Produced with the cooperation of his widow Alice Coltrane, The World According to John Coltrane is a retrospective documentary on the life and music of saxophonist John Coltrane, featuring reminiscences and interviews with his contemporaries and fellow musicians. The documentary also focuses on the later period of Coltrane’s work where he explored themes of Eastern spirituality. Enjoy and be educated.
Archive for the ‘ Video Interview ’ Category
Behind the Counter is The Vinyl Factory’s new series of films in which their favorite record shops run down their top vinyl releases of the week. On this very special episode, Dust & Grooves (reporting for The Vinyl Factory) travels to Jack White’s Third Man Records to get the scoop on six important Third Man releases. Enjoy and be educated.
- Third Man x Document Records: Blind Willie McTell, Mississippi Sheiks, Charley Patton
- The Melvins Live at Third Man Records
- Public Nuisance Gotta Survive
- Kelley Stoltz Double Exposure
- The Underwear Heads Tangmania EP
- Third Man x Sun Records Reissue Series: Rufus Thomas, The Prisonaires, Johnny Cash
In this installment of Complex’s Magnum Opus, Busta Rhymes recounts the making of his Shamello & Buddah-produced classic “Put Your Hands Where My Eyes Could See.” Enjoy and be educated.
In this exclusive SoundWorks Collection profile, explore director J.C. Chandor’s new film, All is Lost. The film features only one character (played by Robert Redford) and contains almost no dialogue; however, the film is brought to life by the talented sound and music team including sound designers Steve Boeddeker and Brandon Proctor, supervising sound editor Richard Hymns of Skywalker Sound and music composer Alex Ebert.
All is Lost is now in theaters.
Most record collectors I know read Wax Poetics. The quarterly magazine dedicates itself to vintage and contemporary jazz, funk, soul, Latin, hip-hop, reggae, blues, and R&B in the crate digger tradition. The man behind this great publication is Andre Torres, editor-in-chief and founder of Wax Poetics. In the video above, Andre explains why the music he loved inspired him to start the best music magazine on the market today (in my humble opinion). Enjoy and be educated.
Martial Arts Master Dan Inosanto schools the people at Frank 151 about Filipino martial art history, weaponry, self defense, working with the legendary Bruce Lee and lots more. Read more about Dan Insanto in Frank Book #45: Philippines. Enjoy and be educated.
Pete Paphides, former chief rock critic for The Times, speaks with The Vinyl Factory about his early obsession with Aztec Camera, why he’ll always love The Beatles more than The Stones, and what it means to own more records than you could ever listen to. Enjoy and be educated.
In the latest installment of Dubspot’s Reclaiming the Remix, music producer and Dubspot instructor Shareef Islam talks to Brooklyn-based hip hop producers Chris Styles, Silence, J Swirv, and Urkel about their early beginnings, the formation of Dangerous LLC production collective, and developing a workflow which allows individuals members of the team to cultivate their skills and grow. They also discuss about their extensive work with multi-platinum rapper and entrepreneur 50 Cent, whose work ethic and diligence inspired them.
The original beat for “Amusement Park” was created using Akai MPC 2000, Korg Triton workstation/keyboard, and Avid Pro Tools. Shareef and Dangerous LLC explore the creative possibilities of using Native Instruments Maschine to recompose “Amusement Park”. Shareef recreates the beat, shows off the intuitive features of Maschine, offers tips and techniques for performing a live remix of the track. – Dubspot
Having worked on over 450 albums, among them 16 platinum records, in a career spanning more than 50 years, few can lay claim to a career in music as lengthy or varied as that of renowned pianist, producer and arranger Eumir Deodato. Born and raised in Brazil, he was among a small group of artists responsible for taking Bossa Nova to the world stage. Moving to the US in the late 1960s, he went on to produce and arrange for the likes of Wes Montgomery, Roberta Flack, Earth Wind & Fire, Kool & The Gang and Frank Sinatra amongst many others. As a recording artist, Deodato collaborated with the likes of Stanley Clarke, Billy Cobham and Ray Barretto on seminal releases for the CTI label, much sampled by the greats of hip hop’s golden era including Black Sheep and Pete Rock. In more recent years Deodato has worked with the likes of Bjork and Lupe Fiasco and his work continues to be sampled and reworked.
Whilst on tour in the UK earlier this year, we had the pleasure of meeting with Eumir to conduct an exclusive interview for WhoSampled in which he speaks about his extensive career, working with the greats and collaborating with the new generation of artists who are now sampling his work.
As a bonus, I have included the cut “Super Strut” from Deodato’s 1973 album, Deodato 2.
“Funky Drummer” was recorded on November 20, 1969 in Cincinnati, Ohio and originally released by King Records as a two-part 45 rpm single in March 1970. Despite rising to #20 on the R&B chart and #51 on the pop chart, it did not receive an album release until the 1986 compilation In the Jungle Groove.
The piece takes the form of an extended vamp, with individual instruments (mostly the tenor saxophones and organ) improvising brief licks on top. Brown’s ad-libbed vocals on “Funky Drummer” are sporadic and declamatory, and are mostly concerned with encouraging the other band members.
As in the full-length version of “Cold Sweat” he announces the upcoming drum break, which comes late in the recording, with a request to “give the drummer some.” He tells Stubblefield “You don’t have to do no soloing, brother, just keep what you got… Don’t turn it loose, ’cause it’s a mother.” Stubblefield’s eight-bar unaccompanied “solo”, a slightly modified version of the same riff he plays through most of the piece, is the result of Brown’s directions; this break beat is one of the most sampled recordings in music.
After the drum break, the band returns to the original vamp. Brown, apparently impressed with what Stubblefield has produced, seems to name the song on the spot as it continues, and repeats it: “The name of this tune is ‘The Funky Drummer’, ‘The Funky Drummer’, ‘The Funky Drummer’.” The recording ends with a reprise of Stubblefield’s solo and a fade-out.