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Bennie Moten (1894 --1935) was a jazz pianist and band leader born in Kansas City, Missouri. He led the Kansas City ...Bennie Moten (1894 --1935) was a jazz pianist and band leader born in Kansas City, Missouri. He led the Kansas City Orchestra, the most important blues-based orchestra active in the South West in the 1920s, and helped to develop the „riffing" style that would come to define many of the 1930s Big Bands. His first recordings were made in 1923, and were rather stiff interpretations of the New Orleans style of King Oliver and others. They also showed the influence of the Ragtime that was still popular in the area. They next recorded in 1926 for Victor In the more sophisticate style of Fletcher Henderson. By 1928 Moten's piano was showing some Boogie Woogie influences, but the real revolution came in the early 1930s when he recruited Count Basie, Walter Page and Oran 'Hot Lips' Page. Walter Page's walking bass lines gave the music an entirely new feel compared to the 2/4 tuba of his predecessor Vernon Page, coloured by Basie's understated, syncopated piano fills. In this time Ben Webster (tenor sax) and Jimmy Rushing (vocal) had also joined. Tragically Bennie Moten died in 1935 from a botched tonsillectomy operation. Buster Moten briefly took over the band, but many of its top members eventually gravitated towards Count Basie.
Recording: Bennie Moten's Kansas City Orchestra - Rumba Negro, Victor 1929(more)(less)
This video, allows to observe like the electrical energy tranforma in mechanics, being given rise itself to a tumbling ...This video, allows to observe like the electrical energy tranforma in mechanics, being given rise itself to a tumbling. To this is transformed it into a linear movement by means of a very simple system of levies that I have made with small wood discs. We observed that when arriving at superior from the system the potential energy it is Maxima for the ball. From already one becomes kinetic, it hits there against the ball that is in the guide and it gives the energy to him sufficient to raise by the curved guide, giving rise to a new cycle.(more)(less)
Commissioned by, and now on exhibit at the Dupage Children's Museum, in Naperville, IL, this machine was developed from a ...Commissioned by, and now on exhibit at the Dupage Children's Museum, in Naperville, IL, this machine was developed from a simple, conceptual sketch. It offers a nearly infinite combination of rhythmic sequences, often resembling that of African music.(more)(less)
In my short time working with with 78 RPM Records I've come to think what i thought was Vintage sound and recording may ...In my short time working with with 78 RPM Records I've come to think what i thought was Vintage sound and recording may actual have been a false preception of Music pre 1920. I've read Victor Recording and Gramaphone manuals and they repeatly state 78rpm recorded at 78rpm. But i speculate 78 was not the stardard. Every sound engineer and artist were froced to make concessions on pitch, recording time and optimum preformance. Recording studio would fit longer playing times on a limited recording surface roughly 3:00 min. A Standard fox trot preformance would last 5 to 4 minutes. Result higher pitch and playback which would sound better on the gramaphone of the day it would be muted and muddled if played at it's correct speed. SO i slowed down the Original Dixieland jazz band early recordings and slowed it to a danceable tempo. And low and behold i dicovered whta i believe is the real sound of the Original dixieland Jazz band. No longer a crazy recording but a full well planned dance numbers full of life and contract against the standard Fox trot of the day. In some incidences i bought the sheet music andlisten to Player Piano Roll of the song song. So enjoy "The Tiger rag", St Louis Blues, Royal Garden Blues and At the Jazzman Band Ball. Complete with picture of the day.(more)(less)
Here's my rendition of the great Blind Blake tune. It's sort of a mix of Blake's style with my friend Parrish Ellis' (of ...Here's my rendition of the great Blind Blake tune. It's sort of a mix of Blake's style with my friend Parrish Ellis' (of the Wiyos) cool arrangement...woops looks like it's one beat out of sync- must have had the camera on a weird setting...i can post a new one at some point if this one isn't helpful.(more)(less)
I first heard Ry Cooder's version of this Arthur 'Blind' Blake tune back in the early 80's which led me to Blake's ...I first heard Ry Cooder's version of this Arthur 'Blind' Blake tune back in the early 80's which led me to Blake's version which was recorded in the 1920's. Blake's playing is still a wonderous thing to behold.
In my version I make no attempt to copy his playing (although I do aproximate Blake's turnaround now and then throughout the tune).(more)(less)
