Monthly Archives: October 2013
Date = 8 October 2013
Musician’s Name = Wadada Leo Smith
Genre = Jazz/classical
Title = Ten Freedom Summers
Record Company: Cuneiform
Review = Wadada Leo Smith initially recorded in the late 1960s with the likes of the Art Ensemble of Chicago, Muhal Richard Abrams, Anthony Braxton, and other musicians associated with the Association for the Advancement of Creative Music (AACM). He has participated in more than a hundred recording sessions and has released over twenty albums as leader. Yet despite his decades of activity, the number of his recordings, and the awards he has won, including a Guggenheim, Smith is not widely known, possibly because his music is generally considered avant-garde, a mode that attracts few listeners. Ten Freedom Summers (2011) has increased his visibility. A four-CD set, it has been much touted in the jazz press. Largely as a result of this release, Musica Jazz (Milan) designated Smith the 2012 international jazz musician of the year.
Francis Davis has compared Ten Freedom Summers with John Coltrane’s A Love Supreme; Thom Jurek, with Duke Ellington’s Black, Brown, and Beige and Max Roach’s Freedom Now Suite. I think Wynton Marsalis’s Blood on the Field is the best comparison. Usually considered a jazz oratorio, Marsalis’s work, which focuses on the lives of two slaves, lasts for over three hours. Presumably offering musical interpretations or depictions of key events in the history of civil rights in the United States, Smith’s composition requires almost five hours to perform. (Its premiere in Los Angeles was spread over three evenings; recording it took three days.) In both pieces, writing is more important than soloing, though musicians improvise on both. Despite probably being technically ineligible for the award, Blood on the Field won the 1997 Pulitzer Prize for Music; a finalist for the 2013 Pulitzer, Ten Freedom Summers did not win the award. Yet it strikes me as more listenable and possibly more ambitious, though less jazzy, than Marsalis’s work. Divided into nineteen sections—each a discrete piece–Smith’s composition is performed by two groups: Southwest Chamber Music, a nonet conducted by Jeff von der Schmidt, and the Golden Quartet/Quintet (trumpet plus rhythm section, with a second drummer sometimes added), though members of the latter occasionally play with the chamber group.
Smith focuses mainly on events that occurred during the decade following the 1954 Supreme Court decision Brown v. Board of Education, but does not limit himself to this period: He ranges chronologically from Dred Scott v. Sandford (1857) to the 2001 terrorist attacks on the United States. Among the selections are “Emmett Till: Defiant, Fearless,” “Rosa Parks and the Montgomery Bus Boycott, 381 Days,” and “Martin Luther King, Jr.: Memphis, the Prophecy.” Smith advises that “none of these pieces are meant to simply be listened to.” Matthew Sumera, who wrote the notes to the CDs, interprets Smith’s comment as meaning that this music “is not intended for disinterested listening—it is a demand to America to fulfill its democratic promise.” What does this mean? What is America’s democratic promise? “Life, liberty, and the pursuit of happiness”? “Liberty and justice for all”? While these are fine, noble ideals, is attaining them within the realm of possibility? Will we know if the democratic ideal has been attained? And precisely how does Smith’s music demand fulfillment of this promise? What kind of action does it propose? Or does the nature of the action matter? Neither while listening to the music nor when pondering it later did I feel inspired to become a social activist or to assist people less fortunate than I more than I do already. Though I support everyone’s civil rights and at one time belonged to groups that also do, and though I am frequently moved by music, I am unmoved by the supposed call of Ten Freedom Summers for political action, probably because I do not comprehend such a call. Does this mean that Smith’s music has failed? Does it mean that I have not listened to it as I should? Both? Does Sumera interpret Smith’s words correctly?
Smith explains his goal in other terms: “In composing Ten Freedom Summers, I tried to achieve a creative expression through music of the psychological impact of the Civil Rights movement on American society.” This statement—as much aesthetic as political–is different from demanding fulfillment of the democratic ideal. Though Smith correctly observes that the civil rights movement affected the America psyche profoundly—could anyone disagree?–I cannot say that this music reminds me of the civil rights movement generally or of any of its events, even though I recall many of the events vividly because I was sympathetic to the cause as an adult the 1960s. Yet the composer characterizes his ultimate goal as “creative expression.” Without question, he expresses himself creatively; but after listening to this music I perceive no connection between it and the civil rights movement or the movement’s impact on American society. Two selections illustrate the nature of his work.
“Black Church” surprises. I would characterize this piece played entirely by the Southwest Chamber Music string section as intellectual rather than emotional, though it is not without feeling. It is, as the name of the group indicates, chamber music. Totally absent from it is even a hint of raucousness, of foot stomping, of passion, of letting loose. The church depicted here is not sanctified. Instead, this selection apparently portrays a church that is subdued, reflective, and dignified, a place where a tambourine is not played. In popular culture, this schism between the unrestrained and the sedate black church is central to the plot of the movie St. Louis Blues(1958), for example. So what does Smith intend to suggest about the black church? Might he mean that there are many kinds of churches patronized by blacks and that in “Black Church” he characterizes one that values somberness and quiet reverence, one that is more passive than active? Does he imply that, to him, at least some black churches favor, say, Thomas A. Dorsey’s “Take My Hand, Precious Lord” or even Samuel Coleridge-Taylor’s cantata “The Atonement” rather than Edwin Hawkins’s “Oh, Happy Day”? I do not understand how this piece constitutes a call to political action, nor do I see how it reflects “the psychological impact of the Civil Rights movement.” Attractive music? Yes. Political music inspired by an institution or a historical event? Not that I can tell.
“The Freedom Riders Ride” also surprises, but not to the degree that “Black Church” does. Knowing the title and that freedom riders, black and white, rode interstate buses in 1961 to challenge Jim Crow laws in the South, one can imagine historical events while listening to it. About half this piece performed by the Golden Quartet is tranquil, especially for four minutes at the beginning. Does this seeming serenity suggest the activists’ mood at the start of the ride? I would expect these people to have been tense, even afraid. Do the somewhat hectic final four minutes represent confrontations between the riders and their adversaries, including beatings? How is one to know? Does knowing matter? As with “Black Church,” “The Freedom Riders Ride” does not move me to political action; without knowing what this piece is about, I would not have been able to identify the event the composer intended to commemorate, to sense that it concerns any aspect of civil rights, or to think that it has to do with anything at all.
If one listened to Ten Freedom Summers ignorant of its political context, it would please on a strictly musical level. It may be enjoyed in the same manner as A Love Supreme and Black, Brown, and Beige when the listener is unaware that Coltrane’s performance reflects his spiritual questing and that Ellington intended his composition to suggest aspects of blacks’ history in the United States. Response to Freedom Now Suite is necessarily different from that to these two pieces, though, because its beauty and meaning are inextricable, and the message is obvious because of the screaming of Abbey Lincoln and the words she sings. On a strictly musical level, I, unlike the Pulitzer committee, find Blood on the Field ponderous, all but unlistenable; it strikes me as an example of a political message explaining and conceivably redeeming uninspired music, of politics trumping aesthetics. Despite Smith’s comments about Ten Freedom Summers and Matthew Sumera’s explanation of them, this work may be enjoyed, as I appreciate it, as a composition of various parts mainly in the classical mode. If listeners find a correlation between it and extra-musical events, fine; if not, then also fine. Smith writes attractive music that at least in this case does not warrant the term avant-garde. It might not even warrant the term jazz, as traditionally defined, because it lacks such elements as a driving rhythm section, backbeats, soloists’ interplay, blues feeling, and so forth. What matters is the music, not the label attached to it. The music speaks for itself. Trust it, not the words of its creator or his interpreter.
Author = Benjamin Franklin V
LW |
TW |
Artist Title (Label) |
TW SPINS |
LW SPINS |
Weeks on Chart |
Spin +/- |
Stations |
|
1 |
1 |
Cody Johnson Ride With Me (CJB) |
1,353 |
1,259 |
10 |
+94 |
68 |
|
3 |
2 |
Will Hoge Strong (WH) |
1,227 |
1,144 |
10 |
+83 |
73 |
|
2 |
3 |
Josh Abbott Band She Will Be Free (Pretty Damn Tough Records) |
1,215 |
1,182 |
17 |
+33 |
72 |
|
5 |
4 |
Green River Ordinance It Ain’t Love (GRO) |
1,184 |
1,082 |
16 |
+102 |
69 |
|
4 |
5 |
Kyle Park Fit For The King (Indie/Thirty Tigers) |
1,150 |
1,105 |
11 |
+45 |
75 |
|
7 |
6 |
Reckless Kelly The Last Goodbye (No Big Deal) |
1,044 |
955 |
10 |
+89 |
72 |
|
6 |
7 |
Mark McKinney Stolen Cash (Texas Evolution) |
1,028 |
970 |
12 |
+58 |
69 |
|
9 |
8 |
Wade Bowen Songs About Trucks (AMP/Sea Gayle) |
951 |
850 |
6 |
+101 |
61 |
|
11 |
9 |
Bri Bagwell Hound Dog (BB) |
919 |
827 |
13 |
+92 |
62 |
|
8 |
10 |
Phil Hamilton Back of a ’73 (Winding Road) |
868 |
929 |
18 |
-61 |
55 |
|
13 |
11 |
No Justice Songs On The Radio (Carved Records) |
826 |
773 |
14 |
+53 |
60 |
|
17 |
12 |
Jason Boland & the Stragglers Electric Bill (Proud Souls Ent.) |
817 |
657 |
4 |
+160 |
64 |
|
16 |
13 |
Kevin Fowler How Country Are Ya? (Kevin Fowler Records) |
813 |
677 |
4 |
+136 |
66 |
|
20 |
14 |
Randy Rogers Band Speak Of The Devil (MCA Nashville) |
799 |
635 |
5 |
+164 |
62 |
|
14 |
15 |
John Slaughter Hasn’t Everyone (Winding Road) |
783 |
771 |
11 |
+12 |
55 |
|
10 |
16 |
Josh Ward Promises (Buckshot Records) |
735 |
829 |
16 |
-94 |
55 |
|
18 |
17 |
Rich O’Toole I Love You (PTO Records) |
694 |
653 |
11 |
+41 |
53 |
|
25 |
18 |
Turnpike Troubadours If You’re Gonna Play in Texas (Lightning Rod Records) |
678 |
557 |
4 |
+121 |
57 |
|
22 |
19 |
John David Kent Until We Turn Around (Blackland/Roustabout) |
640 |
618 |
10 |
+22 |
52 |
|
19 |
20 |
Bart Crow Loving You’s a Crime (Smith Ent.) |
640 |
640 |
11 |
—– |
51 |
|
12 |
21 |
Aaron Watson Summertime Girl (Thirty Tigers) |
628 |
821 |
18 |
-193 |
47 |
|
30 |
22 |
Mario Flores Let Your Lonesome End With Me (MF) |
570 |
456 |
6 |
+114 |
46 |
|
24 |
23 |
TJ Broscoff This is the Moment (BGM Records) |
569 |
560 |
9 |
+9 |
46 |
|
21 |
24 |
Curtis Grimes Home to Me (CG) |
567 |
633 |
21 |
-66 |
40 |
|
29 |
25 |
Six Market Blvd. Mailbox (Vision Ent.) |
534 |
490 |
8 |
+44 |
48 |
|
26 |
26 |
Clayton Gardner Something About You (CG) |
530 |
504 |
13 |
+26 |
45 |
|
28 |
27 |
Matt Caldwell I Know Mexico (MC) |
527 |
493 |
12 |
+34 |
51 |
|
15 |
28 |
Chapter 11 w/Aubrey Lynn England Whiskey and You (C11) |
502 |
713 |
16 |
-211 |
47 |
|
31 |
29 |
Granger Smith Miles and Mud Tires (GS) |
492 |
438 |
3 |
+54 |
53 |
|
32 |
30 |
The Statesboro Revue Huck Finn (Vision Ent./Shalley Records) |
491 |
438 |
4 |
+53 |
45 |
|
23 |
31 |
Zane Williams Overnight Success (ZW) |
463 |
599 |
20 |
-136 |
40 |
|
33 |
32 |
Brandon Jenkins Tattoo Tears (Smith Ent.) |
445 |
419 |
10 |
+26 |
42 |
|
34 |
33 |
Brandon Rhyder Pray The Night (Smith Ent.) |
444 |
418 |
6 |
+26 |
45 |
|
N |
34 |
Josh Grider Smallest Town on Earth (AMP) |
418 |
248 |
1 |
+170 |
40 |
|
35 |
35 |
Shane Smith & The Saints Coast (SSS) |
406 |
396 |
7 |
+10 |
43 |
|
39 |
36 |
Rankin Twins Jezebel (RT) |
400 |
362 |
7 |
+38 |
47 |
|
43 |
37 |
Deryl Dodd Loveletters (Smith Ent.) |
395 |
345 |
5 |
+50 |
39 |
|
42 |
38 |
Mark Allan Atwood One Horse (MAA) |
392 |
348 |
5 |
+44 |
36 |
|
48 |
39 |
Charlie Montague Beautiful Noise (CM) |
385 |
305 |
8 |
+80 |
42 |
|
37 |
40 |
Taylor Hodak Band Good Man (THB) |
381 |
383 |
9 |
-2 |
38 |
|
41 |
41 |
George Ducas White Lines and Road Signs (GD) |
378 |
349 |
4 |
+29 |
37 |
|
38 |
42 |
Chris Brazeal Band Sounds Like Home (CBB) |
369 |
370 |
3 |
-1 |
35 |
|
49 |
43 |
Jake Kellen Jesus and Hank (Horny Toad Records) |
358 |
302 |
2 |
+56 |
45 |
|
44 |
44 |
Cameran Nelson Reckless in Texas (CN) |
357 |
331 |
2 |
+26 |
34 |
|
50 |
45 |
Charlie Robison Brand New Me (Thirty Tigers/Jetwell, Inc.) |
336 |
261 |
2 |
+75 |
38 |
|
45 |
46 |
The Dusty Smirl Band Mine For The Mile (TDSB) |
319 |
310 |
2 |
+9 |
39 |
|
46 |
47 |
LiveWire Whiskey Sunday (Way Out West Records) |
310 |
309 |
6 |
+1 |
31 |
|
36 |
48 |
Thieving Birds In the Summer (TB) |
306 |
392 |
15 |
-86 |
33 |
|
R |
49 |
Saints Eleven Man in the Water (SE) |
306 |
239 |
3 |
+67 |
26 |
|
PHOTO COMING SOON |
N |
50 |
Kris Gordon Triple on the Double (Frio Records) |
263 |
222 |
1 |
+41 |
33 |
Copyright © 2013, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX
Kim Robins project, “40 Years Late”, is a breath of fresh air.
It appears that Kim has spent her time not only honing her craft, but also finding her voice and knowing exactly who she is as a singer.
You will not hear someone trying to imitate other female singers, or singing in the rafters, on this recording. Instead, you will hear a woman with a mid-range, bluesy, voice that puts you in the mood for some good traditional bluegrass and classic country.
Kim has surrounded herself with an ensemble of, to say the least, solid musicians. Appearing on the project are Don Brummett, Michael Cleveland, Mike Curtis, Jeff Guernsey, Nathan Livers, Lynn Manzenberger, Seth Mulder, Butch Robins, Mark Stonecipher, and Richard Torstrick. Providing harmony vocals throughout the project are fellow Indiana residents Misty Stevens, singer, songwriter, and leader of her own band, and Kent Todd, singer and fiddle player with Blue Mafia.
The title cut of this project, written by Kim, is so well penned that many listeners will easily relate to the song. The lyrics of this song are honest and will hit home with, not only singers that are chasing the dream of success later in life, but also everyone that has had to put their dreams on hold for other choices.
While I cannot pick one song to call my favorite, because I actually have quite a few on this project, I enjoy Kim’s upbeat tribute to Connie Smith with “I’ve Got My Baby On My Mind”. Kim states that she spent many hours trying to imitate Smith’s voice until her Dad told her to “sing like yourself”. Advice many singers should follow and advice I am glad Kim took.
Another song on the project that caught my attention is the duet “The Last Thing On My Mind” that Kim performs with Jeff Guernsey. While many artists have recorded this song, Kim and Jeff’s voices complement each other so well, that I found myself replaying this tune numerous times and just enjoying the harmony.
Read the rest of this CD review at Music Charts Magazine’s favorite Bluegrass website here: http://prescriptionbluegrassreviews.blogspot.com/2013/05/prescription-bluegrass-reviews-kim.html#more
SANTA MONICA, Calif. (Oct. 4, 2013) — The GRAMMY Foundation® (www.grammyfoundation.org) announced today that GRAMMY®-nominated band Fall Out Boy will perform a benefit concert in support of the GRAMMY Foundation’s GRAMMY in the Schools® music education programs on Friday, Nov. 29 at Metro in Chicago. The show also celebrates the Record Store Day limited-edition vinyl release of Pax•Am Days, an album containing eight new furious ’80s-influenced punk songs produced by Ryan Adams. The band will be playing the full release as part of the show. Tickets are available only at metrochicago.com beginning at 12 p.m. ET on Oct. 5. General admission tickets are $46 per person.
“We are so fortunate to have Fall Out Boy lending their time and talents to raise funds for the GRAMMY Foundation,” said Neil Portnow, President/CEO of The Recording Academy® and the GRAMMY Foundation. “Not only will their support generate significant resources for us, but they are also helping to give greater visibility to our GRAMMY in the Schools music education programs for high school students and schools.” Save Rock And Roll is the fifth studio album from the GRAMMY-nominated band Fall Out Boy and features the multiplatinum hit “My Songs Know What You Did In The Dark (Light Em Up)” and the new hit “Alone Together.” Save Rock And Roll debuted at No.1 on the Billboard 200 and reached No.1 on iTunes in 27 countries upon its release in April. The album marks the band’s second No.1 debut, following 2007’s Infinity On High. Hailing from Chicago, Fall Out Boy — Andy Hurley (drums), Patrick Stump (vocals/guitar), Joe Trohman (guitar), Pete Wentz (bass) — have appeared on the cover of Rolling Stone and other prestigious publications. They have performed on “America’s Got Talent,” “Conan,” “Jimmy Kimmel Live, “Late Night With Jimmy Fallon,” “Late Show With David Letterman,” “Saturday Night Live,” the “Today” show, “The Tonight Show With Jay Leno,” and “The Voice,” among others. The band just finished their second sold-out tour of 2013, performing in arenas in support of Save Rock And Roll.
The GRAMMY Foundation was established in 1989 to cultivate the understanding, appreciation and advancement of the contribution of recorded music to American culture. The Foundation accomplishes this mission through programs and activities that engage the music industry and cultural community as well as the general public. The Foundation works in partnership year-round with its founder, The Recording Academy, to bring national attention to important issues such as the value and impact of music and arts education and the urgency of preserving our rich cultural heritage. In recognition of the significant role of teachers in shaping their students’ musical experiences, the GRAMMY Foundation and The Recording Academy are partnering to present our first Music Educator Award. Open to current U.S. music teachers in K through college, the Music Educator Award will be given out during GRAMMY Week 2014. For more information about our music education programs, please visit www.grammyintheschools.com. For breaking news and exclusive content, please like “GRAMMY in the Schools®” on Facebook at www.facebook.com/grammyintheschools, follow the GRAMMY Foundation on Twitter @GRAMMYFdn at www.twitter.com/GRAMMYFdn and join us on Instagram @GRAMMYFdn.
Second round of tour dates sold out immediately; More than 120,000 total tickets sold today
As previously announced, Strait will continue to record new music for longtime label home MCA Records and will perform select dates across the country after The Cowboy Rides Away Tour has wrapped. For more information, please visit www.georgestrait.com.
About Fred’s Country program:
Le program Fred’s Country: La musique Country de Tradition avec Frederic (Fred) Moreau. Le program Fred’s Country est diffusé sur 65 fréquences FM, 54 radios ou webradios.
Radio Show Host: Fred Moreau
Program Fred’s Country w40-13 – 4 octobre 2013 à 15:00
Music Charts Magazine is proud to be friends with Mr. Moreau and glad to now be one of the many to host Program Fred’s Country. ( French/English)
The Latin Recording Academy®, Eventus and Univision Bring the Excitement and Flavor of The Latin GRAMMY Experience to Local Hispanic Communities Across the United States
The Latin Music Festival Series is Presented by McDonald’s® and 7UP®, Along with Official Sponsors Kellogg’s® and Lowe’s®
WHO: Regional Mexican artists La Original Banda El Limón, Son Kimika, Tierra Cali, Julio Reyes, and Voces del Rancho to perform.
WHAT: The second installment of the Latin GRAMMY® Street Parties of 2013 will take place on the Streets of Phoenix, AZ. These free events capture the excitement surrounding the Latin GRAMMYs by offering an interactive traveling festival series for all music fans to enjoy, and include live entertainment, sponsor display areas, and product sampling.
WHEN: Sunday, Oct. 6, 2013 12 (Noon) PT
WHERE: The Streets of Phoenix N. 16th St. between E. Granada Rd. and E. Oak St. Phoenix, AZ.
INFO: The 14th Annual Latin GRAMMY Awards will be broadcast live on the Univision Network from the Mandalay Bay Events Center in Las Vegas on Nov. 21 (8 p.m. Eastern/7 p.m. Central). For more information, please visit www.latingrammy.com.
Recognized as the only national Latin music festival series, the Latin GRAMMY Street Parties will continue throughout select Sundays in October and November with stops in Los Angeles on Oct. 20, Dallas on Oct. 27, and will culminate in Hialeah, Fla. on Nov. 10.
The Latin Recording Academy is an international, membership-based organization comprised of Spanish- and Portuguese-speaking recording artists, musicians, songwriters, producers and other creative and technical recording professionals. The organization is dedicated to improving the quality of life and cultural condition for Latin music and its makers. In addition to producing the Latin GRAMMY Awards to honor excellence in the recorded arts and sciences, The Latin Recording Academy provides educational and outreach programs for the Latin music community. For more information about The Latin Recording Academy, please visit LatinGRAMMY.com. For breaking news and exclusive content, follow @LatinGRAMMYs on Twitter, like “Latin GRAMMYs” on Facebook , and join the Latin GRAMMYs’ social communities on Foursquare, Google+, Instagram, Pinterest, Tumblr, and YouTube.
Music Charts Magazine Presents – “NEW DISCOVERY” – “Taylor Watson” – for the month of October 2013.
Looking for some “New” music to add to your player and can’t find anything that blows you away?
Check out this Music Charts Magazine “NEW DISCOVERY” Interview with singer/songwriter “Taylor Watson” and be prepared to be excited knowing there is still 100% awesome music out there that you still have not heard.
After you listen to this great interview showing you the ins and outs of Taylor Watson ( a girl that hails from the Denver, Colorado area and now lives in music city Nashville, Tennessee ), we are sure you will be glad you found this “New Discovery” to add to your music playlist.
For booking, interviews, or just to say Hi! Contact Taylor Watson at her Facebook site:
- http://
www.facebook.com/ taylorwatsonmusic - http://
www.reverbnation.com/ taylorwatson - http://
www.twitter.com/ taywatsonmusic - http://
www.instagram.com/ taylornwatson - http://
www.youtube.com/user/ TayWatsonMusic
Music Charts Magazine proudly presents “NEW DISCOVERY” for the month of October 2013 “Taylor Watson“
LISTEN to “NEW DISCOVERY” Interview with Taylor Watson HERE:
Music Charts Magazine Presents “New Discovery” Taylor Watson – Interview by Award winning DJ Big Al Weekley
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Copyright © 2013, the Texas Music Chart. Used with permission from Best In Texas Music Marketing LLC, Houston, TX