All students at UNC, regardless of major, are invited to audition to perform in the UNC Jazz Band and/or the UNC Jazz Combos (typically 4-5 combos are formed each semester). Jazz area students also often choose to perform in the student salsa band called Charanga Carolina, where they receive training in authentic Afro-Caribbean styles.
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Both the Jazz Band and Jazz Combos perform at least twice a semester on campus, usually with guest artists who are brought in to perform with the students. The program usually brings from 4-6 artists to campus each year. A partial list of the guest artists who have performed with our jazz students is provided at the bottom of this page. Please see the current concert schedule here.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens.
Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up.
"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?
I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier.
But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is] informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.
With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.
There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.
Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.
There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.
The SBC-1324 is the unit I built to meet this need. The unit has both 13 and 24 pin inputs, and a master analog switch to select between the two. There are six amplifiers for each string input, used primarily to boost the 13 pin signals to the 24 pin format, but they can also be used individually to amplify any single string input, whether 13 or 24 pin.
He saw a rough screening, in the composing stage, when I had just written a couple of the main themes and they had been laid up against the film. He saw it and really liked the movie especially the tune I'd written to go with the Tim Hutton character in the movie. He asked for a cassette of it and a couple of weeks later I got a message to say that he had written words to the tune and would we like to record it with him. He changed a little bit of the melody, but hardly any, and wrote great words. My group came over and we all went into the studio in Switzerland, where David lives now, he came down and we spent a couple of days in the studio and came up with a track. It was really fun too, he's a blast to work with!
Yeah, I'd done a couple of smaller films; Little Sister, which hasn't been released yet starring John Savage and Kevin Bacon and a small science series that was on PBS, which wasn't over here. The Falcon was the first multi-million dollar Hollywood production though, with a famous director. I've just finished another one which will be out in the fall, called Twice In A Lifetime, starring Gene Hackman, Ellen Burstyn, Amy Madigan and Ann-Margret. It's quite an exceptional movie and I reckon it will win lots of Oscars.
Yeah, I love it. To me, getting to play live in front of an audience every night is the reason I became a musician. Doing scores and all that's fun, and challenging, but there's nothing like the exchange that happens with an audience.
After I heard Wes though, I stopped listening to rock 'n' roll and from the time I was fourteen till I was eighteen, I was your basic jazz purist snob, but I think in order to really play that sort of music you have to go through a period like that, it's so difficult. At that time I was mostly playing with musicians who were twenty or more years older than I was. I happened to hit the scene in Kansas City, which was like the nearest big time, when I was about fifteen at a time when there were no other guitar players around, so I got every gig in town, not because I was very good, but by default, because of that situation. From the time I was 15 to 18 I was working 6 nights a week, with great players, all of whom were staunch 'Beboppers' and the standards that were set were very high.
Absolutely, although I was also, even at that point, slightly frustrated with the state of guitar in the jazz community; it seemed to me that there could be a lot more happening. In those days the only major group that even had a guitar player as a side man, other than the organ groups, was Gary Burton's group, and that was very strange. All the other groups, if they had a guitar, it would be in a very minor role and it always kind of puzzled me, because I couldn't see why the guitar didn't feature in the other groups. Part of it was because of the player, but part of it was because of the inherent problems in the instrument, as it relates to jazz; I mean it has a small dynamic range, especially the jazz guitar sound and jazz is the music of dynamics.
Yeah, and I think it has some validity. You start thinking about a saxophone player like Sonny Rawls, or any great saxophone player, the difference between their softest note in a phrase and their loudest note is probably a ratio of 15 to 1, with a guitar, without changing the volume, the softest to loudest ratio is maybe 2 to 1, 3 to 1 tops, maybe more if you have a real good touch, but it's still no where near, I mean you're talking about Art Blakey who's going to really blap. To me, that's what makes jazz swing and there are very few guitar players who can really swing.
They had just opened up the doors to calling the electric guitar a real instrument, so instead of one or two guitar majors they suddenly had 80 and only one guitar teacher. I was probably one of the best students there, so they offered me this teaching job and I accepted. I had just met Jaco Pastorius about that time (l was 18 and he would have been about 20), I felt like checking this guy out and we started playing together. There were a lot of good players around who, for some reason or other, happened to be in Miami for this one year period; Steve Morse, Narada Michael Walden (back then he was just Michael Walden), Hiram Bullock (a really good guitar player who plays with David Sanborn), Will Lee, the bass player (in fact his Dad was the Dean of the college!) and Mark Colby, who's a good sax player, but hasn't got too famous. All the guys who made up the Dixie Dregs, that was Rock Ensemble 1, were all thrown together as a class.
When I met Steve Morse it was the first time I'd had any contact with someone my age who was also a guitar player, I remember thinking there must be people like him everywhere, and he thought the same of me.
I lived there for a year and at one point went back to the Mid West to do a Jazz Festival. Gary Burton happened to be on that same festival, I played with him and he asked me to join his band. Joining his band involved teaching at Berklee, in Boston, so I moved up there later that year and started teaching. When he went out on the road we toured for about three years, so that took me up till I was about 21, when I started my own band and we've been on the road ever since! 2ff7e9595c
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