Basket of Light
Basket of Light is a 1969 album by the folk rock group Pentangle. It reached no. 5 on the UK Albums Chart. A single from the album, "Light Flight", the theme from BBC1's first colour drama series Take Three Girls, reached no. 43 on the UK Singles Chart. Another single from the album, "Once I Had a Sweetheart", reached no. 46 in the charts. The album's liner notes state that "Springtime Promises" was written "after a ride on a number 74 bus from Gloucester Road to Greencroft Gardens on an early spring day"; the album was included in the book. All tracks written by Bert Jansch, John Renbourn, Danny Thompson, Terry Cox and Jacqui McShee, except as noted; the album cover uses photographs of Pentangle's 1968 concert in the Royal Albert Hall. A note about the instrumentation states that "All the instruments played on this album are accoustic." PentangleTerry Cox – drums, hand drum and backing vocals Bert Jansch – lead and backing vocals, banjo on "House Carpenter" Jacqui McShee – lead and backing vocals John Renbourn – lead and backing vocals, sitar Danny Thompson – double bassTechnicalShel Talmy – producer Damon Lyon-Shaw – engineer John Pantry – engineer Basket of Light was released as a UK LP on 26 October 1969, as Transatlantic TRA2O5.
The U. S. version, in the same year was Reprise R56372. The album was re-released as a digitally remastered CD in 2001, as Castle CMRCD207, which includes two alternate takes of "Sally Go'Round the Roses" and the non-album B-sides: "Cold Mountain" and "I Saw an Angel"; the Danny Thompson Website Album online at radio3net.ro
Clopton is a village and civil parish in Suffolk. It is located between Debenham two kilometres north of Grundisburgh on the River Lark; the village is no larger than a series of houses either side of the B1078, surrounded by farm land. The village itself has no clear centre; as of 2011, the population of the parish numbered 375 people. The village had a school, built in 1875 and had capacity for 100 pupils with an average attendance of 56, however it closed in the late 1930s. Pupils instead attend schools in Grundisburgh or Woodbridge, with a bus service provided by Suffolk County Council; the earliest known mention of Clopton is a record in the Domesday Book as "Clopetuna". In the early 1870s, it was described in John Marius Wilson's Imperial Gazetteer of England and Wales as: "...a parish in Woodbridge district, Suffolk. Post town, under Wood-bridge. Acres, 2, 074. Real property, £4, 012. Pop. 407. Houses, 84; the property is divided among a few. Part of the land is common; the living is a rectory in the diocese of Norwich.
Value, £720.* Patron, Mrs. E. Taylor; the church is good. E. Suffolk, 4 miles NW. of Woodbridge, 2074 ac. pop. 382. O.. The area consists of arable farms together with a small amount of housing. To the east side of Clopton is an area of disused airfield which now has a small amount of light industry. To the west side is the East Suffolk College of Horticulture at Otley; the village has 3 churches. There are no schools or shops in Clopton." Between Clopton and the nearby village of Debach, the site of RAF Debach can be found, home to the USAAF 493d Bombardment Group over the course of World War II. A service memorial and the flag flown over the base can be found inside St. Mary's church at Clopton. In 1831, the decennial census found that over three-quarters of Clopton's population worked in agriculture, with most of these being labourers employed by farmers. Other than this, the parish had a small number describing themselves as being employed in "retail and handicrafts," and an smaller number being "professionals" or "other."In 1844, White's Directories for Suffolk listed 13 farmers, a shoemaker and wheelwright.
The 1912 edition listed 19 farmers, a farm bailiff, schoolmaster, shoemaker, storekeeper, hardware merchant, furniture remover/carrier and insurance agent. By 1881, the Parish as a whole, while still reliant on agriculture to provide work, had diversified into other industries. Around this time, the presence of women in the workplace had increased somewhat as well: though these industries were small in comparison to the entirely male-dominated agricultural sector, in the 1881 census women outnumbered men in the'Domestic Services and Offices' and'Dress' occupation orders. Nonetheless, while 75 men reported working in agriculture, only 9 women reported having an occupation at all. Since the passing of the Census Act 1800, Clopton's overall population has remained unchanged. In 1801, the first decennial census recorded a population of 389 people, while an all-time high of 468 was recorded in 1831; the modern village of Clopton has been described as: "...a spaced village which consists of farming, around 140 residential homes and a few small businesses.
There is a good village hall at the centre of the village, which gets plenty of bookings... but no village pub, nor shop. However, there are several of each in the nearby surrounding villages." In 2011, the National Census found that 385 people lived in Clopton, of these 186 were male and 189 female. The average age of people in Clopton is 41 years, though the largest age group is 45–59 years, with 83 people reported. People in Clopton reported in the 2011 Census that they were in full-time employment or self-employed, with a smaller percentage being in part-time employment. Men make up more of these figures than women: While 35.7% and 32.9% of men are in full-time employment and self-employed these figures are only 21.4% and 12.2% for women. The principle sectors of employment for men, as found by the 2011 Census, are in "Skilled Trades Occupations", "Managers and Senior Officials" and "Professional Occupations". For women, the main sectors are "Professional Occupations", "Managers and Senior Officials" and "Administrative and Secretarial Occupations", with an additional notable presence in "Caring and Other Service Occupations".
Clopton has joined a campaign dubbed "Save Our Rural Roads", first started in 1997 by Grundisburgh & Culpho Parish Council, after concerns of heavy goods vehicles causing damage to buildings and roads in the community. Residents of the village receive a quarterly news magazine from District News. Media related to Clopton, Suffolk at Wikimedia Commons
The double bass, or the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is a standard member of the orchestra's string section, as well as the concert band, is featured in concertos and chamber music in Western classical music; the bass is used in a range of other genres, such as jazz, 1950s-style blues and rock and roll, psychobilly, traditional country music, bluegrass and many types of folk music. The bass is a transposing instrument and is notated one octave higher than tuned to avoid excessive ledger lines below the staff; the double bass is the only modern bowed string instrument, tuned in fourths, rather than fifths, with strings tuned to E1, A1, D2 and G2. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family; however the body shape where it curves into the neck matches the viol family whereas in the rest of the violin family, the body meets the neck with no blending curve.
The double bass is played by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm. Classical music uses the natural sound produced acoustically by the instrument, as does traditional bluegrass. In jazz and related genres, the bass is amplified; the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4, which serve to accommodate a player's height and hand size; these sizes do not reflect the size relative to 4⁄4 bass. It is constructed from several types of wood, including maple for the back, spruce for the top, ebony for the fingerboard, it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, it embodies features found in the older viol family. Like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings.
In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm, except for some solos and occasional written parts in modern jazz that call for bowing. In classical pedagogy all of the focus is on performing with the bow and producing a good bowed tone. Bowed notes in the lowest register of the instrument produce a dark, mighty, or menacing effect, when played with a fortissimo dynamic. Classical bass students learn all of the different bow articulations used by other string section players, such as détaché, staccato, martelé, sul ponticello, sul tasto, tremolo and sautillé; some of these articulations can be combined. Classical bass players do play pizzicato parts in orchestra, but these parts require simple notes, rather than rapid passages. Classical players perform both bowed and pizz notes using vibrato, an effect created by rocking or quivering the left hand finger, contacting the string, which transfers an undulation in pitch to the tone.
Vibrato is used to add expression to string playing. In general loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear fundamental bass for the string section. Mid- and higher-register melodies are played with more vibrato; the speed and intensity of the vibrato is varied by the performer for an emotional and musical effect. In jazz and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play rapid pizzicato walking basslines for extended periods; as well and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that Classical bassists encounter in the standard orchestral literature, which are whole notes, half notes, quarter notes, occasional eighth note passages.
In jazz and related styles, bassists add semi-percussive "ghost notes" into basslines, to add to the rhythmic feel and to add fills to a bassline. The double bass player stands, or sits on a high stool, leans the instrument against their body, turned inward to put the strings comfortably in reach; this stance is a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family—the narrower shoulders facilitate playing the strings in their higher registers. The double bass is regarded as a modern descendant of the string family of instruments that originated in Europe in the 15th century, as such has been described as a bass Violin. Before the 20th century many double basses had only three strings, in contrast to the five to six strings typical of instruments in the viol family or the four strings of instruments in the violin family; the double bass's proportions are di
Skiffle is a music genre with jazz, blues and American folk influences using a combination of manufactured and homemade or improvised instruments. Originating as a term in the United States in the first half of the 20th century, it became popular again in the UK in the 1950s, where it was associated with artists such as Lonnie Donegan, The Vipers Skiffle Group, Ken Colyer and Chas McDevitt. Skiffle played a major part in beginning the careers of eminent jazz, blues and rock musicians such as The Beatles and Rory Gallagher, it has been seen as a critical stepping stone to the second British folk revival, blues boom and British Invasion of the US popular music scene. The origins of skiffle are obscure but are thought to lie in African-American musical culture in the early 20th century. Skiffle is said to have developed from New Orleans jazz, but this claim has been disputed. Improvised jug bands playing blues and jazz were common across the American South in the early decades of the 20th century.
They used instruments such as the washboard, washtub bass, cigar-box fiddle, musical saw and comb-and-paper kazoos, as well as more conventional instruments, such as acoustic guitar and banjo. The origin of the English word skiffle is unknown. However, in the dialect of the west of England to make a skiffle meaning to make a mess of any business is attested from 1873. In early 20th century America the term skiffle was one of many slang phrases for a rent party, a social event with a small charge designed to pay rent on a house, it was first recorded in Chicago in the 1920s and may have been brought there as part of the African-American migration to northern industrial cities. The first use of the term on record was in 1925 in the name of Jimmy O'Bryant and his Chicago Skifflers. Most it was used to describe country blues music records, which included the compositions "Hometown Skiffle" and "Skiffle Blues" by Dan Burley & his Skiffle Boys, it was used by Ma Rainey to describe her repertoire to rural audiences.
The term skiffle disappeared from American music in the 1940s. Skiffle was a obscure genre, it might have been forgotten if not for its revival in the United Kingdom in the 1950s and the success of its main proponent, Lonnie Donegan. British skiffle grew out of the developing post-war British jazz scene, which saw a move away from swing music and towards authentic trad jazz. Among these bands were Bill Bailey Skiffle Group and Ken Colyer's Jazzmen, whose banjo player Donegan performed skiffle music during intervals, he would sing and play guitar with accompaniment of two other members on washboard and tea-chest bass. They played a variety of American folk and blues songs those derived from the recordings of Lead Belly, in a lively style that emulated American jug bands; these were listed on posters as "skiffle" breaks, a name suggested by Ken Colyer's brother Bill after recalling the Dan Burley Skiffle Group. Soon the breaks were as popular as the traditional jazz. After disagreements in 1954, Colyer left to form a new outfit with Chris Barber, the band became Chris Barber's Jazz Band.
The first British recordings of skiffle were carried out by Colyer's new band in 1954, but it was the release by Decca of two skiffle tracks by Barber's Jazz Band under the name of the "Lonnie Donegan Skiffle Group" that transformed the fortunes of skiffle in late 1955. Donegan's fast-tempo version of Lead Belly's "Rock Island Line" was a major hit in 1956, featuring a washboard, with "John Henry" on the B-side, it spent eight months in the Top 20, peaking at No. 6. It was the first debut record to go gold in Britain, selling over a million copies worldwide, it was the success of this single and the lack of a need for expensive instruments or high levels of musicianship that set off the British skiffle craze. A few bands enjoyed chart success in the skiffle craze, including the Chas McDevitt Skiffle Group, Johnny Duncan and the Bluegrass Boys, the Vipers, but the main impact of skiffle was as a grassroots amateur movement popular among working class males, who could cheaply buy, improvise, or build their own instruments and who have been seen as reacting against the drab austerity of post-war Britain.
The craze reached its height with the broadcasting of the BBC TV programme Six-Five Special from 1957. It was the first British youth music programme, using a skiffle song as its title music and showcasing many skiffle acts, it has been estimated. Sales of guitars grew and other musicians were able to perform on improvised bass and percussion in venues such as church halls and cafes and in the flourishing coffee bars of Soho, like the 2i's Coffee Bar, the Cat's Whisker and nightspots like Coconut Grove and Churchill's, without having to aspire to musical perfection or virtuosity. A large number of British musicians began their careers playing skiffle in this period, some became leading figures in their respective fields; these included leading Northern Irish musician Van Morrison and British blues pioneer Alexis Korner, as well as Ronnie Wood, Alex Harvey and Mick Jagger. Most notably, the Beatles developed from John Lennon's skiffle group the Quarrymen; the Bee Gees developed from Barry Gibb's skiffle group the Rattlesnakes.
After splitting from Barber, Donegan went on to make a series of popular records as "Lonnie Donegan's Skiffle Gr
Ayuo Takahashi is a Japanese-American composer, lyricist and performer of plucked string instruments including guitar, Irish harp, Chinese zheng, Japanese koto,and medieval European psaltery. He is adept at adapting the ancient music of Japan, Persia and medieval Europe to create a new and original music without abandoning their strict forms, while making them relevant to contemporary music styles, he has composed for classical ensembles including string quartets, various chamber ensembles and orchestra, as well as composed and performed with rock and musicians of various traditional music from around the world. He has composed many music theater pieces, some of, released on CD in the United States and Japan. Ayuo Takahashi was born in Tokyo, spent his early childhood traveling in Germany and France with his parents, his father, Yuji Takahashi, is a composer of contemporary classical music and a pianist known for premiering works by Iannis Xenakis and John Cage. Ayuo and his parents settled in New York City in 1966.
Ayuo grew up listening to both the new avant-garde experimental and contemporary music and the psychedelic rock music of the 1960s. He went to museums, art galleries and cinemas to see exhibitions of contemporary art and the new cinema. At the same time, he saw Japanese traditional Noh plays, heard ancient and medieval music from Japan and Europe. All these were to be become important influences in Ayuo's music-theater pieces. Ayuo's parents divorced in 1969, Ayuo's mother married an Iranian-American, who came from a family that performed traditional Persian music in the courts of the Iranian Shah; this gave Ayuo the opportunity to hear Persian traditional music, to leave a lasting influence on his music. In 1975, Ayuo's mother and step-father separated, while Ayuo was visiting his father in Japan, forcing him to live there, his first studio recording was in 1976 with his father, Yuji Takahashi, Ryuichi Sakamoto, Masahiko Togashi on the CD "Twilight" released on Columbia Records in Japan. Adjusting to life in Japan as a teenager was difficult, Ayuo would make that the main theme on his CD "What We Look Like In The Picture" released in 2006 from Zipangu in Japan.
Ayuo spent his high school years appearing in poetry reading competitions. Ayuo joined Keiji Haino's group "Fushitsusha" in 1979, performed improvisation with many musicians in what was the final period of the "free music scene" in Japan of the 1970s. Ayuo studied the traditional plucked string instrument, with Kinshi Tsuruta, he studied contemporary music composition with Joji Yuasa. His first solo record, "Carmina", was released in 1984 from Epic-Sony. Since he has released over a dozen solo albums, collaborating with a diverse group of individuals, including Peter Hammill, Ryuichi Sakamoto, Danny Thompson, Maddy Prior, Takehisa Kosugi, Carlos Alomar, John Zorn, Bill Laswell, Dave Mattacks, Yohji Yamamoto, Jadranka Stojaković, Hiromi Ōta, Yoko Ueno, Clive Deamer, Mikigami Koichi, Wataru Ohkuma, Aki Takahashi, Mie Miki, Kazue Sawai and many Japanese traditional musicians. Three CDs of his music have been released in the United States from the TZADIK label in the 21st century. Ayuo has composed music for films, contemporary dance, theater.
"Border Line", directed by the Korean-Japanese film director, Lee Sang-il in 2002, features music performed alone by Ayuo. Ayuo has a unique distinctive style in his music, he can create music which balances on traditions of world music, new age, avant-pop and classical composition, without losing his distinctive voice in the music he creates. For the first Tzadik CD, he was introduced as the "one of the most enigmatic figures in Japan", he has made unique arrangements of compositions by Erik Satie, Claude Debussy, Richard Wagner, Maurice Ravel, Toru Takemitsu and other classical composers Ayuo's lyrics are about difficulties in human relationship between different cultures, between men and women. His lyrics include scientific, literary or historical references, he uses texts by philosophers from Japan, Middle East, Europe, such as Dogen, Rumi and others. Two of his music-theater compositions are based on a medieval Japanese Noh play by Zeami. Another music-theater composition is based on the story "Black Hair" by Marguerite Duras.
There are compositions based on mythic themes, such as the story of Pele and Hi'iaka from Hawaii, story of the Sun god from ancient India. Ayuo writes on the liner notes of his CDs that he was influenced by the scholar of world myths and comparative religion, Joseph Campbell. Carmina Silent Film Shizukani Okitegoran Memory Theatre Nova Carmina Blue Eyes, Black Hair Heavenly Garden Orchestra Songs from a Eurasian Journey Earth Guitar Stoned E No Naka No Sugata dna Izutsu Red Moon AOI Songs from a Eurasian Journey Kazue Sawai/ Me to Me Official website https://www.youtube.com/user/NovaCarmina?feature=mhee singersong.homestead.com www.psychemusic.org www.allmusic.com/artist/ayuo-q70718
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Alphabet City (album)
Alphabet City is the fourth studio album by English pop band ABC. It was released in October 1987, on the labels Mercury and Neutron, two years after their previous album How to Be a... Zillionaire! Following a hiatus in which singer Martin Fry was being treated for Hodgkin's disease, it was recorded over a period of nine months between November 1986 and August 1987, in sessions that took place at Marcus Recording Studios in London, assisted by Bernard Edwards, best known for his work with the American band Chic; the album's title and the titles of several tracks were inspired by the Alphabet City section of Manhattan, New York City, where Fry and Mark White lived for a time prior to the album's release. It peaked at No. 7 in the UK, making it their first album to reach the Top 10 since their debut The Lexicon of Love. The album launched three charting singles in the UK. "When Smokey Sings", a tribute to Smokey Robinson, peaked at No. 11 on the UK Singles Chart. In 2005, a digitally remastered CD of the album was released with six bonus tracks.
All tracks written except where noted. ABC Martin Fry – lead and background vocals Mark White – guitars.