Tommy Emmanuel – Fingerstyle Guitar Music Legend

There are very few guitar players worthy of C.G.P. (Certified Guitar Player) status. As the founder of that elite club, Chet Atkins should know! And when Chet Atkins calls you “without a doubt, one of the greatest guitar players on the planet”, you know you’re doing something right. Tommy Emmanuel has been doing many things right for over four decades, wowing audiences of musicians and non-musicians alike throughout the world. Like fellow guitar pickers extraordinaire Chet and Mark Knopfler, Emmanuel seems to possess that sixth sense when it comes to framing a melody on the guitar fretboard. His arrangements never sound clunky, forced, or contrived. Instead, they afford the listener a clear channel into the heart of the fingerstyle guitar music he performs.

Born in 1955 to a musical family, Tommy began playing guitar at the tender age of four. He was originally taught by his mother for the purpose of accompanying her on lap steel guitar, but it didn’t take long for his own interest in the instrument to surface. Emmanuel can clearly remember the first time he ever heard Chet Atkins at the age of seven and it had a profound impact on him. He spent countless hours trying to decipher Atkins’ complex fingerstyle guitar approach. Before he was 10 years old, he’d already earned years of experience as a professional musician traveling with his family, performing across Australia. Tommy played mostly rhythm guitar at this time, while his brother Phil (also an accomplished guitarist) played lead. The brothers rarely attended school until forced to do so by the Australian Department of Education.

Tommy’s father died of a heart attack when he was only 11 years old. Consequently, the Emmanuel siblings (including his brother Chris on drums and sister Virginia on slide guitar) earned the household’s sole income for years. Shortly after his father’s premature death, Emmanuel wrote a letter to “Mr. Guitar” (Chet Atkins himself) and was shocked when he received a letter back. Although it would still be years before their first meeting in person, the two grew to become friends and Chet became Tommy’s mentor. Around the age of 14, Emmanuel moved to Sydney to pursue a full-time music career of his own. He quickly found work in several bands and before long found himself in demand as one of the hottest session guitarists in town. He performed on recordings by “Air Supply” and “Men At Work” to name a few. He also lent his talents to countless commercials and TV shows. In 1980, Emmanuel finally made the trip to the US, meeting and playing with Chet for the first time. Since then, Mr. Guitar has done much to help his career for which Tommy is eternally grateful.

Emmanuel’s first solo album, “Up From Down Under” appeared in 1987 and numerous subsequent releases enjoyed great success in his native Australia. In 1996, he recorded “The Day Fingerpickers Took Over The World” with Chet Atkins for which he received his first Grammy Award nomination. Since then his popularity has continued to grow worldwide, no doubt spurred on by his performance at the 2000 Olympic Games in Sydney. He released his first solo acoustic guitar album “Only” in 2001, beginning a trend that many fans have long been waiting for.

With increased exposure in the media all the time, Emmanuel’s fan base continues to expand like never before. Performing close to 300 concerts a year, Tommy is right where he wants to be – sharing his love for music and the guitar with the rest of us! Fortunately for aspiring guitarists, Tommy has gone on to publish numerous guitar tab books and DVD courses that teach his solo fingerstyle guitar arrangements and the techniques that he uses to play them.


Source by Steve M Herron

Developing a Classical Piano Repertoire and Building a Music Library

One need not be a concert pianist to take the time and effort to develop a substantial repertoire. What does “repertoire” mean anyway? In short, repertoire is a body of works or songs that forms the pianist’s core or foundation. (Technically, a “song” has lyrics while a “work” or “piece” has no lyrics. The word “song” is often misused.) Many pianists believe that one must keep all pieces “under the fingers” or readily playable at all times and that this constitutes one’s repertoire. I believe, however, that repertoire implies something more all-encompassing. Let us now examine the term and explore the most efficient ways to develop, expand, and nurture it:

Five Golden Rules of Building a Substantial Piano Repertoire

1. Practice, practice, practice

2. Micro-cycle works you are currently practicing

3. Macro-cycle works throughout your life

4. Consider that no work is ever “finished”

5. Constantly add books and sheet music to your library

The first rule of practicing hardly needs explaining. To become better and more proficient at anything, one must do it, do it often, and love doing it with all one’s heart and soul. Tiger Woods did not become a great golfer by nibbling on snacks and watching TV. The world’s best surgeons did not get there by hanging out in bars and drinking beer. Likewise, an aspiring pianist wishing to have fun and success playing hundreds of songs or works will never get there by neglecting to practice on a regular basis. Ideally, one should practice not out of obligation, but rather out of the love of music and heart-burning desire to improve.

The second rule of micro-cycling works constitutes the pianist’s short-term plan, which may range anywhere from a few weeks to several months or perhaps a year at the most. This is what most people imply with the word “repertoire”, since it is the timeframe in which one could sit down at any time and play (preferably from memory) a set number of works. I have found the best results for micro-cycling by focusing on about five works at a time. For example, I will often spend an entire week practicing exclusively one work (like a Joplin rag), the next week exclusively another work (like a Mozart sonata), and the next week exclusively another work (like a Liszt étude). Then, I may not even touch them at all for two months and, upon returning to one of them, it feels like “meeting an old friend” which accelerates its re-learning phase. What once took a week to accomplish now takes only a couple days. Ideally, the pianist should strive to learn, forget, and then relearn works in monthly, weekly, and daily cycles. This is the eternal and never-ending plan I follow when practicing and preparing for my YouTube videos.

The third rule of macro-cycling works constitutes the pianist’s long-term plan, which may range anywhere from one to ten years. A thirteen-year-old just starting out usually does not realize that what is learned in these formative years sets his/her musical foundation for life. Writing this article at the age of 47 and having begun piano at the young age of 6, I am constantly amazed at just how resilient and powerful the human brain really is. For example, I began practicing Mendelssohn’s “Rondo Capriccioso” this week after it had lain dormant and totally untouched for 27 years, and I was shocked when it came back to me memorized again in only three days. What took as long as three months to learn well at the age of 20 took me only three days to relearn as well or better at the age of 47. This is one of the intriguingly satisfying aspects about music and piano repertoire. All music ultimately remains in your conscience and forms your “musical identity” until the day you leave this earth. It is never too late to learn piano, develop a repertoire, and tap into the power of one’s musical memories. After I work on the “Rondo Capriccioso” for a week and record it for YouTube, I will most likely not touch it again for several years.

The logical successor to the third rule of macro-cycling is the fourth rule of considering a work to never be finished. When I was a freshman music major in college at the young age of 18, I thought works became “finished” after performing them in a recital or concert. My usual plan of action was to work on a set number of pieces for a semester or year, “finish” them, and then move on to the next pieces my professor assigned. Now at 47 I can’t help but smirk at my youthful innocence. As demonstrated with my “Rondo Capriccioso” experience, I have learned through time that no work will ever be finished. Never. Micro- and macro-cycling piano repertoire is the bread of the pianist’s musical life. These cycles continue until the end just like food and water. I am constantly resurrecting works once thought to be finished, and never have I been more content with my musical evolution and progress.

While the first four rules constitute the mental or immaterial components of developing a large piano repertoire, the fifth rule of constantly adding books and sheet music to one’s library constitutes the physical or material component. Just as one cannot wash dishes without first buying or acquiring plates, cups, and utensils, a pianist will never succeed in developing a large repertoire without buying or acquiring printed music. Most people refer to all printed music as “sheet music”, however, this is really a misnomer. Technically, “sheet music” refers to single works of up to about four pages at the most. For example, I recently ordered “My Heart Will Go On” from my preferred music company, Sheet Music Plus. (Although I am primarily a classical pianist, I also enjoy practicing pop music from time to time.) Being a single title, it is correctly referred to as sheet music. On the other hand, William Bolcom’s “Complete Rags For Piano”, which I also ordered from Sheet Music Plus, is not sheet music at all but rather a “music book” or “music volume” because it is thick and contains 21 titles. (Please excuse me for this clarification, but the term “sheet music” is often misused.)

I love my music library and still play from books I have had since the age of 10. I always find new books and sheets to buy, cherish, and add to my library. I am constantly branching out and exploring new repertoire. In the age of the internet, the use of free PDFs has become far too rampant in my opinion. PDF printouts often last only a few weeks at the most because they get lost or torn so easily. I do rely on free PDFs sometimes, however, 98% of my music library consists of sheet music and books I paid for. Although any music published before 1922 is in the public domain, and thus legally free to everyone, one is cheating oneself by relying too heavily on free PDFs. Books last a lifetime and can be used and reused until the end of one’s life. Refusing to buy music and trying so desperately to get it all for free is like eating from paper plates and plastic utensils. A pianist will never formidably expand his/her repertoire without acquiring the physical accessories (i.e. books) along the way. Let us conclude with a story.

Once when I taught piano at a college, a student came to his lesson with the first movement of Beethoven’s “Appassionata” copied on twelve thin sheets of fax paper. They did not stay on the music rack and constantly fell onto the floor. This went on for a whole semester until I almost ripped out all my hair and suffered a coronary. Forever thereafter, I forbade the use of PDF printouts in my studio and began encouraging students to buy the music from a store like I did when I was in college (pre-internet days, imagine that!). Had my student invested a little money in a volume of Beethoven’s sonatas (as much as it costs to go to a movie and order popcorn), he would have had the “Appassionata” as well as thirty more great sonatas for the rest of his life. However, instead of investing in his future he chose the cheap way. The moral of the story is that quality and longevity prevail and that it is in one’s own best interest to develop and nurture one’s music library throughout the course of one’s life. The immaterial and material work in unison. Physical and non-physical. Yin and Yang. (In Chinese philosophy, the “yin” or “feminine” equates to the immaterial or ephemeral aspect of practice and cycling while the “yang” or “masculine” equates to the material accessories like music books and sheets.)

So there it is in a nutshell: practice, micro-cycle, macro-cycle, no work is ever finished, constantly add music to one’s library. These are the five golden rules of building a substantial piano repertoire. Thank you for your time, and happy practicing!


Source by Cory Hall

How Music Bands for Corporate Shows Get Popular

The real success of a music band for corporate show depends on their popularity i.e. how much they are remembered and referred. The more people remember the goodness of music gigs and the atmosphere of a music group performing live, the more will be the demand of that band.

At corporate events, music is one of the central aspects. The venue, the likes and dislikes of the audience, the agenda of the event, etc. play a decisive role in the style of music that would be played live. The quicker a music band for the corporate show is able to figure that out the better, as it will help them to compose their music gig accordingly. As a result, not only the audience will be able to enjoy the music to the fullest, the band too can perform with full confidence.

There are a few ways a music band for corporate show can increase their popularity

  • Quality of music – Good music, simply, has no substitute. Take a moment to look at numerous musicians who made massive music careers in their lifetime. Delivering good music to the right audience is the success formula they derived from years of hard work and dedication. The same goes for music bands for corporate shows. This is the reason why the bands performing live try to put up original compositions and stage acts that later become their signature. For instance- mashup music or mashup songs became a trend after music bands started experimenting with an urge to create something different and unique.
  • Appoint a manager – Several top music bands for corporate shows have appointed bodies for managing their business, who sometimes provide creative inputs too. Both individuals and organizations are included in this list.
  • Build a band image – Building an image of the music band is as important as delivering great musical gigs. If the audience can categorize the band as a prototype, it is likely they will find some way to relate to the band. At corporate shows, the audience remains engaged in business activities for most of the part. Hence, music groups performing live at corporate events must pay attention to every detail that builds their image as a professional body that has sophistication, etiquettes and style to entertain in the high-scale corporate audience. For instance, the music band for corporate shows might maintain a dress code, play distinct soothing genres of music at special hours, set the lighting scheme, background score and dance performances, etc. to build a particular type of image.
  • Promotion – By promoting their music in video or audio format and by engaging in print and digital advertisement, a music band for a corporate show can gain popularity.
  • The audience connection – At events like corporate shows, there is an air of formality and mannerisms that bands had to comply by, which, at times, causes difficulty for bands to connect with the audience and entertain them. To become popular in the corporate circuit, music bands for corporate show need to be really good in this.

Lastly, it must be said that even with the formal air, guests at corporate shows can get ecstatic if the band succeeds to strike the right chord. After all, whatever be the issue, people want to relax, unwind, enjoy and take home some memories they can cherish. A good music band has to ensure all of these.


Source by Sanjiv Roy

Country Music Videos

Country music used to be associated with cowboys and cowboy singing ballads under a setting sun. However, all you have to do today is watch one of the thousands of country music videos to realize how the country western image has changed. Country music offers fans all kinds of performing artists like Johnny Cash dressed in black singing about his prison days, or Shania Twain's sassy, ​​country rock. Country music means a lot of different things to a lot of different people and you can see it all on video.

In the US there are at least three cable network dedicated to the genre of country music. CMT, VH-1 Country and GAC are broadly followed by music enthusiasts in the nation. These stations feature country music videos, and they offer entertainment programming that includes the history of country music and the latest gossip about country music stars. One stations featured the Country Music – Music Awards and the best music video of the year went to "As Good As I Once Was," by Toby Keith, directed by Michael Salomon.

If you ever make you way to the Country Music Hall of Fame in Nashville, Tennessee you can view live videos in a theater like set presented by hosts like bill Cody. These videos present artists who have defined country music in the past as well as today. A new show is taped and performed live each week. While visiting this famous landmark, you can also tour the historic RCA Studio B where superstars like Elvis Presley, Chet Atkins, Eddy Arnold and the Everly Brothers once recorded.


Source by Ross Bainbridge

Pump Up the Volume! The Link Between Music and Sales in Retail

Most people would agree that music can affect our mood. But did you realize that it can also affect our behavior? Among other things, it can affect the length of time you choose to spend in a shop. There have been many studies done on music in retail environments, and they all conclude that it's a powerful tool! – Just think about it, if music did not affect a shoppers mood, every shop would play the same music or none at all!

Generally shops that target older shoppers may play "elevator" type music at a lower volume, while stores that target a youngger age group look for more upbeat music played at a higher volume. Matching the music to your customer's age encourages shoppers to spend more money in the shop.

Do you remember the song line "hooked on a feeling?" Well, It really happens. For example, during the Christmas season most shops play Christmas music. This helps the customers stay in the state of Christmas euphoria all month long and links them back to happy childhood memories of Christmas time, a time of innocence and still believing in the miracle of Santa Claus rather than the wonder of MasterCard …!

So it looks clear that music can be used by retailers as a way to identify your stores and affect a shopper's mood, to make them feel happy, nostalgic or relaxed so that they linger (and spend money …)

So, the next obvious question is: What's your music style? Is it consistent? Or do the staff dictate what you play so it's a fractured offering? Do you go from Jack Johnson to AC DC, or have you already recognized this and looked at playing different music at different times of day to enhance sales?

But How can we use music to enhance sales? I hear you ask?

Slow-tempo music encourages consumers to linger. So slow music is a great strategy for a gift shop or clothes retailer, where the long shoppers are in the store, the more they buy whereas fast music actually speeds customers up.

Matching the music to your product ups sales. If you're looking to encourage sales of, say, French wine, research shows that playing French music significantly boosts sales. Just take a minute and think about possible ways that you could use this to your advantage in your retail environment?

White noise works too! It does not just have to music, Silent retail environments make customers nervous, so injecting a low hum of white noise puts them at ease psychologically. It's like a third person is present in the shop shifting the emphasis from them.

Some stores, that see music as integral to their brand have partnered with a record label to bring out CD's of their style of music. Which brings a whole new idea to a lifestyle store …! If you're regularly complimented on your music choice could you consider putting together a compilation album for your customers – in this technological age it does not need to cost a lot! Pottery Barn in the states do this so successfully!

So to recap, music is a good thing in your shop. However, radio is not good. Local radio is very bad (for sales) even if the proprietor may love the local radio station!

Music affects your customers mood and even their decision about how long to spend in your shop – longer times in shops equals more money spent, so let's get those compilation party mixes on the I-Pods!


Source by Rachel Parkin

Subliminal Messages in Music

Have you ever listened to Stairway to Heaven?

“If there’s a bustle in your hedro don’t be alarmed now”

…now what does this mean?

Subliminal messages in music are in many songs and in Stairway to Heaven should you play the previously mentioned line backwards, it is claimed you will hear someone saying “I’ve been a bad boy, 666 satan”. These messages in music are often put there for strictly entertainment purposes.

Rumor has it that Led Zeppelin – the band that wrote and performed Stairway to Heaven – put these subliminal messages in the music they wrote because at the time, when someone played their record backwards enough, they had a strong likelihood of destroying their record and thus having to purchase another one would result in more sales.

More sales resulted in Led Zeppelin holding the number 2 spot in record sales. Subliminal messages in music were mastered by the Beatles. The Beatles have many subliminals in the music they wrote and most famously in “Come Together”. Come together is cleverly named, and is said to talk about sex with John Lennon.

Other notable artists with notable subliminal messages in music that were written include Britney Spears. Britney Spears, at a young age stated that she was a virgin and would stay that way until she got married. However in her song “I’m not that innocent” there is a section which when played backwards produces “Sleep with me I’m not too young”.

Subliminal messages in music can be used to allow someone to look a certain way to those that know the music and tell their real message to their fans. Take for instance Queen’s “Another One Bites the Dust”. When played normally, it tells the story of warriors getting killed in battle, but when played backwards it talks about how fun it is to use drugs.

Subliminal messages in music will increase as long as rules and regulations are in place on what musicians can write about. After all, they wouldn’t be good at their job if they didn’t rebel!


Source by Trevor John

Role of Music Therapy in Dementia

Dementia:

Dementia is a progressive neurologic disorder that changes behavior, diminishes cognition, and deteriorates memory due to a disease or injury. Some causes of dementia which may or may not be reversible are brain injury, use of certain medications, hypoglycemia, hypothyroidism, immune disorders, vitamin B12 deficiency, excess alcohol intake, and smoking. The common types of dementia are Alzheimer's disease, Lewy body dementia, and vascular dementia.

The most pronounced effects of dementia are on memory and visual-spatial. Some psychological and behavioral expressions that can manifest are aggression, agitation, depression, wandering, restlessness, and trouble eating or swallowing. During the late stages of disease, difficulty in swallowing can result in breathing food into the lungs that may lead to aspiration pneumonia.

Treatment:

The symptoms associated with behavior and psychology affect patients and their caregivers. Available pharmacologic treatments used to treat behavior have little benefit and significant risks. Due to increased risk of mortality associated with these drugs, the FDA has issued warnings against their use especially in elderly patients. The Dementia Action Alliance encourages integrated approach to focus on a person's behavioral and psychological expressions rather than following general practices.

In a holistic approach patient-specific behavior is identified and modified to eliminate conditions which contribute to a specific behavior. A targeted approach provides patient activity program and builds skills that simplify communication and tasks. Various therapies that have been used to support a person living with dementia are music therapy, art therapy, reality orientation, aromatherapy, and cognitive behavioral therapy.

Music therapy:

It is a health profession in which music is used as a therapy to improve mental, physical, and social wellbeing of an individual. It helps to balance spiritual and emotional needs of an individual to improve quality of life.

The qualified music therapist provides treatment based on individual patient's needs and may include playing musical instruments or video games, singing, dancing, song drawing, listening to music, and / or multisensory stimulation. It can be provided as individual or group therapy, however studies have shown more positive results with group therapy. Active therapy engages patient with direct participation while passive therapy allows patient to listen to music or engage in another activity. Active therapy has been found to be more helpful in improving physical functions of the patient like grasping an object.

Credentialing of music therapist:

Music therapy is a health profession based on evidence. The therapist must earn at least a bachelor's degree, complete 1200 hours of internship and obtain MT-BC credential issued by the Certification Board for Music Therapists to become a certified music therapist.

The therapist may hold different designs like Certified Music Therapist, Advanced Certified Music Therapist, or Registered Music Therapist. He must obtain continuing education credits and hold licenses in states that require board-certification to safeguard competent practice.

Impact of music therapy:

When we listen to music different parts of brain become stimulated. For instance, music stimulates amygdala which is involved in processing of emotions. Dancing and playing an instrument involves motor cortex which controls movement. Musical experiences excite hippocampus which is responsible for memory and spatial navigation. It increases blood flow in the brain, strengthens executive functions, supports heart, improves communications, and reduces stress.

Studies have shown the positive effect of music therapy on psychological and behavioral symptoms of dementia. A study by Ozdemir L et al., 2009 [1] improved cognition and reduced depression and anxiety with continued effect for three weeks following the completion of study in mild dementia. Another study by Li CH et al., 2015 [2] showed that cognition in music therapy group was reduced less as compared to the control group and change of abstraction domain in the music therapy group was better.

Numerous other studies have been done using different assessment instruments like Mini-Mental State Examination, Geriatric Depression Scale, Beck Anxiety Scale, Hamilton Anxiety Scale Scale, Clinical Dementia Rating, Cognitive Abilities Screening Instrument, and Neuropsychiatric Inventory. Several studies have shown promising results in the form of decreased anxiety, positive emotional states, and increased relaxation.

It has the potential effect to enhance the quality of life, improve neuropsychiatric symptoms, and reduce symptoms like cognitive decline and depression. It benefits patients who have difficulty communicating or expressing themselves in words. This, in turn, strengthens patients' abilities and transfers it to other areas of their lives.

Conclusion:

A clinician can play a role in facilitating collaboration with specialists and other healthcare professionals to implement music therapy. Researchers have demonstrated that music therapy can protect cognition, executive function, psychomotor speed, and autobiographical and episodic memories and can yield high levels of patient and caregiver satisfaction. Additional clinical trials will add evidence to support the positive effect of music therapy. Multisensory stimulation with dance, art, video game, and physical exercise seems an exciting and promoting approach.

References:

1. Ozdemir, L, and N Akdemir. "Effects of Multisensory Stimulation on Cognition, Depression and Anxiety Levels of Mildly-Affected Alzheimer's Patients." Journal of the Neurological Sciences. , US National Library of Medicine, 15 Aug. 2009, www.ncbi.nlm.nih.gov/pubmed/19289242/ .

2. Fang, Rong, et al. "Music Therapy Is a Potential Intervention for Cognition of Alzheimer's Disease: a Mini-Review." Translational Neurodegeneration , BioMed Central, 2017, www.ncbi.nlm.nih.gov/pmc/articles/PMC5267457/ .


Source by Sadaf Muneer

Tim Foust Is The Next Great Country Music Artist

If you have not seen the show, certainly you have at least heard of the smash television hit ‘American Idol’ at some point. Well, Tim foust is definitely the next American Idol, just not in the pop genre. Tim Foust is certain to be the next great country music artist. With his good looks and incredible voice, he can make any woman’s knees wobble. If you are a fan of the likes of Trace Adkins, you are going to love Tim Foust. His voice is quite similar, with that heart stopping baritone voice so sweet, you could listen to him reading the phone book and not grow weary of it.

Tim Foust was born in Lubbock, Texas, and enjoyed singing and writing his own Country Music Song Lyrics even as a child. While in school, he studied and played extensive classical music, but even after two years of study at Lamar University, he could not shake that music bug. He made the choice to leave college and join an a cappella group out of Minnesota, who toured all over the US. During their tours, they released an album that included Tim’s first original song lyrics. Soon after, he left the a cappella group to join a band out of Boston. While he was with the Boston band, he did over 200 shows around the country each year, and was blessed to share the stage with the likes of Kenny Loggins and Gladys Knight.

Tim Foust now lives in Southern California, where he recently released his own debut album that is now available on tunes. Sure, he’s handsome and has an amazing voice, but beyond that, he is likely the only country music artist today that can play the piano with extraordinary flair and with a range of 5 octaves in his voice. Absolutely incredible! Tim’s music is extremely well written with love, emotion and a bit of witticism. In his debut album, lyrics like, “The other day, I checked my bank account, and I could swear it was the wrong amount…” and “Hey, kid, open up your eyes and try to see the outside world…” leave the heart and the mind wondering what message there is to be enjoyed inside each and every song written.

With a lifetime of musical experience, as well as life experience all over the country touring with two different bands, Tim Foust has assuredly had his fair share of ups and downs. With his innate talent and beautiful way with words, he is sure to reach out to every heart, soul and even the odd funny bone all around the world. Tim Foust is certainly one to watch, as his debut album is sure to be only the first of many in a long and illustrious career entertaining country music fans around the globe. This is a rare opportunity, so do not miss out on your chance to get Tim Foust’s first solo album. It is sure to climb in value as his popularity increases and his soft heart and enchanting voice echoes around the world.


Source by Millicent Merritt

Music Legends Who Have Appeared On Late Night With Jools Holland

As soon as he ceased being member, the band he co-founded went on to have its first big hit. While most artists would consider this sequence quite disheartening, Jools Holland instead became even more famous than his old group.

Holland left Squeeze after their third album, only to see its next record spawn the huge single “Tempted” sung by his replacement Paul Carrack. Not long after that, however, Holland created his own TV series with musical guests from nearly every genre.

In fact, “Late Night With Jools Holland” has even featured several appearances by Squeeze over the years. Holland seemed delighted to be playing with his former band, and there are many other well-known artists who have performed on the show.

Perhaps the two almost as close to Holland are Elvis Costello and John Cale, both of whom served as producers on Squeeze albums. Costello oversaw the recording of East Side Story while Cale produced the debut record U.K. Squeeze, and both men have since made numerous appearances on Holland’s show.

Two other performers with close associations to Holland are Graham Parker and Nick Lowe, who have also been featured several times on the series. Here are eighteen other notable acts to perform on Late Night With Jools Holland.

Morrissey

Like the host, Moz co-founded an alternative British band (the Smiths) only to enjoy a much longer career as a solo act.

Beck

The 2014 Grammy winner performed several times on the series before Morning Phase brought home the award for Album of the Year.

Wilco

Jeff Tweedy’s band has made regular appearances, including one in which they were joined by Nick Lowe.

Alice Cooper

Hard rock has been represented on the show, most notably this veteran shock rocker.

The Strokes

Although they performed two different selections for the show. I always thought they should have done “Last Nite” in honor of Late Night.

Kaiser Chiefs

These guys seem to be near regulars on the series, which is not surprising given their huge following in their native United Kingdom.

Blur

This quartet appeared on a special episode called Cool Brittania, featuring some of that country’s biggest acts from the Nineties.

Oasis

The biggest rivalry to the group listed above, this outfit fronted by the Gallagher brothers was placed in the same episode as Blur.

Lou Reed

One of the last TV appearances he made before his death in 2013 was on Late Night With Jools Holland.

Eels

Mark Oliver Everett is the sole member of Eels, but he did manage to put a band together for the selections performed for Holland.

Warren Zevon

The Excitable Boy singer played on Series 8, which aired not long before he succumbed to cancer.

Donovan

Probably the oldest performer on the show, fans were certainly thrilled to hear the guy who once was deemed the British Bob Dylan.

Ben Folds Five

Holland, an accomplished piano player, must have been delighted to have Folds and his band on the stage.

Aztec Camera

Roddy Frame was a contemporary of Squeeze and Costello, so his band felt right at home with their host.

The Jayhawks

This quintet, fronted by Greg Louris, represented the alt-country genre.

Teenage Fan Club

If you closed your eyes while these guys were playing on the show, you would likely have thought you were hearing the Moody Blues.

John Prine

Holland no doubt felt honored when this legendary and hugely influential songwriter joined the show.

Loudon Wainwright

His kids Martha and Rufus both made numerous appearances, so it is appropriate that their old man pop up on there, too.


Source by Doug Poe

African American Music; The History Of

When I saw this title, I was afraid and I was still afraid about my opinion about the subject. The subject is complex and difficult so I can not resolve it overnight. I am an African. I do things the African way. I can not write about African American music like a Western scholar. In my culture we live the past and the future in the present. When I listen to some African American music I can feel the past, the present and the future all at the same time. Now, the best way for me to handle this subject is to work by questions and answers.

[Question] Yaya! Who do you think you are?

Yaya Diallo – I do not think! I am Farafin, which means I am a dark skin man. The word Africa is the Arabic name for our continent. In Bambara we call the so-called "Africa" ​​Farafina. Farafina means the land of dark skin people. I am from Farafina and I am proud of it. I do not want to be somebody else. People in general say African American. I would say American Farafin, which means dark skin human being who lives in America.

[Question] What is your African background?

Yaya Diallo – I come from far away. I was born in 1946 in Fienso (French Sudan), now Mali. My parents were nomadic. When I was very young I used to travel a lot. I grow up in the bush far from any western civilization. The music that I heard was very traditional and played live. I did not have a radio or TV. I had the opportunity to listen to the music of the different ethnic groups from the Ivory Coast, Burkina and Ghana. In some villages I heard Muslim songs coming from the mosques. By night, I would enjoy the frog symphonic orchestras. From 1946 to 1960 I was living in complete nature. My musical training is a long story but you can learn more from my book The Healing Drum.

[Question] What are your feelings about the civilized world?

Yaya Diallo – In the city I had strange feelings. I saw people listen to music through what I thought was two kinds of boxes. The first was a radio. You could change the singer with the tuning button, I thought. The second needed records. It read 78, 45 and 33 1/2. You had to adjust everything with something but I did not have a clue as to what. Even still, the only music that I heard was the Beatles, Rolling Stones and Johnny Holliday.

[Question] What do you think about the word African American?

Yaya Diallo – Dark skin people living in America are not different from people I met in Africa (Farafina). To me they are just different ethnic groups like the Yoruba, the Bantou, the Zoulou or the Touareg. Africa is not one culture. We have thousands and thousands of languages ​​and different music. My wife is an African American from Louisville, KY. Her mother is from Dark Corner, MS and her father from Jackson, TN. Like my wife and family there was one African American man, James Brown, who saved my life with his music.

[Question] How can an African American man save the life of a traditional African?

Yaya Diallo – In 1967 I left my country to go to Montreal, Canada. On my way, in Paris, I saw a big picture of James Brown in the Olympia Theater. In my mind I thought, "Oh! A black man in Olympia in Paris, France." In Montreal I was looking for a place to dance or listen to the music that I loved. One day I found a radio station that played black music. I heard James Brown and felt at home.

[Question] What do you think about African American music?

Yaya Diallo – I always say that I do not think, I feel. When we talk about African American music we talk about Spirituals, Blues, Funk, Jazz, Gospel, Rap, dance music, etc. I want to talk on each one by one.

When people in Canada were dancing the twist, jerk and go-go, in my country a French man named Johnny Holliday was playing bad versions of Wilson Pickett and Ray Charles' music in French. In America I found out this French man was a robber. He stub the music, sang it in French and looked like a genius for us Africans.

[Question] What did you feel when you started to dance?

Yaya Diallo – I used to go out to dance to Wilson Pickett, James Brown, and Sly and the Family Stone's music. For me they were Africans. They had good beats, good feelings and most important, African Soul. I did not feel that from Chinese or European music. In the 70s I discovered the Funk music, The O'Jays, Parliament, Ohio Players, Kool and the Gang and JR Walker and the All Stars. I felt I was at home when I knew the Motown Family (Smokey Robinson, Diana Ross and the Supremes, the Temptations and Stevie Wonder). I could survive because I had those kinds of musicians.

[Question] In terms of music, what is the link between African and African Americans?

Yaya Diallo – African Americans are Africans from the village and sadly they just do not know it! When you listen to the music you can find out. Kool and The Gang played Funky Stuff. When you listen to the drum part you will get the Dounouba part of the dance Sounou. Sounou was played in the 15th century and today is the dance young people love. In Africa we learn the past in the present and teach it to the next generation. The African Americans sometimes do not know how African they are.

[Question] Why can you say that they are African?

Yaya Diallo – The first time I heard the Four Tops I thought I was listening to the Bambara Farmers in the evening after a hard working day. The Temptations reminded me of the men Fire dancers and singers. I can listen to Temptations but I am afraid to see them. I am not initiated to the Fire dance and the music brings out memories about the secret ceremonies that happened afar in the village. Aretha Franklin is for me a great Djeli-mousso coming from the Empire of Mali in the 13th century. When I listen to African American music I do not worry about the meaning, only what I feel.

[Question] What do you think about Jazz?

Yaya Diallo – Really, to tell the truth, I do not feel jazz. Many people coming from Africa feel the same way. I learned about jazz in 1980 when I recorded my first album, Nangape, on Onzou Records. That opened the door for me with jazz. Jazz magazines like Cadence and Down Beat wrote articles on me like I was a "jazz man." I was invited to do workshops at the Creative Music Studio in Woodstock, NY. I met jazz big names like Art Blakey. He said, "Yaya is the only African that I can jazz, that I can play with and be comfortable." I completed a trio with Don Cherry and Ed Blackwell in the Symphony Space in New York.

[Question] What about Gospel?

Yaya Diallo – To me Gospel means religion or church but my father-in-law changed my mind. When going to church with him I saw a big band and a big choir. People were singing and I forgot that I was in church. I was surprised; I saw ladies in a trance like in my village but they called it shouting. This reminded me of the Mania Secret Society where only woman go into a trance when praising god (See The Healing Drum).

[Question] What is rap?

Yaya Diallo – I love rap! I use to lie about buying rap and say that it was for my children. Rap is the old tradition of the Fulani people in Mali. It tells life stories through poetry that is recited quickly. Nomadic people have to explain their daily journey through this same quick form, but without the foul language. Today, the young people think that they have reinvented the wheel.

[Question] Yaya, what is wrong with African American music today?

Yaya Diallo – Today everything is easy. Instead of buying a drum set you buy a drum machine. Computers do everything. You can get almost every sound by pressing a button. This is the type of world that we live in today. The young Africans love it like we used to love James Brown. Time is the only thing that has changed!

[Question] How did African American music change American Society?

Yaya Diallo – We changed everything! We changed the style of dance; we created new sounds, new styles, and new way to dress … EVERYTHING! Country music is the white version of the Blues. Rock-n-roll comes from our music. People forget that Jimmie Hendricks was a Blues player that just changed his sound and look. Without James Brown, Sly and Family Stone and the Motown Family there would be no Madonna, no Celiene Dion, no techno, and no disco. African Americans welcomed this to the world. It is sad because people do not recognize it. We changed the world and it will never be the same again.

[Question] How do people know you in America?

Yaya Diallo – I am the author of two books, The Healing Drum and At the Threshold of the African Soul. I have four CDs, Nanagape, The Healing Drum, Dombaa Folee, and Dounoukan. I thank Onzou Records, the first company that trusted me to make my first album in 1980. That was not easy!


Source by Yaya Diallo