Dub Gabriel Interview (Part 1 of 2) [Listen 30:43] Wondering about the revolution with Dub Gabriel S04 Ep04
Revolutions, remixes, and peace with Dub Gabriel1 Special Guest: Dub Gabriel (Part 1 of 2): is a producer, DJ, multi-instrumentalist, and is one of the biggest names in dancehall, dubstep, and global bass to come out of the U.S. and is one of the most in-demand and respected dub producers in the world. He has worked with a diverse set of musicians including Michael Stipe (of REM), Reggae Toasting legend U-Roy, the Scientist, punk icon Keith Levene, David J, Balkan Beat Box, and many more. His new album “Raggabass Resistance” is an ambitious project taking three years to make, spanning continents and brings together an array of artists and musicians all collaborating on the album.
Dub Gabriel is set to release his 4th album, Raggabass Resistance, on limited vinyl on the 20th of April. The fantastic list of collaborators include: U-Roy, Warrior Queen, The Spaceape, Brother Culture, Jahdan Blakkamoore, Dr. Israel, MC Zulu, Juakali, PJ Higgins, David J, Pedro Erazo, and Mark Pistel
Fall of Greenwich
Perhaps for most people, upon the mention of Greenwich Village, Bob Dylan immediately comes to mind. But besides Dylan, much more came out of Greenwich Village. Would you believe Maya Angelou sang blues there? By her own admission, not very well. But the artists and movements that came out of that "most significant square mile in American cultural history" are incredible and prolific. To get into everything notable that came out of there would fill a book; and has many, of course. The significance is so extensive and broad.
the artists and movements that came out of that "most significant square mile in American cultural history" are incredible and prolific.
Greenwich has been described as "the place where everything happens first." The setting and people who came to settle the area came to be accepting of differing cultures and ideas, perhaps out of necessity because of the different cultures brought in to live in close proximity in that polyglot population, not only Americans of different cultures and lifestyles, but also exiled Europeans just off the boat. But this acceptance, and true melting pot ideal carried on through the inhabitants and throughout generations despite outside attempts to gentrify the area and to push the settled inhabitants out through gross rent increases, police harassment, and the type of behaviour that has the same stink on it. Unfortunately, after all the inhabitants have survived, and the resistance of the community to these onslaughts, the final blow seems to have fallen, and Greenwich is now home to movie star royalty and top political retirees and their bastard children. Whatever America had culturally doesn't seem to hold any value against real estate profit and fashion outlets where you pay too much money to look like everyone else. This includes threatening to push out vinyl havens, Bleecker Street Records, and Bleecker Bob's. The more I learned about the Village and the fate that's befallen it has proven to be damn disappointing, but not sadly not shocking or unfamiliar, although it severely dampened any enthusiasm on writing the article which I was feeling initially.
this acceptance, and true melting pot ideal carried on through the inhabitants and throughout generations despite outside attempts to gentrify the area.
The independent documentary that sparked this article "The Ballad of Greenwich Village" doesn't do any justice to the scope of tragedy in losing the heritage. Mostly the documentary focuses on reminiscences of notable artists and persona from the area and shows one artist who's losing their home something of 30 years, but that doesn't show the death of a cultural and intellectual centre. Many residents have relocated nearby, and the historic buildings are to be preserved, but once something is killed, it's gone, despite the best attempts to revive and recreate it elsewhere. It's like trying to force yourself to have a sequel to a fantastic dream you recently had. You can pretend, but you can't will your unconscious.
once something is killed, it's gone, despite the best attempts to revive and recreate it elsewhere. It's like trying to force yourself to have a sequel to a fantastic dream you recently had. You can pretend, but you can't will your unconscious.
To demonstrate what forward thinking institutions that came out of there, Greenwich Village gave birth to the first racially integrated night club in the United States, Café Society. Which helped launch the careers of Sarah Vaughn, Big Joe Turner, and Lena Horne among others. And besides the American Folk Music Revival, new movements if not sparked from the Village, took root and were fostered there. The American Modernists, the Beats, the American Realists, and the Theatre of the Absurd all had a prominent place in the Village. The social and cultural significance the area has is now a simply a draw for cash and a tourist attraction. And what does it say to the eccentrics, intellectuals, and new bohemians across America and exiled forward thinkers? Make your own Mecca, it's not here any longer.
Watch the documentary here: http://ww3.tvo.org/video/162855/ballad-greenwich-village
Joey DeFrancesco Interview [Listen 30:40] – S02Ep07 (1 of 3) – Riding the Big Wheel with Joey DeFrancesco
Interview Date: March 25, 2012 @12pm EDT
Special Guest (Audio) Joey DeFrancesco (Part 1 of 3): Nicknamed “the finest Jazz organist on the planet,” Joey DeFranceso and GTV present you with an exclusive and in-depth interview, plus his full concert performance in Toronto.
Coming from a long line of established organ players, DeFrancesco started his career off as a child prodigy (starting at age 4) playing with all the greatest organists in the world. He has developed his skill to the point where he dominates the Hammond B3. When DeFrancesco was 17, Miles Davis called him up to ask him to tour with him and play on his 1989 album, “Amandla.” Since that time he has gone on to play with many other "who’s who" in the Jazz world and often being paired with some of the greatest guitarists in Jazz such as Pat Martino, Paul Bollenback, Jimmy Bruno, Dave Stryker, and John McLaughlin. In this podcast we talk about his early years, playing with the greats, and his introduction to Miles Davis
Special Guest (Print) John Broven (Part 1 of 1): I have been in contact for quite a while with John Broven, the author of one of my favorite music books, “Record Makers and Breakers: Voices of the Independent Rock ’n’ Roll Pioneers.” The book chronicles the history of the independent rock’n’roll record industry, covering the beginning in the 1940’s through to the 1960’s. It tells the amazing story of the record industry; it covers topics like how and why we went from the 78rpm to the 45rpm format, the history of the independent music scene, the musical significance of the jukebox, and even how the record store was born. Through his research, he was able to talk to, interview, and recount the amazing stories of people like Marshall Chess (Chess Records), Jerry Wexler, Ahmet Ertegun, and Miriam Bienstock (Atlantic Records), Joe Bihari (Modern Records), Art Rupe (Specialty Records), Sam Phillips (Sun Records), and a ton more. He goes into topics like the trade magazine “Cash Box,” Payola, and Nashville radio station WLAC, and he describes how they affected how we listen to music today. We are both hoping to post a full written interview to the site sometime in the future (when he gets off his world tour for his book). Until then, he was kind enough to send me an unpublished questionnaire on "Record Makers and Breakers" just after his book came out.
I agree that the indie record business is “an ode to the genius of American capitalism.” Somebody told me recently, “This is a great American story.”
I think it’s fair to say that as the interviews and research progressed, I realized:
(1) Just what a small industry the indie record business was at the start – I called it a “cottage industry”;
(2) How the record men had to learn the business from scratch: not just the art of recording but also building pressing plants themselves, setting up distribution systems, learn publishing, etc. etc. (see Art Rupe's wonderful new rules, chapter 25).
(3) How everybody seemed to know each other and worked together to a large extent;
(4) How the nascent industry was dependent upon several integral cogs in the machine i.e. record distributors, jukebox operators and distributors, radio/television, disc jockeys, promo men, retail outlets, trade magazines etc. It wasn’t just about the record makers – or indeed the artists.
(5) I was aware of the cover version syndrome and like everybody else put the blame on the "nasty" major labels, but then I began to understand that indie publishing companies were pitching their hit songs to majors – and recorded covers themselves. So it wasn't all one-way traffic.
(6) Must admit I didn't realize the full extent of the majors poaching the indie hit artists until I started listing the artists and the labels.
* Tell me about the importance of the jukebox market (compared to radio and retail).
Just to say that, as stated in the book through New Orleans’ Cosimo Matassa early on, the jukebox operators were terribly influential in dictating the sound of the record, also the length of the record – the shorter the record, the more plays. Basically jukebox play was free promotion – and represented bulk sales to the indies. The jukebox people, whatever their business practices, were very important cogs in the rock ‘n’ roll machine.
March 16, 2012
Welcome to part two of a two part interview with Bob Croutchman. If you have not listened to the first half you might want to go back and start there?
Some back catalogue and interesting related music to checkout:
Della Reese – to be honest I really had no idea who Della Reese was before this interview. I picked up some of her albums afterwards and really liked them. I would put her under the category of solid secondary listening material.What I mean is, she isn’t Elle Fitzgerald, Sarah Vaughn, or Billy Holiday, but rather the next step down; i.e. dame good. Some albums to lookout for are:
Della Reese live on ABC – Paramount – A great time capsule of a great live act; great atmosphere that is fresh and definitely not
Whether it’s Neil Young singing about his roadie and friend Bruce Berry in his landmark tune, “Tonight’s the Night” or Charlie Parker naming a classic Bebop tune after his drug dealer, “Moose the Mooche,” musicians have realized that it’s the people in the background that are often the ones with the interesting lives. Professionals who not only drive the buses, make the costumes, or run the soundboards, but also help give context and life lessons to the artist’s work. Aside from making stuff happen behind the scenes, these over-looked workers sometimes take centre stage. Take for example Lemmy; did you know that before he got famous as the lead singer of Motorhead that he was a roadie for Jimi Hendrix? He is not the only one either. David Gilmour was a roadie for Pink Floyd before they asked him to join them as lead guitarist. In fact, Noel Gallagher(Oasis), Jello Biafra (Dead Kennedy’s), Krist Novoselic (Nirvana) and even Henry Rollins (Black Flag) all got their start as roadies. 1
There are guys like Owsley Stanley (nicknamed “Bear”)
When I first approached John Ashley about doing a podcast for the site, the first question I asked him was “what album would you like to cover?” His answer, 1980’s ‘Remain in Light’ by Talking Heads. I couldn’t have been happier; my favorite album by one of my favorite bands. As a child I remember being at a friend’s place and seeing the record cover for the first time; I was entranced by the cool bizarre computer generated artwork. I remember at the time really liking the music too but wasn’t able to fully get into the album until I owned the record myself a few years later. It’s as listenable today as it must have been in 1980. Although “Remain in Light’s” sounds and structures have had years of being ‘borrowed heavily from’ (as most cutting edge records have), what becomes clear is that this album hasn’t lost