HIP-HOP’s FUTURE #HIPHOPMUSICED

  

#hiphopmusiced today is dedicated to learning more about the future of hip-hop. In the featured picture, you will see the tremendous variety of great emcees (musicians/lyricist) in whose hands lay the future of the culture. As a music educator, I am always looking to be able to recognize the contemporary in art. I endeavor to know the most I can about the current trends and artist of the culture. These are but a few of the great new update hip-hop artist shaping the direction of, and voicing the issues of the American experience. #kendricklamar #dejloaf #bigkrit #joeybadass #actionbronson #frankocean #jcole #hiphopfuture #hiphop 
   
    
    
   

Teacher Orientation to Popular Music #HipHopMusicEd

#HipHopMusicEd

Music educators your lack of experience w/ and/or interest in popular American music limits not only your experience, but that of your students in the musicking classroom.

As I get older I am starting to understand that the only limits that exist in my classroom are those that I and my students create. I am currently researching the preferences and dispositions of preservice teachers and the education programs they are involved in. It’s important that we all understand that teacher orientation is typically dictated by teacher pedagogy and methods courses they are engaged during study. This is sets the foundation for what many teachers (professionals) will use as their teaching premise for the rest of their careers. The more limited, or shallow, these types of musical experiences that student-teachers have, the more likely they are to replicate them in their future teaching. This is evident in the limited selection of performance formats found throughout American music classrooms.

Teaching programs should in theory, be a place where student-teachers muddle through diverse experiences that are suppose (purposed) to help bring the unknown into the space of the known (Dewey). We have to stop replicating what we think is unequivocal permanent fact, and start trying to meet our students where they are and engage in relevant learning activities. Critical Hip-Hop Pedagogies are a wonderful set of approaches to bringing in relevance into the music classroom. Let’s help children find relevance in our classrooms by we ourselves, as teachers, tackling difficult topics with hip-hop pedagogies (practice, lens, bridge). Most teachers only replicate the experiences they have had in their learning experiences and rarely move outside of this paradigm. So, how do we repair this rigid range (limited) of experiences?

Let’s take the clarion call of such educators, ethnomusicologists and scholars like Adam Kruse, Barbara Lindquist, Randall Allsup, Lucy Green, and many others that ask us to question the familiar, and engage in a search of the practices of popular music and musicians. There is so much rich, diverse and important topics that can be uncovered in working with popular music. The first step is that teachers con not simply stay in the lane of practitioners, but have to also move into the lane of researcher. Practicing these popular forms of music can have deep benefits, and can help us gain so much through critical reflection. Students are worried about you being cool because you are authentic, they are in your class to learn and grow. They relate to you because of the level of honesty and how you share the ways in which you came to understand the topic. Reading a chapter and simply sharing this isn’t enough. Popular music forms have to be taught in various formats in undergraduate programs in order for change to happen. Let’s start now, to honor the great music of America. Let’s celebrate the J-Dilla’s, Stevie Wonder’s, Stephen Foster’s, Irving Berlin’s, Kanye West’s, Eminem’s, Katie Perry’s, James Brown’s, Johnny Cash’s, Wille Nelson’s, Louis Jordan’s, Miles Davis’, Wynton Marsalis’, Pete Seegers, and Kendrick Lamar’s of the music world. If we start with our teachers we can open up spaces of inquiry in our music classrooms that have never really existed before. Let’s tackle these forms, genres and topics.

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REPOST NPR: Legendary Pianist Horace Silver Dies At 85

Legendary Pianist Horace Silver Dies At 85

June 18, 2014 5:17 PM ET
Horace Silver performs for television in Copenhagen, Denmark, in 1979.

Horace Silver performs for television in Copenhagen, Denmark, in 1979.

JazzSign/Lebrecht Music & Arts/Corbis

Pianist Horace Silver, whose potent and catchy combination of blues, funk and Latin sounds shifted the jazz landscape in the 1950s and ’60s, died Wednesday morning at his home in New Rochelle, N.Y. He died of natural causes, according to his son, Gregory Silver. He was 85. As a bandleader, Horace Silver mentored some of the hottest musicians of his era. As a composer, he devised numerous jazz standards still played today. Silver grew up in Norwalk, Conn. He was 11 when he and and his father stumbled upon a swing band one warm Sunday night. It was the orchestra led by Jimmie Lunceford“And I saw all these black guys getting out of the bus with their instruments, and I said, ‘Dad, can we stay and just hear them play one number? Just one number,’ “ he told NPR in 1996. ” ‘No, you gotta go to school in the morning, gotta get up early.’ … I begged and pleaded, begged and pleaded, so he’s, ‘OK, one number.’ ” His dad let him stay for three tunes. Silver credits that one event for a lifetime chasing jazz as a pianist and bandleader. By his early 20s, he was a good enough pianist to be hired by saxophonist Stan Getz. That was 1950. He moved to the jazz hub of New York City the next year. Soon after, Silver co-founded the Jazz Messengers with drummer Art Blakey. It was a hothouse for young talent and future stars. Some later joined Silver’s bands — musicians like saxophonist Hank Mobley and trumpeter Blue Mitchell. Silver signed to Blue Note Records, and the label gave him free rein as a house pianist and arranger for nearly three decades. He created a sound that provided the blueprint for countless jazz quintets in the 1950s and ’60s: bluesy, soulful, funky.

I got the impression that sometimes some of the bebop players thought it beyond them to play funky, you know?” he said. “Just kind of take your shoes off and get down into the real nitty-gritty of the music and get guttural, sort of. Get basic, you know?”

The title of Silver’s memoir, Let’s Get to the Nitty Gritty, says it all. His style was jazz’s next big thing: It was called hard bop. Dan Morgenstern, director emeritus of the Institute of Jazz Studies at Rutgers University, says Silver had great melodies, sophisticated harmonies and rhythms you could dance to. “They were very catchy,” Morgenstern says. “There’s themes of Horace’s that stay in your ear. He just had a knack for that.” Horace Silver’s music was just as affecting in person. Morgenstern says he recalls hearing the pianist at the 1958 Newport Jazz Festival. “His hair would be flying,” Morgenstern says. “You know, his head was bobbing side to side and up and down, and he would be wringing wet when he came off that stage.” Drummer Roger Humphries drove Silver’s music into the mid-1960s. Humphries says he saw Silver not just as an inspiring pianist, but also as a mentor — “like a wonderful big brother.” “He treated me very well,” Humphries says. “He made me want to be in his band. He made me want to play for him.” Humphries backed Silver on the pianist’s most famous work. It’s the tune almost everyone knows: “Song for My Father” was written for the man who nurtured Silver’s career in the first place. “My dad said to me one time when I was a little boy, he said, ‘You know, I’m not a rich man, I’m a factory worker. But if you want to go to college, I’ll try my best to try to put you through college,’ ” Silver said. “I said, ‘No, I don’t want to go to college — I want to become a famous jazz musician. But whether I become a famous jazz musician or not, I just want to play music. If I play in just a local bar all my life — I just want to play music. That’s all I want to do.’ “

Horace Silver did become a famous jazz musician. And he got to play music for more than 60 years.

NPR Repost: Nat Adderley: Brotherly Swing

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Trumpeter, composer and bandleader Nat Adderley redefined the idea of “brotherly love” in a musical context. He devoted most of his creative energies to the band fronted by his saxophone-playing brother, Julian “Cannonball” Adderley, in which Nat played cornet, composed, managed the band’s money and generally looked after his older brother. Together, the brothers drove the Cannonball Adderley Quintet to great heights, in the process developing one of jazz’s greatest sibling success stories.

Adderley grew up in Florida during the 1930s in a household defined by education. The Adderleys moved from Tampa to Tallahassee during Nat’s infancy because parents Sugar and Julian Sr. planned to teach at Florida A&M University. Accordingly, Nat and Cannonball excelled at academics and music as children. The elder Julian played trumpet professionally throughout Florida, and he bought a trumpet for his oldest son, Julian Jr. When Cannonball switched from trumpet to alto sax, Nat got the hand-me-down horn, which his brother taught him to play.

Sugar Adderley urged her younger son to pursue law. “Nat was just as musical and musically inclined as Cannon,” she once said. “But I said, ‘One musician in the family is enough’ … and I thought that law would be a good field, ’cause he liked to argue.” But when Nat returned home from the Korean War — a duty both he and Cannonball fulfilled — he told his mother that he’d pass up law school. Instead, Nat accepted trombonist Buster Cooper’s offer to play trumpet in Europe with the Lionel Hampton Orchestra.

New to New York

In July 1955, after a successful tour with Lionel Hampton’s band, Nat met up with his brother and, on a whim, drove to New York City to visit Buster Cooper. On their first night in town, Nat and Cannonball made their way to the famous Cafe Bohemia. Cannonball edged his way onto the star-studded stage alongside bassist Oscar Pettiford, drummer Kenny Clarke and pianist Horace Silver. Before the evening ended, both brothers were onstage playing with their “new” band. By the end of the month, the freshly minted quintet had recorded its first album, Bohemia After Dark.

For five years, the Adderley brothers enjoyed tremendous success in New York. Cannonball’s prodigious style — marked by his ability to play blisteringly fast leads on alto sax — earned him the nickname “The New Bird,” after late alto great Charlie “Yardbird” Parker. Their material, much of it penned by Nat, often drew from R&B and bebop in a way that came to be known as “soul jazz.” Among their champions was Miles Davis, who immediately recognized the Adderley brothers’ talent and urged manager John Levy to handle their careers.

A ‘Straw Boss’

Though the Cannonball Adderley Quintet met with critical acclaim, it struggled financially. John Levy says that Cannon handled money poorly. “Cannon believed in really taking care of his musicians … we just didn’t make it,” he says. So beginning in 1960, Cannon fronted the band while Nat made sure they turned a profit. The younger Adderley took over the financial responsibilities, managing all of the band’s tours and earning himself the reputation of “straw boss,” while also playing trumpet and recording his own projects as a leader.

The brothers’ familial bond provided great strength to the band: “Everyone got along together very well,” drummer Louis Hayes remembers. “That was one of the main components to the band that made it such a great organization: that everybody was in tune with each other, on stage and off.” By the 1960s, Nat was also writing a majority of the songs, including the band’s greatest success, “Work Song.”

In 1966, the group, now a sextet, achieved the unthinkable when its hit single “Mercy, Mercy, Mercy” — written by keyboard player Joe Zawinul — sold more than one million copies. When rock ‘n’ roll took over pop culture in the 1960s, the band changed with the times without compromising its music. Nat booked the band in venues like the Fillmore East, where its funky “soul jazz” reached a wider audience.

After Cannonball Adderley’s death in July 1975, Nat Adderley finished up the final tour with the remaining members of the sextet. Nat played with different bands until 1989, and along the way continued to discover and promote new talent, including saxophonist Vincent Herring.

In 1990, Nat found a new outlet in which to share his music: the classroom. He taught music theory at Florida Southern College for 10 years, sharing his knowledge and love of jazz until poor health took him into retirement. Nat Adderley died in Lakeland, Fla., on Jan. 2, 2000, of complications from diabetes. He was 68.

REPOST: Cause For Celebration: The Iconic Blue Note Records At 75 by NPR STAFF May 28, 2014

 

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Blue Note Records is the kind of record label that people like to call “storied” — so celebrated and impactful that no one narrative can capture its essence. From swing to bebop and hard bop, through fusion and the avant-garde, Blue Note has been telling the story of jazz in the grooves of its records since 1939 — and for its 75th anniversary, it’s releasing remastered vinyl editions of some gems from its catalog. But the real legacy of the label is too big to capture on disc.

Even on a stage as big as the Kennedy Center’s in Washington, D.C., where dozens of the label’s stars gathered for a special Blue Note at 75 concert earlier this month, the label’s history felt sprawlingly diverse: Elder titans like Lou Donaldson shared the moment with pop contemporaries like Norah Jones. You can see videos of four of those performances here, or zoom in on the label’s discography with a look at 75 great Blue Note solos here.

NPR’s Melissa Block went looking for the big picture as well, gathering stories and insights from the label’s current president, Don Was, and many musicians from throughout its history. Read quotes from pianist Jason Moran, organ master Dr. Lonnie Smith and others below, and hear the radio segment at the audio link.

“I can’t remember the first Blue Note album I bought, but I do know my very first favorite Blue Note record — and that would be Speak No Evil, Wayne Shorter. It’s almost like a really amazing underground hip-hop record that didn’t go mainstream for some reason; that’s how it sounds. It just has a certain mood, a certain darkness and a certain honesty.”

— Pianist Robert Glasper, who released his Blue Note debut, Canvas, in 2005

“You won’t see this on the Grammys, and that’s a shame. I always say that if the aliens came to Earth and they watched one of these award shows, would that be the best America has to offer? I sometimes am unsure of that. And I want to make sure that the best of what Blue Note Records has to offer, at least a small portion of it, is on this stage, presented in the most earnest and honest way possible.”

— Pianist Jason Moran (on Blue Note since 1999) on the importance of the Blue Note at 75 concert

“Blue Note captured you because of the liner notes and the cover art. There was an energy there; there was a hipness that you followed. The music followed the production, and the production followed the music. And you could just feel the love in each disc.”

— Saxophonist Joe Lovano. His Blue Note debut, From the Soul, came out in 1991

“Blue Note was the first to take the chance and the risk to record him as a leader — and not only did they record him as a leader, they called the recording Genius of Modern Music. That’s bold.”

— Library of Congress jazz historian Larry Appelbaum on Thelonious Monk’s Blue Note debut

“In this kind of music, change is part of the DNA. You’re supposed to play the music differently every night. You’re not supposed to repeat yourself; you’re always supposed to be pushing the threshold. So we’ve gotta continue to do that. I’ve never said no to something because it’s the wrong genre. I’ve said no to stuff — a lot of stuff — because I didn’t feel anything when I heard it.”

— Blue Note President Don Was

“Blue Note has a history. It’s a legacy. If they didn’t keep it up that would be a tragedy, because it’s just like the Empire State Building or the White House. It’s a monument. It’s part of life.”

— Organist Dr. Lonnie Smith, whose playing on Lou Donaldson’s Alligator Bogaloo won him aBlue Note contract in 1967