blues guitar licks for beginners that can be quickly worked into a practice routine. If we play the scale from each degree (note) we will generate five Pentatonic shapes (also called Pentatonic positions). In addition to being 12 bars in length, the 12-bar blues has its own internal logic. It is a movable shape, just like a barre chord. The guitar tab above (learn to read guitar tab) is an example of a very simple intro and outro, which you can memorize and use. What exactly are these 3 steps? Thank you so much. In blues music, the turnaround is a familiar companion. Through these tabs you'll improve your technique by learning many beautiful blues compositions.. I worked really hard to write the easiest arrangement for beginners. If you want to play, for example, a blues in C major, you will have to learn the C7, F7 and G7 shape. A basic major or minor chord is made of three notes, the I III and V degree of the scale. Easy Blues Lead Using Just 4 Notes – Blues Guitar Lesson – EP251. Em is the relative 6th of G, therefore is the minor scale that you use to solo in. As always, take things step by step and learn one thing every day. One of the challenges of playing in different tunings is the need to learn a bunch of new shapes to play chords you already know how to play in standard tuning. One of the most effective ways to memorize the Pentatonic scale patterns is by visualizing the scale as a bunch of 1-3 and 1-4 patterns. Hi, the % sign means to repeat the previous chord. The difficulty of the songs increase from top to bottom. This particular lesson is great because it’s just a simple blues in G that will really help you get the feel. Blues In The Closet– easy blues head; C-Jam Blues– easiest blues head of all time. The 12 bar blues is the most basic blues chord progression.eval(ez_write_tag([[250,250],'blackspotguitars_com-medrectangle-3','ezslot_3',106,'0','0'])); As it's name would suggest, it is made up of 12 bars (or measures), which are laid out in a very specific order: The progression uses the I, IV and V chords of the major scale. After you grasp that logic and use it to shape your phrases, playing the blues on your harmonica will seem as natural as talking. I think we need to constantly be challenged, this is why I always record unique lessons such as this one. It was originated by African American in the deep South of America. The scales I used for the blues melody are the A major and A minor Pentatonic scale. Using the open-string friendly key of E, this descending figure creeps back up to the V chord (B) ready for the first verse. Now let me show you my favorite twelve bar fingerstyle blues chords. First, all five of these easy blues guitar licks come out of the minor pentatonic scale. In the G major scale, the notes are: G (the 1, or root), A (the 2nd), B (the 3rd), C (the 4th), D (the 5th), E (the 6th), and F# (the 7th), and then you are back to G again. 03. Focus only on the top two strings and spend a little bit of time learning the melody. Easy acoustic in g Outro 4: Advanced acoustic in G . Blues Riffs- A riff is a slang term for a short musical phrase that is usually repeated or repeatable.Simple blues riffs are perhaps the most common way for one to begin improvising on the diatonic harmonica. A technique that seems impossible today will get easier and easier with practice. Marty covers tuning the guitar, playing a basic blues in open G, and some more simple chord progressions that sound great in this tuning. The C#o means C sharp diminished. Then you can get familiar with common open and moveable chord forms and create your own blues guitar style. Notice that the E7 is played without the bar chord but the absence of open strings makes this chord easy to transpose in a different position of the neck. If you are serious about learning to play blues guitar, here are some tips: Learning to play the blues will not be an overnight thing, but it can be done. The chords you will need to learn to play the 12 bar blues in the key of A are:eval(ez_write_tag([[336,280],'blackspotguitars_com-large-leaderboard-2','ezslot_1',110,'0','0'])); These are easy open chords, which you will be able to learn in no time at all using the videos above. Riding the line between classic and modern blues, “Boom Boom” by John Lee Hooker was once dubbed “"the greatest pop song he ever wrote" by music critics. If you like this lesson and you want to learn more awesome fingerstyle tricks make sure you check out the All in Monthly Pass BlitzGuitar Membership. Now that we discussed the basics of the twelve bar blues, it’s time to dive into the lesson I posted today on my YouTube channel. All open strings give the G major chord G-B-D (that’s why it’s called open tuning) and the IV (C) and V (D) chords are simply 5 and 7 frets higher, like in standard tuning. To make things more interesting, we will be learning our chord progression with the quick-change variation of the 12 bar blues.eval(ez_write_tag([[250,250],'blackspotguitars_com-box-4','ezslot_0',108,'0','0'])); You will need to learn 7th chords to be able to get that bluesy sound. The chords you will need to play in the key of E are: As I mentioned, the B7 will be the most difficult chord to master. The B7 is the most difficult chord out of all of them, but it is actually pretty easy once you practice it for a while. Use thumb and fingers for simultaneous notes and to avoid the unused strings on those 7#9 chords at the finish. 12 bar blues in open G. The 12 bar blues in the key of G will require that you learn the following 7th chords: G7; C7; D7; The C7 chord is a very versatile chord shape. “Blues is easy to play, but hard to feel”-Jimi Hendrix. The 12 bar blues is a chord progression used in blues and rock music that lasts for 12 bars. The Pentatonic scale is just 5 notes. Musicians Remixes Chords. This is a very basic blues intro, which leads immediately into the main part of the song. Blues Guitar Lick in G Frequently, blues guitarists will mix major and minor scale tones in their licks. Once you learn to play the 12-bar blues on the guitar, you can play such classic blues pieces as “Hound Dog,” “Stormy Monday,” “Kansas City,” “St. Here at BlitzGuitar.com you will also find a ton of fingerstyle guitar programs that can really transform your guitar playing. In order to execute this … For the A7 you will play two notes on the 4th string. This chord progression is based around the most important chords in a key I, IV & V (1, 4 & 5) and is repeated over and over for the duration of the piece. By Alex Paclin. It is a movable shape, just like a barre chord. I've put together blues guitar lessons in 3 steps. It’s a pretty simple blues but … The chords for this lesson are the A, D and E chords. Playlist . This is a very fun approach because allows you to play the melody along with the chords. Remember, to turn this combination of notes into a blues progression, simply play the same combination in the chords of C, F, and G in the 12-bar blues pattern. In G minor, the 4 chord would be C minor. Another way of playing blues chords is to learn the ones played with bar chords. The final chord in typical blues progressions is the 5 chord, also called the dominant. Here's a beginner lesson that shows you how to play blues in the key of G with easy guitar chords. An easy Blues shuffle in the key of A lesson. Blues Guitar Chord Progressions. Thanks. Enjoy! Called “a stark and haunting work”, it is one of Dixon’s best known and most interpreted songs. There are five different Pentatonic positions. Adjust the left-hand position using the three left hand golden rules we talked about in the beginner course. Instant access a ton of practical fingerstyle acoustic guitar lesson here!Let me tell you more about the fingerstyle guitar lessons you’ll find here! I don’t think there is any other way to make this solo easier that that. Guitarists who simply want to play, but hard to play the 7th. One chord at a time if you learn how to improvise a blues guitar for! With practice genres of music of the song time if you want to play them bar. – C – D – E – G – a than a bend or minor chord is always same! Progressions with their relevant blues scales in … an easy 12 bar blues.... 7Th chords, also called the 12 bar blues chords melody in blues! Start or end of your favourite blues tracks, learn sign means to repeat the chord. The final chord in typical blues progressions is known as the 4 chord, also called the dominant 7th,! Spicing up a classic progression the 4 chord would be C major a verse of blues. C minor an example of the song place to start playing around with this special monthly -... This lesson are very simple: check the diagram below to learn the shape, you can use to a. Minor scale tones in their hands I wrote out coincides with the bar chords on ukulele tab, sheet and... These tabs you 'll improve your technique by learning many beautiful blues compositions ) before launching the. Or simply called “ extended chord ” very simple change that will make huge... Will be called “ extension ” and the fifth information you learned in this section I going. One time for each chord then grab your guitar playing classic progression watch the video is blues. Is because of its simple shape acoustic blues chord progression is the most popular form for the blues rock! Of all time spent just over 4 minutes watching the video several times to learn the shape, can! Given a 12 bar blues on ukulele progression for jam sessions and improvisation the. Guitar players and other musicians ’ ll show you how to play to strum a couple of dominant or... It: the above paragraphs are meant to give you a blues rhythm going guitar player to learn tuning..., you can see, all five of these easy blues guitar lessons in 3 steps or variations it! But ends with a simple blues guitar, and start practicing or simply called 7th chords can have to. Play it perfectly yet, it is a very basic blues intro, which are chords played the... Notice the video is a very basic blues intro, which are played... Rhythm combination is one of the progression are exactly the same as the basic building of. Courses on the 4th string of songs have been recorded using it variations... Blues guitarists will mix major and minor Pentatonic simple blues in g a different type of called... Repeated several times, others just twice we have a hard time believing this, don. Songs in the square have two notes on the strings of notes that are different than the notes used blues. We reach the 'surprise ' D11 chord each degree ( note ) we will call “! Site while I was browsing for scale charts, and I ’ m so glad I did ’ spent... The basic building blocks of both the blues in the Closet– easy blues chords with fingerpicking technique that... The twelve bar blues feeling you get the feel it or variations of it s the! Paclin on January 31, 2020 bars long find tab, sheet music my... Form ( each bar I found this site while I was browsing for charts. The fourth, and I ’ ll show you how to improvise a blues typically uses some of... Slide licks for Open-G tuning for you it ’ s get started with the information you learned far. Wrote out coincides with the fingering required for these five licks from each degree of the increase! Out there – blues guitar primer favorite twelve bar blues simple blues in g acoustic using. Acoustic blues chord progression used in blues, but of course, the video uses mix... Play a slow blues and get a blues typically uses some sort of musical introduction ( `` intro )... 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Iii – V plus the VII degree the site do just learn the best chord... So far, playing a blues song by Willie Dixon that was first recorded in 1960 by ’... Position… I really relate to the accent of the 19th Century together as 3 phrases or sections, each 4... Adjust the left-hand position using the 12 bar blues still lives on with. Melody over a twelve bar blues lesson here are 12 easy Slide for... And improvisation I think we need to be diligent and find the time to practice while I was given... The dominant 7th or simply called 7th chords in the key of G means that can. Lick in G uses the three chords G7, C7 and D7 wonder where it got name! That can really transform simple blues in g guitar playing and kind of different from start. Scales I used for the A7 you will also find a ton of fingerstyle guitar programs can. Of 5ths and 7ths.. is awesome of these scales become super easy the! Spoonful is a movable shape, just like a barre chord the 5th ( )... 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That they can be easily transposed in different keys different from the minor Pentatonic.. Play it perfectly yet, it is one of Dixon ’ s best known most! Square have two notes degree of the reasons why guitar players and other musicians end! By African American in the key name for 12 bars in length, the 1 chord simple blues in g of. Some sort of musical introduction ( `` intro '' ) before launching into the main part of notes! Difference especially if you learn how to improvise a blues song by Willie Dixon that first... Or minor chord is always the same as the 4 chord, also called the dominant 7th will. Play the scale starts with the melody on your acoustic guitar using fingerstyle technique example of song... Bass line is preserved, even when we reach the 'surprise ' D11 chord forms and create your blues. Shuffle in the music blues lesson two notes on the top four strings '' ) before launching into meat! Shows you how to play an easy 12 bar blues chords is to learn this.. Learning such easy blues guitar licks come out of the songs increase from top to bottom ( in order:! From the one you learned so far, playing a blues Lead only. Courses out there time, a fundamental chord progression called the dominant this G7 shape hard! The unused strings on those 7 # 9 chords at the finish the start or end of your blues! The 5 chord, also called the 12-bar blues the deep South of America as. Chords and melody the fifth t transpose them in a, D and E chords how to combine chords melody. Between the major Pentatonic from any other way to make this solo easier that.... For scale charts, and start practicing together blues guitar lick in G that make! Notes ( from the a major and minor scale tones in their.... To, but it 's true shuffle in G minor, the I II III V VI from start... Much is because of its simple shape chord progression called the dominant phrases or sections each. On those 7 simple blues in g 9 chords at the finish genres of music of progression... Really relate to the fretboard to attain 7th chords all day long is because of simple!


Counter-culture sensation, The Dublin Drag Orchestra, specialises in elegant, highly theatrical, innovative performances with spectacular costumes and effects. Works are staged to be highly entertaining, surprising and deeply moving and the music is virtuosically performed, meticulously researched and recorded to exacting standards of high fidelity.
The Dublin Drag Orchestra’s debut album features two EP discs:
Motion of the Heart showcases music on the theme of the heart from 17th century England including works by John Dowland, William Lawes, Henry Lawes and John Ward together with Hank Williams’ ‘Cold, Cold Heart’
¡Viva Frida! a musical tribute to the Mexican artist Frida Kahlo featuring music from 17th century Mexico from composers Antonio de Salazar, Gaspar Fernandes and Sebastián Durón and the song ‘La Vida Callada’ by Clara Sanabras with words by Frida Kahlo.
In November 2012 The Dublin Drag Orchestra released two Limited Edition 7”vinyl singles titled Christmas 1912 and One Minute to Midnight, New Year’s Eve 1912 and an EP digital download named The Lost Discs. The recordings feature music by the early baroque masters by Marc-Antoine Charpentier and Luigi Rossi.
“It takes chutzpah to programme Hank Williams alongside William Lawes.” The Independent
“Musical standards are high, their programming ingenious and their photos are terrific.” The Metro
“The musicians on this recording are truly stunning. They produce a fascinating world of beautiful colours and sounds, and their musical creativity, passion and soul reaches out and touches the listener in a way that few can. For its expressive interpretations, interesting cover design work, and stunning musicians, this is my CD recommendation of the year.” Musica Antiqua, UK Quarterly Early Music Magazine
“A jaw-dropping reinvention of Hank Williams’s Cold, Cold Heart, which made me cry on first hearing it, the harmonies invoking Sixties California as much as 17th-century England.” Graham Rickson, The Arts Desk.com
“A really great double album! Elegant and lively the interpretations have charisma and character- Irresistible – 20 out of 20 Points!” Georg Henkel, Musikansich.DE
“It doesn’t matter what these musicians wear or call themselves, they are going to be remembered for a distinct sense of musicianship and yes, there’s an undefinable flavour to their music.” Kate Rockstrom, Readings, Australia


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Senses Absorbed at Dance Mission Theater
Rap drifted into spoken word then exploded into gravity defying hip-hop dance. Last night’s performance at Dance Mission Theater featured Felonious, a live hip-hop music and theatrical group, Campo Santo, another Bay Area theatrical group and the Mix’d Ingrdnts Dance Company, a female collective. The performance celebrated Jeff Chang’s book, Can’t Stop Won’t Stop. The performance was the third of four shows in the Bay Area. Although scripted, Sunday night was a...
A few studies for an upcoming oil series #AttentionWhore. Still deciding on scale and a couple of elements stylistically, but you get the general direction. Ah, the evolution of courtship. Pure romance right here. . .
Lighthearted, confrontational, seductive, venerable...gorgeous. This exhibition presents key works from the collections of SFMOMA and the Asian Art Museum in provocative new contexts, pushing the boundaries of beauty, and inviting visitors to ask “What is gorgeous?” From luxurious ornamentation to kitch to austere simplicity to a dark underbelly, gorgeousness is presented as a dynamic concept that takes various visual forms: paintings, sculptures and photographs...
There are more artists in the Mission than any other neighborhood in San Francisco


Variationen Patrick Lechner ( piano) 00: 00 Dies Irae Theme 01: 58 1. Liszt scores at Sheet Music Plus;. Composed by Franz Liszt, edited by Emil von Sauer. I also have a thing for depressing/ melodramatic piano music! Fingerings included with Mp3 and liszt MIDI files.
Free PDF Piano Sheet Music for " liszt Totentanz Solo liszt solo piano S. Search our free piano sheet music totentanz database for more! I' m trying to find the music to buy. that' s how I found her. tnsnamesora music score, totentanz, sheet music, tnsnamesoralong, music sheet, music sheets, hd, classical music, totentanz dans macabre piano solo Franz LisztTotentanz for Piano Solo S. Download and Print top quality Halloween Collection ( simplified version) sheet music for piano solo. 2 pianos, 4 hands; 2 copies needed for performance. I' d take that any day over something cheery!
So then of course, found Totentanz. High Quality Interactive, change the tempo, liszt Transpose it in any key easy play & practice. Looking solo totentanz for piano sheet liszt music scores and more! Full orchestral version of Liszt’ s ‘ Totentanz’ ( S. 2 sheet music for totentanz solo Piano - 8notes. Piano Society is proud to present its large collection of more than 5 produced by our artists consisting of both professionals , 600 high- quality classical keyboard recordings skilled amateurs. Category: Liszt, solo Franz.
Free sheet music of Franz Liszt liszt Totentanz, S. Liszt totentanz solo piano sheet music. Variation - Allegr. " For 18 years we totentanz provide a free and legal service for free sheet music. Liszt totentanz solo piano sheet music.
124 over solo a 26- year period; the main solo themes date from 1830, while the final version is dated 1849. Format: piano duet book. 13 " Pathétique" Live - Lisitsa - Duration: 17: 06. It was first performed liszt at The Hague on 15th April 1865 by Liszt’ s student Hans von liszt Bülow, to whom the work is dedicated. We offer hundreds of pieces for free download the entire collection of many, many 1000s of pieces totentanz through affordable subscriptions. This page lists all sheet music of Totentanz, S126 for piano & orchestra ( Paraphrase on Dies irae - ' Dance of Death' ) by Ferencz Liszt.With solo part standard notation piano reduction. Mix - Liszt : Totentanz, S. Consolations Liebesträume for the Piano ( Liszt totentanz Franz) Contralto Songs ( Various) D. It premiered in Weimar on February 17 1855, with Liszt at the piano Hector Berlioz conducting. 525 / totentanz liszt Valentina Lisitsa 【 Piano solo Version】 YouTube totentanz Beethoven Sonata No. ValentinaLisitsa. Franz LisztTotentanz for Piano Solo Dies Irae Theme & I- VI. I first came across this after finding Valentina' s rendition of Hungarian Rhapsody No. Liszt, Franz Piano solo 2 PDF Adaptator. For piano solo and piano accompaniment.
The Chopin nocturnes consist of 21 pieces for solo piano written by Frédéric Chopin between 18. They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire. Although Chopin did not invent the nocturne, he popularized and expanded on it, building on the form developed by Irish composer John Field. Franz LisztFranz Liszt short biography.
liszt totentanz solo piano sheet music
Universally considered the greatest piano virtuoso of all time, Franz Liszt was born in Hungary. Liszt went to Vienna to become a piano student of Carl Czerny and composition student of Salieri.


New details are emerging about Royal Ballet principal Mara Galeazzi’s GALA 2011. As well as the details on the poster, the Gala will include a performance of the Black Swan pas de deux and The Royal Ballet’s Nehemiah Kish and Yuhui Choe will be dancing.
Tag Archives | Mothering Sunday
Last year, Royal Ballet principal Mara Galeazzi organised a Gala evening of ballet & fun in aid of her charity, Dancing for the Children. Mara is organising another of her unique charity ‘GALAS’, together with friends from the ballet world and the wider world of entertainment at Sadlers Wells on 3 April at 7pm ‘GALA 2011’ ‘GALA 2011’ will be in […]


The Flaming Lips released a new album, Embryonic, a couple months back and at the beginning I thought it was all right but nothing special. But I’ve been listening to it more and more, playing it for my radio show, and it has really grown on me. This is a band that has always been a little “off” and this album in no different in that respect. However, this new stuff is more focused on bringing out the psychedelic rock in full force. It’s filled with all kinds of hard rocking tracks, particularly the album closer, “Watching the Planets”. That’s an awesome song, but the one that’s really caught my ear lately is the fifth song on the CD, called “See the Leaves”, with its sound of impending doom on the guitar and bass. If you want a song to listen to while driving very fast, there are worse options out there.


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I am a singer/musician/ songwriter from East Central Indiana. I have been writing and performing for over 30 years. Music is a FULL TIME job for me in which I take my art and blessings of very seriously. Currently I continue to perform live with Tyler Stroh (my son) on some of my performances.
When it comes to recording I have my own studio (Shine a Light Studio) in which I record. When I do record my C.D.s I do all the writing, arrangements, and producing. I play all the instruments besides programming the drum beat and all the Lead and Harmony vocals. I currently have several bookings in and around the area, as well as I am finishing up my new CD which should be available some time in May or June.


AFRO-POP musician Que Montana — whose four-year recording deal with South Africa’s Cool spot — has run its course is now back in the country and has announced his return with the release of his fifth album, Sara Ugarike.
BY ANESU MUSHAWATU
Born Brighton Kufa, the musician who rose to fame in 2011 with the song Sei which topped charts on local radio stations, said his latest offering was a reflection of musical maturity.
Speaking to NewsDay Life & Style, the Huya Titaurirane hitmaker said his decision to come back home was influenced by the need to reconnect with his fans.
“I decided to come back home after all these years because I was starving my local fans as more of the songs were in English and Zulu and my sound had changed completely. Although music in South Africa was good, I needed to rekindle my career and reconnect with my local fans,” he said.
“Sara Ugarike is a fusion of my different genres from across Africa with a Zimbabwean sound. From the album, one can actually get traces of West African music with some Pasada music from Mozambique and we revived music from great brands such as Ilanga.”
The former Andy Brown bass guitarist said the 13-track Sara Ugarike was named by his fans.
“My album titles have always been based on the theme of the project but this time around I sampled the album to my fans who then selected Sara Ugarike as their best song, hence the name,” she said.
The multi-instrumentalist has worked with a number of local and international artistes including South African producer Techno Beats, Rozalla Miller, Tanga WekwaSando, Afrika Revenge as well as Ammara Brown and Taurai Mandebvu.
The album also carries the tracks Mudiwa Usadero, Siluwe, Lover Lover, Sara Ugarike, Munondishushirei, Kure Kure, Kumauro, Stop Playing with My Mind, I Miss You, Ndamirira, Sinyoro naSinorita and Tsvete Tsvete.


Actor | Composer | Music Department
In 1993, Pooja Bhatt recorded a English rap song titled "Just For Today" with Daboo Malik for his debut album "In Love". There is no trace of this album anywhere online. At this time in his career, Daboo was using the name Krish Malik. In 1997, ...
Israr Sardaar Malik
Bombay, Maharashtra, India


In Twisted Shapes, students become aware of the different shapes their bodies make. Shape cards are used to create group choreography and improvisational activities relating to curricular themes and dance content.
One deck of Twisted Shapes Dance Literacy Game
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Blues Piano Lessons
Blues Piano Lessons
Blues Piano Lessons
Blues Piano Lessons – Learn to Play the Blues Today
Many people believe that the primary motivation behind learning to play the piano is to be able to play the “best” music and to impress others with their newly acquired knowledge. The thought of having others look at them and say “what song did you learn last week?” however, can get us as excited as they do.
Learning to play the piano is more than just a series of learning lessons. It is an activity that requires ongoing attention to certain things. These things are: สล็อตเว็บตรงไม่ผ่านเอเย่นต์
2. Music has a good beat
3. The piano should be in tune
4. Instructional graphics and music
concentrate on these factors and allow the learner to focus on these areas. The “problem” is that, as individuals learn to play the piano via instructional media, they become engrossed in a variety of things that can detract from their musical and creative hobbies. Every person has the melody within them of course, but they need to have the means to expose their individual talents and expressions to everyone around them.Blues Piano Lessons
The solution to this problem is to take lessons and to use technology products that delight our senses and stimulate our mind. For instance, a fantastic “new age” piano method, such as those created and taught by Rocket Piano [http://www.the- potato.com], will gently pace you through various rhythms and stylistic nuances of songs, helping you discover and develop your own unique accompaniment. Other piano “how-to” books will show you how to:Blues Piano Lessons
1. Understand the fundamentals of musicBlues Piano Lessons
2. Create accompaniment (the chords, notes, phrases, etc.)
3. Learn to recognize known songs
4. Read sheet music (ightly clean copy)
These books will enhance your abilities and creativity while developing your potential as a musician and increasing your motivation to learn.Blues Piano Lessons
Most of these piano-learning methods and technBlues Piano Lessonsiques, work well with yet other piano forms (such as organs, harpsichords, etc.). However, when utilized in conjunction with each other, they can greatly speed up your learning, enhance your learning process, and even make you a better musician — better in multiple ways.Blues Piano Lessons
Also, it should be noted that one of the primary skills you will need to develop at a Grammy Award winning maestro is the ability to create, create, create — on your own. With those skills, you will be one of the most successful, innovative, and well-whatever at the piano.
oils that create an environment of harmony and magic to others. Your vision of how you want things to be. Most of us have heard about the movie, “The Sixth Sense” — but did you know that the actual name of the movie was actually a mistake?
It was the director who meant the words, “Sixth sense” instead of the usual ” sensation”. That’s how he ended up with that movie.
With a great, traditional way of looking at life, you learn to accept limits and Overview. You learn to be gentle on yourself. You learn to love yourself and accept love all without without strings attached. You begin to read and understand your life’s story as a whole and not just in bits and pieces.
You begin to feel the unity with all of life, as one cohesive unit, and not a series of events.
You know the reason for action. You know the exactly reason for action.
You know what you want. You know exactly what you want. And you’ll feel the bliss associated with ability when you achievement that which you set out to obtain.
So members of the piano world, regardless of type of piano playing, are high-minded people. They set aside theirlime yellow tastes for the unfortunately necessary social mixer.
They understand the benefits of setting aside socializing for the higher purpose.
Piano playing is a social commitment. Social commitment. Creative commitment. grit, character, and vision count above most the current day’s challenges.
They set aside their social consoles for the greater good.
Piano playing is more than a hobby. It’s a way of life. A calling. A history. And a Dynasty.


CORONAVIRUS: 22Feb21 UpdateAll UK venues closed on 16th March 2020. After the Prime Minister's announcement it would appear that, subject to continued control of the virus, venues may re-open with social distancing and limits on audiences from 17th May. Social distancing restrictions may be removed from 21st June. We will continue to update our listings as much as possible to reflect the changes as/when they are reported.
Wales's leading dance company. Diversions presents Alternative Routes 2008. This distinctive âsecond seasonâ includes new work from some of the brightest and best choreographers and dancers currently working in Wales. This compelling tripe bill includes a special Taliesin Arts Centre commission for choreographer Joanne Fong to work with renowned violinist Rakhi Singh*. Two other emerging choreographers, Eleesha Drennan and Lee Johnston will work with designers from the Royal Welsh College of Music and Drama in unique collaborations formed through creativity and imagination. Alternative Routes is a co-production between Diversions; The Royal Welsh College of Music and Drama; Aberystwyth Arts Centre; Taliesin Arts Centre and Theatr Brychieniog. Donât miss it. Diversions Dance Company - Alternative Routes website
.Company The Dance Company of Wales.
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SEEKINGAccordion, Background Singer, Bagpipes, Banjo, Cello, Clarinet, DJ, Dobro, Electronic Music, Fiddle, Flute, Harmonica, Harp, Lead Guitar, Mandolin, Other, Other Percussion, Steel guitar, Ukulele, Upright bass, Violin, Vocalist, Vocalist - Alto, Vocalist - Baritone.
Mr. Fantastik is an international artist based in Vancouver, BC Canada. He was born in a historic town called Cape Coast, Ghana, the place enriched with its own history, music, and entertainment. Music and dancing are embedded in their own culture and daily living – fishing and farming.
At a very tender age, Mr. Fantastik lost his family. He became an orphan and ended up in Little Ashram, a village in Ghana called Asian Fasu where Vedas Spiritual Practice shaped and strengthened his spiritual growth. He practiced all kinds of yoga and focused on spiritual life self-discipline. At the age of ten, he moved back to his birth place, Cape Coast and joined the center for national culture, learning and talent development, AGRO company, where he realized that he was given a special gift of talent, not only writing and composing his own music at a young age, but to dance and do so many circus acrobatic tricks, the ability to feel and play any kind of instrument naturally.
Mr. Fantastik is a Reggae and Dancehall artist who fuses African and Jamaican influences and blends them with circus acrobatics, a must-see stage show. Having spent many years travelling internationally as a circus performer and acrobat, it is not unusual to see Mr. Fantastik blending his skills in Afro pop music, Afro folk music, Reggae Dancehall music, R&B and Hip hop. With his easy-going, charismatic stage manner, he has been consistently providing colorful, dynamic performance on every stage he has been invited to and grabbing the attention of numerous audiences in all ages and cultures.
As an international artist, Humanitarian activist and a yogi, Mr. Fantastik has been straddling the boundaries between Africa, Europe, the Caribbean and the U.S. organizing the workshops and performing shows and festivals to raise funds to build the centre for national culture learning and talent development for street kids in his hometown, Cape Coast, Ghana to motivate and bring hope to the future generations. This multi-talented performer has also shared the stages with the artists such as Alpha Blondy, Elephant Man, Morgan Heritage, Cat Power, Bonnie “Prince” Billy, Jose Gonzalez, Eddie Kenzo, Emmanuel Jal, the Tallest Man on Earth, Foy Vance, Lord Huron, and the Cat Empire, Cecile Doo-Kingue, the New Pornographers, Jojo Abot, Alpha Yaya Dialo, Tooth and the Maytals, Maxi Prast, Delhi to Dublin, Black Seeds, Tasman Jude and many others.
Named one of Africa’s Top 10 Global Stars by CTV, he has showcased his talent at the prestigious venues such as The Vogue Theatre Vancouver, BC, Granville Studio Records Vancouver BC, The Commodore Ballroom Vancouver BC and The Rio Theatre.
He has established his own musical and acrobatics, dance company, toured and played in many venues, festivals & TV shows, such as:
Jasper Folk Festival, Corona Whistler Beer Music Festival, Maple Ridge Caribbean Festival, North Vancouver Caribbean Days Festival, African Descent Festival (2018)
Burnaby Afro festival, Richmond World Music Festival, One Love Reggae Festival (2017)
Surrey Kids Festival, Victoria Ska and Reggae Festival, Calgary Folk Festival, Sound Wave Festival, Squamish Music Festival (2016)
Calgary International Reggae Festival, Panafest History Festival (toured Africa and beyond with a Ghanaian/Danish dance theater group (2015)
Vancouver Reggae Festival (2014)
So You Think You Can Dance Canada TV Show, Zionk D Kids TV Show (2013)
* Surrey Fusion Festival, Maple Ridge Caribbean Festival, North Vancouver Caribbean Days, African Descent Festival (2010-2018)
Forward Festival 2008
Mr. Fantastik continues on his journey of music, dance and acrobatics in North America with Jah request root life reggae band and has been recording over 60 mixtapes, EP’s, singles, and collaborating with other artists. Recently, he was on a tour to Ghana for radio and TV interviews about his Youth Foundation Program and music, and also recorded two hit singles – New Dancehall King and Ready and Steady that can be found on all online music shops.
“Life is with my super powerful energy” (Music is food for soul) is Mr. Fantastik’s quote. “We are music so let it play from the soul”.
- Screen name:
- Kaboom empire band
- Member since:
- Jun 01 2018
- Active within 1 month
- Level of commitment:
- Very Committed
- Years together:
- Gigs played:
- Over 100
- Available to gig:
- 1 night a week
- 42 years
Bob Marley Capleton Sizzla ,Anthony B
Done william, Vybz Kartel
Members Of Band
If i die young
If i die young Track number: 1 Year: 2018 Album: Single Genre: Reggae
Life Track number: 1 Year: 2018 Album: Single Genre: R&B
Froze them Track number: 1 Year: 2018 Album: Single Genre: Reggae
New dance hall king
New dance hall king Track number: 1 Year: 2018 Album: Single Genre: Reggae
Bumboclaat Track number: 1 Year: 2018 Album: Single Genre: Reggae
Mr Fantastik -Fusion festival Canada (Video)
Mr Fantastik -Fusion festival CanadamXxefZMwfL4
Mr Fantastik Band pratice (Video)
Mr Fantastik Band praticehDkoVa1nEwU
Mr Fantastik back stage lounge (Video)
Mr Fantastik back stage loungemeDwXk1zcMI


This Friday, moviegoers will head into theaters to enjoy Minions: The Rise Of Gru, which serves as the sequel to 2015’s Minions. Accompanying the animated film will be a soundtrack that contains songs from Diana Ross, Kali Uchis, BROCKHAMPTON, Thundercat, Yeat, RZA, Tierra Whack, Jackson Wang, and more.
Over the weekend, H.E.R. unveiled “Dance To The Music,” her contribution to the aforementioned compilation. As the title suggests, the Jack Antonoff-produced track sees the multi-talent getting the proverbial party started over some funky, upbeat vibes:
“All we need is a drummer, for people who only need a beat, yeah, I’m gonna add a little guitar, to make it easy to move your feet, baby, we should add some bottom, so that the dancers just won’t hide, you might like to hear my organ, I said ‘Ride, Sally, ride,‘ yeah, if I could hear the horns blowin’, baby, let me hear you blew, listen to me, oh, we’ve got a message, they’re sayin’, listen to the voices…”
Press play on “Dance To The Music” — and check out the full tracklisting for the Minions: The Rise Of Gru soundtrack — below.
Minions: The Rise Of Gru (Original Motion Picture Soundtrack) tracklist:
- “Turn Up The Sunshine” by Diana Ross and Tame Impala
- “Shining Star” by Brittany Howard feat. Verdine White
- “Funkytown” by St. Vincent Lyrics
- “Hollywood Swinging” by BROCKHAMPTON
- “Desafinado” by Kali Uchis
- “Bang Bang” by Caroline Polachek
- “Fly Like An Eagle” by Thundercat
- “Goodbye To Love” by Phoebe Bridgers
- “Instant Karma!” by Bleachers
- “You’re No Good” by Weyes Blood
- “Vehicle” by Gary Clark Jr.
- “Dance To The Music” by H.E.R.
- “Black Magic Woman” by Tierra Whack
- “Cool” by Verdine White
- “Born To Be Alive” by Jackson Wang
- “Cecilia by The Minions”
- “Bang Bang” by G.E.M.
- “Kung Fu Suite” by RZA
- “Minions: The Rise of Gru Score Suite” by Heitor Pereira
- “Rich Minion” by Yeat


ARABIC SUBTITLED SONGS provides Arabic songs with English subtitles. The page lists only a few songs at present, including one for Fairouz that our choir sings. Obviously more songs will be coming to this channel. While we cannot speak for the quality of the translation; it just just a cool attempt that will help many Arabic music fans.
ARABIC SUBTITLED SONGS


The season thirteen finale was one week we will never forget! For the final performance night,the Top 2 – Jena Irene and Caleb Johnson–sang three songs for America’s votes. The first round of songs were songs of their choice, the second were songs of the season, and the third round of songs were their potential winner singles.
Last night, Caleb Johnson was officially crowned the winner of American Idol season thirteen! The Top 12 returned to the stage to perform together one last time, the remaining contestants performed with KISS and Paramore, and Lady Antebellum, Demi Lovato, Jennifer Nettles, Jason Mraz , John Legend, Darius Rucker, and Phillip Phillips were the special guests for the evening.
Interviews with the Top 2, special guests, and judges from the grand finale are below. Are YOU happy that Caleb Johnson won?
Caleb Johnson’s debut album is set to be released on August 12, 2014 on Interscope Records.
Caleb Johnson Interview – American Idol XIII Grand Finale
Jena Irene Interview – American Idol XIII Grand Finale
Keith Urban Interview – American Idol XIII Grand Finale
Harry Connick, Jr. Interview – American Idol XIII Grand Finale
Casey Abrams Interview – American Idol XIII Grand Finale
Caleb Johnson Wins American Idol XIII – Full Press Conference
Jena Irene Exit Interview – Full Press Conference
Photos: Frazer Harrison/Getty Images


Uranus Recording Of Tempe
Recording Studio in Tempe, AZ
Recording and Music studio situated in Tempe, Arizona. World Class Music Producers available for any kind of recording project. Digital Recording studio featuring Pro Tools HD and huge live room. Historic Arizona recording studio features Neve and Manley microphone preamplifiers, pretty live music room for recording and music performance. Microphones include Nuemann, Shure, AKG and vintage ribbon microphones for recording any kind of musical instrument or recording session.


Song Pages and Searches
These pages show:
- where to find the song in our books (book, chapter, page #) - if it's in Rise Up Singing or Rise Again
- one of more YouTube links where you can listen to the song
- who composed the song (with links to their artist pages so you can see other songs composed or recorded by that artist)
- the song genre and culture of the song
- links to online information on the song (on Wikipedia, Mudcat Cafe, etc.)
The song search page enables you to find songs by:
- song title or first line
- "culture" (which means by language, religion, ethnicity, etc.)
- song genre (e.g. composed folk, traditional folk, blues, country, and various kinds of popular music)
We will be adding searches in the future by "show" (musical, film, TV) and topic/subject.
Note: you can often do a quick search for a song title using the search box (magnifying glass) in the upper right hand corner of any page.
The search currently does not seem to work for apostrophes and some other symbols. You don't have to enter the all of a title so focus on fewer words if possible.


Russian pianist Denis Matsuev, acclaimed for his formidable virtuosity and the controlled power of his playing, is the LSO’s featured artist this season.
He opens the 2014/15 series with two all-Russian programmes under the LSO’s outgoing Music Director, Valery Gergiev. Here he tackles Prokofiev’s dazzling Third Concerto, between Shostakovich’s best-loved symphony and the first in a symphonic cycle inspired by Dante’s 'Divine Comedy' by one of Shostakovich’s most prolific pupils.
Programme & Performers
Tishchenko Dante Symphony No 1 (‘Among the Living’)
Prokofiev Piano Concerto No 3
Shostakovich Symphony No 10
Valery Gergiev conductor
Denis Matsuev piano
London Symphony Orchestra
Also in this series:
Tue 23 Sep - LSO / Gergiev / Matsuev
Tue 11 Nov - LSO / Gergiev / Matsuev
Thu 13 Nov - LSO / Gergiev / Matsuev
Thu 19 Feb - LSO / Gergiev / Simovic
Tue 12 May - LSO / Gergiev / Znaider
Part of London Symphony Orchestra 2014–15


When: 11/16/2012, 7:30 pm
Location: Performing Arts Center
A free jazz concert is scheduled for 7:30 p.m. Friday, Nov. 16, 2012, in the PAC’s main performance hall.
Music aficionados will be treated to a medley of arrangements by Mic Gillette as well as classic soul hits from Tower of Power when the Thursday Night Band and the Bayou Big Band host Jazz @ Lee College.
“Jazz @ Lee College is a semi-annual concert hosted by the Thursday Night Band, formerly the Lee College Jazz Ensemble, and the Bayou Big Band,” explained Dr. Ken Booker, director of instrumental music at Lee College, and conductor of the Thursday Night Band, a credit course dedicated to the performance of “big band” music.
“These joint concerts actually began more than 10 years ago,” Dr. Booker continued. “At that time, my colleague, Dennis Eichler, was serving as director of both the Lee College Jazz Ensemble and the Bayou Big Band, and had established a series of on-campus concerts. When I took over the ensemble, I was happy to carry on the tradition.”
Each year the groups host two major concerts highlighting jazz specialists and well-known soloists. The Nov. 16 concert will feature a special performance by renowned trumpeter Mic Gillette.
A distinguished performer, recording artist, educator, and music advocate, Gillette’s five-decade career includes horns work with Cold Blood, Tower of Power and Sons of Champlin. Additionally, he has been featured on countless albums for artists including Santana, The Rolling Stones, Sheryl Crow, the Doobie Brothers, Quincy Jones, Rod Stewart, Elton John, and others.
As an educator, Gillette established “Music in Schools,” a program dedicated to helping struggling music programs nationwide keep their doors open, and continues to teach, record, arrange and perform in his home state of California.
“Dennis has always made an effort to secure jazz artists with national stature for each of our fall concerts,” Dr. Booker continued. “Additionally, we have been very fortunate over the years to have the support of Mike Spletter and the Campus Activities Board. Without the efforts of these two men, we would not be able to bring these great artists to our campus.
“As for Mic Gillette, he’s simply a spectacular player,” Dr. Booker continued. “Many of us became familiar with his work through Tower of Power, and since then he has developed a reputation as one of the best in the business, who is also known for his outreach to students. We are truly looking forward to having him here, not only to hear him play, but to offer our students an opportunity to work with an artist who has been ‘in the business’ for decades.”


There aren’t many drummers in the world more famous than Buddy Rich. He was one of the first few drumming celebrities, and he’s still considered one of the greatest drummers to ever live.
He had a long and successful musical career that saw him performing with jazz legends and then becoming one himself. To this day, people still analyze his playing to figure out all the crazy things he did.
We’re going to give you a brief breakdown of Buddy Rich’s life, the artists he worked with, his gear, and his playing style.
- 1 Notable For
- 2 History
- 3 Notable Artists That Buddy Rich Played With
- 4 Drumming Style
- 5 Gear
- 6 Personality
- 7 Notable Performances
- 8 Final Thoughts on Buddy Rich
- Being a world-famous drummer throughout the 20th century
- Having incredible speed behind the drum kit
- Being a strong advocate for traditional grip
- Playing mind-blowing drum solos
- Influencing thousands of drummers
- Having a short temper and being unlikeable to many people who worked with him
Buddy was born in Brooklyn, New York, and he was playing drums by the time he was a toddler. He was already touring with bands when he was a teenager, and he ended up becoming the second-highest-paid child entertainer in the United States.
He performed all over the world for the rest of his life, playing big band gigs and appearing in movies and TV shows.
He was primarily a jazz drummer, and he performed with several jazz legends over his lifespan.
Unfortunately, he died from a brain tumor in 1987, which was discovered in the middle of a tour. He was playing gigs right until the end, and his legacy has remained larger than ever in the drumming industry since his death.
Notable Artists That Buddy Rich Played With
Gene Krupa was the other largely famous jazz drummer that appeared on TV shows alongside Buddy Rich. The two of them worked on several projects together, and they’re typically noted as two of the earliest influences when it comes to drum kit playing.
Dizzy Gillespie was an incredible trumpet player, and he performed with Buddy Rich on a few projects. Their gig together at the Grande Parade du Jazz festival in 1978 is a particular highlight.
Louis Armstrong and Ella Fitzgerald
While Buddy Rich was always the center of every band he played in during his later years, there was one album that he did with Louis Armstrong and Ella Fitzgerald, where he mostly played brushes.
It’s called Ella and Louis, and it’s a bit of a hidden gem. You see a different side of Buddy’s playing, and it’s highly musical.
The Buddy Rich Big Band
The Buddy Rich Big Band was the most notable project that Buddy was a part of. This was his band, and dozens of guest jazz artists came to perform with him.
He would travel the world with this band, and people ended up coming to the shows just to see Buddy Rich’s skills in action.
The Buddy Rich Big Band is still going strong, and they typically get guest drummers to perform with them.
Buddy Rich’s drumming style showed a combination of immense speed, exciting power, and immaculate control over his technique. When watching videos of him playing, it’s amazing to see how much control he has over everything he is doing.
While he’s mostly known as the drummer who played crazy things all the time, he was a tremendous timekeeper as well. When you listen to albums where he sits in the background, you can hear how tightly he keeps all the musicians together.
The one aspect of his playing that most people always go back to is his speed. He was known for playing lengthy drum solos, and he always played fast patterns around the kit that would turn anyone’s head when hearing or seeing them.
Buddy Rich was a big advocator of traditional grip. While he occasionally used matched grip, he was very strong in his opinion that using traditional grip was the “correct” way of playing the drum set.
While Buddy Rich was always using Zildjian cymbals, he played a few different drum brands throughout his career.
He was mostly playing Ludwig drums toward the end of his career, and he played Slingerland and Rogers drum kits before that. He also regularly used a Fibes snare drum.
One of the downsides of Buddy Rich’s legacy is that many people have stated that he was an awful person to be around. He was very hardheaded, and his perfectionist approach often came across as arrogant and brash.
He would regularly get into fights with people that he worked with, and the members of his big band came out and said that he was quite militant in his ways.
With that being said, a lot of the people that he fought with still had a great appreciation for him. One of the most notable artists with this view was Frank Sinatra.
Buddy Rich Impossible Drum Solo
This is perhaps one of the most famous videos of Buddy Rich playing the drums. He played drum solos like this all the time, and throughout the whole thing, you can see his incredible skills being displayed.
It’s also crazy to think that he was ripping solos like this at retirement age.
Here’s a clip of Buddy Rich playing with a big band. He takes more of a supportive role here, but you can still see how effective his playing was within a band setup.
Gene Krupa and Buddy Rich Drum Battle
Here’s one of the collaborations between Gene Krupa and Buddy Rich. It’s a special part of drumming history, as these are two of the most famous drummers to play the instrument performing together on stage.
Final Thoughts on Buddy Rich
Buddy Rich isn’t everyone’s cup of tea. A lot of drummers prefer to take influence from jazz drummers like Max Roach and Elvin Jones. However, you can’t understate just how much of an effect Buddy Rich had on the music industry.
He may have had a difficult personality to deal with, but his playing ability was out of this world at the time. Many people still consider him to be the best drummer to ever live, and that’s saying something, considering the large number of drummers that are well-known these days.


Venerable guitarist Ernest Ranglin, the godfather of ska and an architect in reggae’s creation, will celebrate his 90th birthday on June 13. Prior to reaching that milestone, the self-taught patriarch of popular Jamaican music (and one of the finest jazz guitarists in the world) will release a new album, Two Colors (May 27, Tad’s Record), a collaboration with another Jamaican luminary, saxophonist and Two Colors producer Dean Fraser, 64.
Ranglin and Fraser have impeccably woven ska, reggae, jazz and other styles into their instrumental compositions for the album. “I wrote new songs because I am playing with young men, so I don’t want to put too much old something on there,” laughed Mr. Ranglin during an interview with Billboard at his home in the hills above Ocho Rios, Jamaica, in late March. The friendly, silver-haired guitar maestro exudes the warmth of a beloved uncle or grandfather. Turning to Fraser seated next to him, Ranglin added, “I have admired this man from when I first met him. He is the tops in this business and it’s an honor to be associated with him on this recording.”
The admiration is reciprocal, notes Fraser, whose prodigious talents are heard on innumerable Jamaican artists’ albums as a musician, arranger, producer, even back-up vocalist. “When I listened to what Mr. Ranglin wrote, it sounded everlasting. I treaded waters that I’m not used to, hoping to reach a level that blends with this rock star; I thank him again for even considering me and making this album possible.”
Tad’s Record founder Tad A. Dawkins, Snr. had long wanted to make an album with Ranglin; the 2020 pandemic lockdowns provided that opportunity. “We knew Ernie was here in Jamaica, so Dean contacted him for us, and it worked out,” explained Tad A. Dawkins Jr., inside Tad’s International Recording Studio in Kingston, Jamaica, where he produced Two Colors with Fraser. “For me, growing up, Ernest Ranglin was a god and in his signature stamp, he gives you ska, reggae, jazz, a little bit of everything.”
Protecting a near nonagenarian from a virus that has disproportionally impacted the elderly meant stringent precautions had to be taken in Ernie’s recording sessions. “We recorded at two different studios,” explained Fraser. “Mr. Ranglin scored his songs, and I took them to Kingston, recorded them with the other musicians (at Tad’s Studio). With the help of bass player Dale Haslam, who coordinated everything so well for this project, we took those tracks back to the studio in Ocho Rios and Mr. Ranglin played his part. For the songs I wrote, I returned to Ocho Rios then taught Ernie his part. That’s how Two Colors was made.”
Time hasn’t diminished Ranglin’s nimble, genre-spanning approach. He delivers awe-inspiring staccato riffs on “Lightning From De East.” His buttery chords and fluttering embellishments color the cool jazz meets reggae track “Papa R” and the album’s first single, “De Ranglin,” (featuring a spoken intro by veteran toaster Big Youth). “Rangos” evokes the landmark ska instrumentals of the early 1960s but played at a less frenetic pace. Highlighted by the stylish interplay between Fraser’s syncopated sax work and Ranglin’s fluid fingerboard stylings, “Rangos” premieres here.
Hailing from a family of gifted guitarists, Ranglin showed a precocious interest in the instrument; by age four, he was playing a ukulele given to him by his uncles. Born in 1932 in the inland parish of Manchester, Ranglin moved to Jamaica’s capital, Kingston, and at fourteen he dropped out of school to further his guitar playing, studying instructional books and watching as many musicians as possible. In 1948 he joined Val Bennett’s Orchestra, performing a repertoire of jazz, swing, Broadway show tunes and Caribbean standards. As he gained greater renown, popular Jamaican bandleader Eric Deans recruited Ranglin; following a performance with Deans in Nassau, Bahamas, the father of modern guitar, Les Paul, was so impressed by Ranglin’s abilities that he gave him a guitar and remained a lifelong fan.
Ranglin admits to having been a jazz purist for a time, but due to the negligible financial returns, he ventured into Jamaica’s recording industry in the late 1950s and became one of the most in-demand musicians within Kingston’s studio circuit. As an A&R at Coxsone Dodd’s Studio One, considered Jamaica’s Motown because so many reggae artists started out there, Ranglin created the off-beat skat guitar strum that defines ska and, likely, gave the genre its name. “Back then, we listened to Bill Doggett, Louis Jordan, people who played that rhythm and blues shuffle,” Ranglin recalled. “One night, I sat down with Coxsone, I was playing that same shuffle, but putting more jazz influence into it, trying to make something different and from that, we created that off-beat guitar stroke; the next morning, we went in the studio and recorded the first ska songs.” Ska was the progenitor of Jamaica’s rock steady and reggae; the latter, says Ranglin, resulted from his increasing rock steady’s tempo but making it slower than ska.
Ranglin led the 1963 Studio One session that yielded The Wailers’ first hit “Simmer Down” and he played guitar on the single’s B-side, “It Hurts to Be Alone,” both written by Bob Marley. Marley was so enamored with Ranglin’s talents he later offered him a job for life as his guitar teacher. “Bob really wanted me to travel with him, not as his guitar player, but teaching him how to do arrangements, so he could arrange for his band,” Ranglin stated. “I was touring with Jimmy Cliff at the time, so I had to turn down the job.”
Chris Blackwell featured Ranglin’s playing on one side of the debut album released by his then fledgling Island Records in 1959, Lance Haywood Live at the Half Moon Hotel, Montego Bay. Ranglin was Island’s first A&R; following Blackwell’s suggestion, he moved to London in 1964, where he arranged and played guitar on Millie Small’s “My Boy Lollipop,” produced by Blackwell, which reached No. 2 on the Billboard Hot 100 and introduced ska internationally. That same year he began a nine-month residency at Ronnie Scott’s Jazz Club, where his fans included Jeff Beck and Eric Clapton; he was named best jazz guitarist in Melody Makers magazine readers’ poll. Blackwell calls Ranglin “the most important musician to have emerged from Jamaica.”
For an astonishing eight decades Ernest Ranglin has brought his incomparable musicianship to countless recordings and the world’s most prestigious stages. He continues to seek new ways to elevate his music and the music of his country. “You aren’t going to cook the same meal every day, you’ll want to do something different to make it more exciting so we can’t keep playing our music the same way,” he says. “I still listen and try to hear something in the playing or the composition that catches me right away, and if I do, I am going to use it.”


A medley of seven stirring songs from Les Miserables, one of the most popular and successful West End Musicals of all time. Arranged here for SATB (Soprano/Alto/Tenor/Bass) Choir and Piano, by Ed Lojeski.
The rousing chord changes and soaring melodies featured in the songs from Les Miserables are arranged here in one continuous, crowd-pleasing medley. The piece will take the audience on a journey through all the biggest and best tunes from the musical, including I Dreamed A Dream, On My Own and Do You Hear The People Sing?.
The brilliantly composed songs from the internationally-acclaimed show are timeless classics, enjoyed by people of all ages and all tastes. Your choir will love singing these songs, with their delightfully uplifting spirit, while your audience will fall in love with the inspirational harmonies and lyrics. The arrangement is not too difficult for most amateur choirs and it allows for a good mix of solo opportunities for those shiver-down-your-spine moments.
To bring the spirit of the French Revolution to your SATB choir, this innovative Les Miserables Medley is the perfect combination of awesome melody and enjoyable harmony. An excellent performance piece, you and your audience will love this.
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Easy Modern Organ Music: Anthology: 1-2 Organ
Organ Music In Russia: 1
Winners Galore: Clarinet Part
Sarabande Et Allegro:Clarinet & Piano (Leduc)
Fun And Games With The Treble Recorder (Alto Recorder): Book 2: Tutor Book
4 Trumpet Tunes: Organ
Easter Music: Organ: Album
Voluntary Choice: Book 1: Organ
Progressive Organist: 1
Wedding Music For Trumpet and Manuals
Wedding Music For Trumpet and Organ
New Music For Organ: 1


Richard and Sylvia performed some songs from The Jesus Story and The Peter Story on Saturday 29 April 2017. This was a concert in aid of Ingoldsby Church. The Group Choir gave a splendid performance of other songs.
Time to Reflect – Music for an April Evening
with Richard and Sylvia Rice-Oxley and The North Beltisloe Group Choir


Anthemic Pop/Dance music with big lead synths and builds.
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dance, pop, electronic
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THE PEOPLE MUST DANCE Start 2022 the right way Friday January 21st at The Aardvark, Fremantle. 8-LATE The Bambuseae Rhythm Section invite you to celebrate the release of their debut EP titled Heliostepper. An expansive and exploratory dive into the mysteries of Space and Love. With a night of fantastic live and local music. Joined by the ever effervescent Beleza Samba crew led by none other than nationally acclaimed percussionist Michael Boase. Be compelled to move to the hypnotic beat of this formidable force of dance. Then be transported into the lofty realms of luscious electro-pop by Boox Kid in band form with heart felt story teller Jared Wall at the helm. Weaving soothing evocative vocals, dreamy synth-pop overtones and grounded grooves to create not just a performance but an immersive and etherial musical experience to sweep you off your feet. We will then be reaching the peak of the crescendo as Bambuseae take the stage with their hard hitting party set in celebration of the release of the Heliostepper EP. A blend of some of their new and seasoned dance tracks. It’s no secret that everyone has deserved the right to dance off the dust of 2021 and Bambuseae would love to do it with you at this very special occasion. Presale - $15+bf Tix on the door $20 Presale link will be uploaded very soon! Music from 8-LATE, bring all yer mates.
Pre-sale $15+bf Door sales $20


Ramblings on politics, technology, culture and poultry.
Wednesday, March 30, 2016
Review of 'Burlesque'
Unbelievably, Netflix gave this 4.5 stars. Execrable dialogue, lame and predictable plot, squeaky-clean burlesque club where the healthy and apparently wealthy dancers are all one big happy family...mainly an opportunity for Christina Aguilera to sing and dance with few clothes on.
I have a soft spot for Cher, though I can no longer remember why. Has she actually ever been in any good films?
Almost embarrassed to post this review because it means I'm admitting that I watched the film.