Freedom Rhythm Sound

This is a unique collection of cover artwork of revolutionary Jazz releases in the USA in the 1970s, a time of great political and social importance for African-American artists. Martin Luther King, Malcolm X and John Coltrane loom large as self-determination, economic power and musical freedom led to artists finding new paths - both musical and economic. Away from the mainstream, many of these musicians chose to 'take control' of their economic worth by recording, releasing and distributing their own material. Thirty years later and these artefacts are a striking reflection of the time; pre-desktop publishing, pre-internet these small-run (sometimes as low as 500 copies), self-made sleeves are as iconic and historically important as the revolution of D-I-Y culture that sprang out of Punk. Soul Jazz Records have produced many releases relating to this music and this book is the first ever collection of this amazing artwork. The book comes with a large introduction contextualising the music and artwork and relating how the music came about along with interviews with many of the people involved.

An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

A gripping narrative that captures the tumult and liberating energy of a nation in transition, Sweet Soul Music is an intimate portrait of the legendary performers--Sam Cooke, Ray Charles, James Brown, Solomon Burke, Aretha Franklin, Otis Redding, and Al Green among them--who merged gospel and rhythm and blues to create Southern soul music. Through rare interviews and with unique insight, Peter Guralnick tells the definitive story of the songs that inspired a generation and forever changed the sound of American music. This enhanced edition includes: Exclusive video footage prepared specifically for the enhanced eBook that has never been seen before. Rare audio clips.

(Guitar Educational). This revolutionary approach to chord-tone soloing features a 52-week, one-lick-per-day method for visualizing and navigating the neck of the guitar. Rock, metal, blues, jazz, country, R&B and funk are covered. Topics include: all 12 major, minor and dominant key centers; 12 popular chord progressions; half-diminished and diminished scales; harmonic minor and whole-tone scales; and much more. The accompanying audio tracks feature demonstrations of all 365 licks! Written by Troy Nelson, author of the #1 bestseller Guitar Aerobics and former editor-in-chief of Guitar One .

INTEGRATED PRACTICE: COORDINATION, RHYTHM & SOUND proposes a new approach to musicianship, health, and wellbeing. Containing dozens of exercises and supported by an extensive online library of video and audio clips, INTEGRATED PRACTICE offers tools for instrumentalists, singers, and conductors to use music itself as their guide toward unity and freedom of mind and body.

Let's give ourselves an A for effort. We keep our minds so preoccupied with work projects that we act and think on autopilot. We keep our kids so occupied with activities that they need day planners before grade school. We keep our schedules so full with church meetings and housekeeping and even entertaining that down-time sounds like a mortal sin. When we fail to rest we do more than burn ourselves out. We misunderstand the God who calls us to rest--who created us to be people of rest. Let's face it: our rest needs work. Sabbath recalls our creation, and with it God's satisfaction with us as he made us, without our hurried wrangling and harried worrying. It also recalls God's deliverance of the Israelites from Egypt, and with it God's ability to do completely what we cannot complete in ourselves. Sabbath keeping reminds us that we are free to rest each week. Eighteen months in Tel Aviv, Israel, where a weekly sabbath is built into the culture, began Lynne M. Baab's twenty-five-year embrace of a rhythm of rest—as a stay-at-home mom, as a professional writer working out of her home and as a minister of the gospel. With collected insights from sabbath keepers of all ages and backgrounds, Sabbath Keeping offers a practical and hopeful guidebook that encourages all of us to slow down and enjoy our relationship with the God of the universe.

The art of the mix creates a new language of creativity. "Once you get into the flow of things, you're always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about."—Rhythm Science The conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science—the creation of art from the flow of patterns in sound and culture, "the changing same." Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world. Miller constructed his Dj Spooky persona ("spooky" from the eerie sounds of hip-hop, techno, ambient, and the other music that he plays) as a conceptual art project, but then came to see it as the opportunity for "coding a generative syntax for new languages of creativity." For example: "Start with the inspiration of George Herriman's Krazy Kat comic strip. Make a track invoking his absurd landscapes...What do tons and tons of air pressure moving in the atmosphere sound like? Make music that acts a metaphor for that kind of immersion or density." Or, for an online "remix" of two works by Marcel Duchamp: "I took a lot of his material written on music and flipped it into a DJ mix of his visual material—with him rhyming!" Tracing the genealogy of rhythm science, Miller cites sources and influences as varied as Ralph Waldo Emerson ("all minds quote"), Grandmaster Flash, W. E. B Dubois, James Joyce, and Eminem. "The story unfolds while the fragments coalesce," he writes. Miller's textual provocations are designed for maximum visual and tactile seduction by the international studio COMA (Cornelia Blatter and Marcel Hermans). They sustain the book's motifs of recontextualizing and relayering, texts and images bleed through from page to page, creating what amount to 2.5 dimensional vectors. From its remarkable velvet flesh cover, to the die cut hole through the center of the book, which reveals the colored nub holding in place the included audio CD, Rhythm Science: Excerpts and Allegories from the Sub Rosa Archives, this pamphlet truly lives up to Editorial Director Peter Lunenfeld's claim that the Mediawork Pamphlets are "theoretical fetish objects...'zines for grown-ups."

“A Haitian grandmother and granddaughter share a holiday, a family recipe, and a story of freedom. . . . A stunning and necessary historical picture book.” —Kirkus Reviews (starred review) The shake-shake of maracas vibrates down to my toes. Ti Gran’s feet tap-tap to the rhythm. Every year, Haitians all over the world ring in the new year by eating a special soup, a tradition dating back to the Haitian Revolution. This year, Ti Gran is teaching Belle how to make Freedom Soup just like she was taught when she was a little girl. Together, they dance and clap as they prepare the holiday feast, and Ti Gran tells Belle about the history of the soup, the history of Belle’s family, and the history of Haiti, where Belle’s family is from. In this celebration of cultural traditions passed from one generation to the next, Jacqueline Alcántara’s lush illustrations bring to life both Belle’s story and the story of the Haitian Revolution. Tami Charles’s lyrical text, as accessible as it is sensory, makes for a tale that readers will enjoy to the last drop.