Jazz musicians join to help Jenkins Institute
The News Review:
- Jazz musicians join to help Jenkins Institute
- Ween: A weird musical parody picks up steam
- Rock ‘n’ Revolution
- Zongoman out with ‘lootocracy’
- The ten most dangerous
Jazz musicians join to help Jenkins Institute
Charleston Post Courier – Nov 11, 2007
“I’m proud to be from Charleston and proud of Jenkins for continuously doing an outstanding job of providing for supporting and helping children. “He describes his style as eclectic. “I’m a jazz musician who at times incorporates R&B smooth jazz pop rock and reggae into my music. Lately I have been concentrating on playing straight-ahead jazz and smooth jazz when I perform. “Baxter who is also an adjunct professor of music at the College of Charleston spoke about his and Mouzon’s style one evening last week at FIG restaurant. He had a meeting there shortly before his regular gig at Charleston Grill but there was casual conversation too. The historical nature of the Nov.
Ween: A weird musical parody picks up steam
Seattle Post Intelligencer – Nov 11, 2007
Known for walking that uncomfortably divisive line between “comedy music” (think Weird Al) and young self-important rock music Ween’s ambiguous tone manages to alienate everyone but devout fans. Since 1992 when the duo’s peculiar munchkin-voiced song “Push th’ Little Daisies” became a reluctant single Ween has attracted a demographic of cultish fans who call themselves “Weenheads. ” In the eyes of the rest of the music world the band was banished to respectful dismissal. Yet without any major singles or publicity stunts the band’s brand-new album “La Cucaracha” debuted at No. 69 on the Billboard Album Charts the highest debut in the band’s 20-year-plus career. Moreover they’re selling out 3000-seat venues and getting some of the best reviews of their career (along with some of the worst). Like all Ween albums “La Cucaracha” is built on eccentricity and eclecticism… Moreover they’re selling out 3000-seat venues and getting some of the best reviews of their career (along with some of the worst). Like all Ween albums “La Cucaracha” is built on eccentricity and eclecticism. Because the band’s approach is one of parody its genre-of-choice hops from country to reggae to mariachi to Elton John’s piano balladry. The singing style is a seamless hybrid of earnest wailing and jokey imitation. At one point David Sanborn the smooth-jazz saxophone-playing nemesis of rock fans solos over a song. But when Mickey “Dean Ween” Melchiondo praises Sanborn saying “We always said we’re never going to have horns on a Ween record unless we can get David Sanborn” it’s impossible to know if the joke is on Sanborn the fans or nobody. Following suit the new album’s lyrical style is deadpan absurdity.
Rock ‘n’ Revolution
nytimes.com – Nov 11, 2007
It was hard to tell if the government had finally worn them down or if — despite their conscious intentions — they had somehow served their historical purpose. Topical protest music can rapidly turn into an artifact; the people involved are gone the causes won or lost the slogan grown irrelevant. By the 1990s reggae and hip-hop had outflanked rock as global protest music although rockers like Bruce Springsteen still lead arena-size protest singalongs. Like much music written under authoritarian regimes the Plastic People’s songs may well hold double-entendres and sidelong references that attentive local listeners could glean at the time. But their music is more a mood than a manifesto; its bitter sardonic disquiet lingers.
Zongoman out with ‘lootocracy’
ghanaweb.com – Nov 11, 2007
The 40-year-old London based dreadlock artiste threw his audience into boogieing as numbers on the album with the title track “Lootocracy” were played. He had coined the term “lootocracy” to describe the looting of state resources by unscrupulous political administrators to the detriment of and at the expense of the poor. Born in Accra and raised in Northern Ghana the artiste a native of Wa the capital of the Upper West Region fused his childhood experience political upheavals in post independent modern Ghana and his travels abroad in the album which has 13 songs in all. Some of the songs are: ?Babylon Intro? ?Watch and Pray? ?Holy Land and Adam’s Will? ?Yahoo Lootocacry? and ?Babylon Throne Gone Down?… He sang “Bawaa? in the native Wali language of the Wa area of the Upper West Region. Nasamu in an interview with the Ghana News Agency expressed much worry about the abuse of political power and malfeasance which had plunged a number of African countries into the depths of poverty. Much as he would not enter into active politics Nasamu agreed that politics was inseparably linked with music and the musician was the voice of the voiceless; he would continue to use music to offer constructive criticisms and keep politicians on their toes.
The ten most dangerous
Guardian Unlimited – Nov 11, 2007
Jah Cure Jamaica’s baddest reggae star was sentenced to 15 years in 1999 for raping a woman at gunpoint. Released on parole in July Cure was due to play in the UK last month but was refused an entry visa due to his criminal conviction. Varg VikernsThe man behind black-metal Norsemen Burzum enjoys church burning and is currently doing time for murdering Mayhem’s ystein Aarseth in 1993. Due for release next year despite escaping – briefly – with enough firearms to ‘pass for a commando.
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