MP3 Zingbop - Weapons of Mass Destruction
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2 MP3 Songs in this album (7:39) !
Related styles: JAZZ: Jazz-Funk, HIP-HOP/RAP: Political Rap
People who are interested in Horace Silver should consider this download.
The multi-faceted talents of pianist-organist-lyricist Doug Carn began to emerge onto the contemporary African-American music scene during his teenage years. His group the âNu-Tonesâ played a variety of dances, proms and club dates during his high school years in St. Augustine, Florida.
On occasion they would back up acts like âLittle Willie Johnâ or open up shows in venues from Miami to Charleston that featured acts like the Five Royals and the Channels.
Strongly influenced by the tradition of hard swinging, blues based âjumpâ bands from the Florida School for the Deaf and Blind that existed for more than a decade in the wake of the Great Ray Charles, Doug Carn started to forge a very special conception and mental picture of what Black music, jazz and velocity of swing was all about.
After studying the oboe at Jacksonville University, Doug went to Georgia State College in Atlanta. During the next few years Dougâs expertise on the Hammond B-3 organ took a giant âleapâ forward as he literally âsat at the feetâ of practically all of the great jazz organ masters. This was due to the fact that âPaschalâs La Carousel periodically brought in Jimmy Smith and the âBird Cageâ always presented artists like Jimmy McGriff, Charles Earland, Groove Holmes, Shirley Scott, Chester Thompson, Trudy Pitts, Gloria Coleman, Lonnie Smith, Jack McDuff, Johnny Hammond Smith and Billy Gardner on a regular basis.
The Environment, along with the dynamics of the civil rights struggle and the African-American âBlack Cultural Revolutionâ provided a fertile ground for Dougâs continuing musical development. By the date of his eighteenth birthday, Doug had released his first LP âThe Doug Carn Trioâ on the Savoy label.
During the hey-day of the Vietnam era and the months after the assassination of Dr. King Doug and a dozen or so âjazzâ artist from the Greater Atlanta area migrated to southern California in search of greater opportunities and recognition. These artist included people like Sidney Miller, Jr., DOC Soul Stirrer, Kiesa Brown, Billy Mitchell, John and Mike Bolivar, the Mighty Hannibal and Dee Dee Cantrell as well as Fred Wesly, George Harper and Ernest Vantrease, Doug soon found himself living in the same apartment building with Earth Wind and Fire, Mandrill, the Chambers Brothers, Janis Joplin, Famous Amos, and the soon to be Reverend Ike.
Because of this particular âLandmarkâ location in Hollywood, people like Joe Zawinul, Larry Young Jr., Tony Williams and other celebrated âsidemenâ were occasional guests when they were in town for gigs at Shellyâs Manhole.
It was during this time that Doug recorded two albums, the first two on Warner Bros., with Earth Wind and Fire. Shortly afterwards, Doug recorded his first album for the newly formed Black Jazz label. That album Infant Eyes was an underground hit and caused much controversy as related to the politics of jazz and the appropriation of jazz by the âwhiteâ establishment of the time. However, Dougâs fan base continued to grow worldwide and all of the recordings of this period made the best seller charts of Billboard, Record World and Cash Box magazine.
By the time of Dougâs fourth LP for Black Jazz âAdams Appleâ Doug had performed to the largest audience in the history the Village Gate and had made his Carnegie Hall debut.
During the next few years a fundamental change began to take place in the Black Community, on the cultural level, that is. This change was basically a move away from overly Afro-centric themes. This change was primarily due to two factors, the greater integration of American Society as a whole and the subsequent decline of the development of Black Institutions by Blacks for Blacks. Therefore, artist like Doug Carn, Pharaoh Sanders, Leon Thomas, Olu Dara, Carlos Garnette, Gary Bartz, Dee Dee Bridgewater and McCoy Tyner suffered greatly except those who were willing and able to change to a more âstraight aheadâ or standard direction.
Around this time, perhaps a decade or more, Doug practically ceased to perform as a band leader and worked mostly as a sideman with artist like Stanley Turrentine, Hank Crawford, Charlie Rouse, Junior Cook, Nat Adderly, Monk Montgomery, Houston Person, Marlena Shaw and Frank Morgan.
Then all of a sudden, a bunch of ânew schoolâ organ players started to appear. Eugene Ludwig came out with an album in 1975 and Downbeat magazine finally took the organ out of the miscellaneous category in its music polls. Now the Hammond B-3 organ groove had more or less âcrossed overâ and was gaining a new sense of popularity. Doug wasted no time in taking advantage of this new situation. For here we have a bunch new kid on the block getting all the ârecognitionâ for what he and his peers had done already twenty years earlier. The show went on the road. First with the U Street project, with Wallace Roney, Gary Thomas, and drummer Steve Williams at the One Step Down in Washington, DC, then a five nation European tour of Sweden, Poland, Austria, Germany and Italy. These shows as well as Dougâs two performances at the Jazz Café in London and the Hip-Jazz recordings were reissued on CD in the U.S., England and Japan.
Now in his prime Doug Carn works out of Palm Florida and Savannah Georgia producing and performing shows in âhis ownâ venues and Jazz festivals with artist Curtis Fuller, Eddie Henderson, Antonio Hart, Vincent Gardner, Charles Tolliver, Bill Pierce, Frank Lacey, Bill Saxton, Danny Mixon, Andy McCloud, Dave Valentine and Fred Wesly.
There have also been gigs with Kent Jordan, Marlon Jordan, Stephanie Jordan, Bunky Green, Ernestine Anderson, Benny Golson, Freddie Hubbard, Vanessa Rubin and Vincent Herring. A special note should also be given to recent club dates in New York with Cindy Blackman, at the Iridium, Lenny White at Birdland, Kenny Garrett and Joey D. Francessco at S.O.B.âs and Ben Dixon and Sonny Simmons at the Jazz Standard.
Like many talented and super-talented artist, Doug Carn re-invents himself from time to time. âZingBopâ âCarnâsâ latest re-incarnation is positioned to be perhaps his greatest and strongest influence on the whole spectrum of Afro-American music. Never a jazzman with elitist or condescending views of other forms of Black music, he always incorporated elements of the blues, gospel, R&B etcâ¦ into his work. And now as ZingBop Doug breaks through the threshold of hip-hop and rap music with a most powerful thrust of energy and soulfulness, that leaves the listener simultaneously stunned and refreshed. This new move is primarily due to its timeliness, especially when viewed in the light of recent controversy surrounding the lyrical content of the music currently being perpetrated by the rap industry in general.
ZingBop can best be described as a romantic warrior, poet musician, with a keen political insight. It is somewhat ironic that several so called âold schoolâ artist have been âsampledâ by so called ânew schoolâ artists many times; yet there are no prominent old school rapper? ZingBop puts an end to the malady and will certainly create a trend that enriches and helps to sustain hip-hop and rap idioms into the near future and beyond.
The few sample tracks included in this myspace page should easily convince the most skeptical of ZingBop enormous potential to carry the music of today to a much higher level of value and appreciation than previously thought by supporters and detractors alike.
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