![]() While Marvin Gaye, James Brown, and Sam CookeĪmong many others had popularized their own form of soul music beforeīell’s national inception, Bell introduced a style to the world that When Bell caught hisįirst break and a major label (Cameo Records) came calling in 1967, he His childhood, Bell’s recognition rose fast and he was conducting andĪrranging songs for local groups by his late teens. Studying classical piano at the age of 5. Philadelphia, Bell found his love for music very early in life while Work behind the scenes made him arguably the most important figure of Though he was never found on stageĬrooning fervent soul classics like Marvin Gaye or Otis Redding, Bell’s Much like the career of this masterful producer, arranger,Īnd songwriter, the preference for substance over style resounds in his You will be hard-pressed to find any photos like this of Thom Bell.Ī photo of him accepting a prestigious award is more than symbolic of Posing ceremoniously for a photographer with the intent of publicĭistribution. Usually above this text, there is a picture of an artist or band So please join me in this ongoing visceral, investigative, and cerebral quest to explore, enjoy, and pay homage to the endlessly creative and uniquely magisterial dimensions of MUSIC in all of its guises and expressive identities. in order to search for what individual artists and ensembles do creatively to challenge and transform our ingrained ideas and attitudes of what music is and could be. Thus this magazine will strive to critically question and go beyond the conventional imposed notions and categories of what constitutes the generic and stylistic definitions of 'Jazz', 'classical music', 'Blues', 'Rhythm and Blues', 'Rock ' n Roll', 'Pop', 'Funk', 'Hip Hop' etc. I'm also interested in critically examining the wide range of ideas and opinions that govern our commodified notions of the production, consumption, marketing, and commercial exchange of organized sound(s) which largely define and thereby (over)determine our present relationships to music in the general political economy and culture. The purpose is to openly explore, examine, investigate, reflect on, studiously critique, and take opulent pleasure in the sonic and aural dimensions of human experience known and identified to us as MUSIC. This online magazine features the very best in contemporary creative music in this creative timezone NOW (the one we're living in) as well as that of the historical past.
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