More Brilliant Than The Sun:
Adventures In Sonic Fiction:
Concept Engineered By
Kodwo Eshun
More Brilliant Than The Sun is a machine for travelling at the speed of thought, a probe for drilling into new levels of possibility space. ‘ Its mission is to undermine the concepts this present has of “Health” and “Culture” and to excite mockery and hatred against these hybrid monsters of concepts.’
IDREN NATURAL (UK) live on LA SVOLTA and JOKER SMOKER SOUND SYSTEMS
@ CSA Next Emerson Firenze via di Bellagio 15
stasera, sabato 12 marzo 2011
Ispirato dallo studio delle parole di Marcus Garvey, e guidato da Sua Maestà Imperiale Ras Tafari, IDREN NATURAL entra a far parte della scena roots dub tra gli anni ’70 e e ’80.
Esordisce con il proprio sound system IMPERIAL YOUTH, divenuto più tardi MESSENJAH PROMOTION, esperienze che sfociano nel progetto di promozione musicale e della cultura rastafariana I&I ONENESS, in cui spicca la sua particolare timbrica vocale che lo porta durante gli anni ’90 ad esibirsi in tutta Europa mentre le sue tune divengono talmente popolari da essere suonate da sound system come quelli di JAH SHAKA, ABA SHANTI I, RAS MUFFETT, KING SHILOH e tanti altri.
Il suo lavoro di produzione musicale vanta collaborazioni, oltre che con i nomi già citati, con artisti internazionali della scena dub come DREAD & FRED, DUB JUDAH, ALPHA & OMEGA, NOEL ZEBULON, RASHEDA, AISHA
PER LA PRIMA VOLTA A FIRENZE porterà con sè in esclusiva un carico di produzioni unreleased e dubplate e si esibirà in alcune proprie produzioni storiche, oltre che sulle tune di JOKER SMOKER e LA SVOLTA, che uniranno per l’occasione i loro impianti autocostruiti.
Un appuntamento da non perdere con un nome storico della scena dub e roots made in UK!!!
While James Brown’s pioneering music continues to attract great critical acclaim, it is not widely acknowledged that his own musicians were less than effusive about his famed compositions. Brown’s musically ‘educated’ band members have often expressed the view that his prototype funk compositions were simplistic and unsophisticated and therefore not to be taken very seriously. This view is strikingly borne out in Fred Wesley’s recent book, Hit Me Fred: Confessions of a Sideman (2003), in which Brown’s former bandleader provides the most comprehensive insight to date into the trials and tribulations of working with the ‘Godfather of Soul’. Wesley was among the core of abundantly talented former jazz players – Alfred ‘Pee Wee’ Ellis, Maceo Parker, Waymond Reed were others – of Brown’s premiere late 1960s -early 1970s troupes. Prior to their recruitment into Brown’s band, these musicians were aspirant be-boppers. As ex-James Brown bandleader, ‘Pee Wee’ Ellis would later say, ‘he was some other stuff for me; I’d been studying Sonny Rollins’.
This ‘other stuff’ to which Ellis refers was ‘funk’, but it might also be a euphemism for Brown’s notoriously ‘idiosyncratic’ approach to composition in general – one that Wesley would subsequently lament:
Mr Brown would sometimes come to the gig early and have what we call a jam’, where we would have to join in with his fooling around on the organ. This was painful for anyone who had ever thought of playing jazz. James Brown’s organ playing was just good enough to fool the untrained ear, and so bad that it made real musicians sick on the stomach.
