Discos Musart is a Mexican record label founded in 1948. It is headquartered in Mexico City and remains one of the country's biggest labels, focusing on Mexican music, as well as international releases licensed from various labels around the world. Over the years it has had several imprints such as Trebol and Balboa Records. During the 1950s, Musart distributed albums by Cuban label Panart in Mexico; until Capitol Records opened in Mexico in 1965, recordings by The Beatles were released by Musart Records in Mexico. Capitol re-releases now sometimes use different covers so detecting whether a Capitol version is an original Musart album or not can be difficult. Musart was acquired by Concord Bicycle Music in 2016; the following artists have been part of the Musart roster: Antonio Aguilar Carmela Rey César Costa Chalino Sanchez Cornelio Reyna El Piporro Los Felinos Flor Silvestre Gloria Lasso Irma Dorantes Joan Sebastian Juan Torres Robles La Panchita Lisa Lopez Lorenzo Antonio Lucerito Lucha Villa Mercedes Castro Pancho Barraza Paquita La Del Barrio Pepe Aguilar Sylvester James Uberto Zanolli List of record labels Official Musart Website
Rahsaan Roland Kirk
Rahsaan Roland Kirk was an American jazz multi-instrumentalist who played tenor saxophone and many other instruments. He was renowned for his onstage vitality, during which virtuoso improvisation was accompanied by comic banter, political ranting, the ability to play several instruments simultaneously. Kirk was born Ronald Theodore Kirk in Columbus, where he lived in a neighborhood known as Flytown, he became blind at two years old. As a teenager, Kirk studied at the Ohio State School for the Blind. By fifteen he was on the road playing rhythm and blues on weekends with Boyd Moore's band. According to saxophonist Hank Crawford, "He would be like this 14 year-old blind kid playing two horns at once, they would bring him out and he would tear the joint up." Hank said he was unbelievable when as a youth. "Now they had him doing all kinds of goofy stuff but he was playing the two horns and he was playing the shit out of them. He was an original from the beginning." Kirk felt compelled by a dream to transpose two letters in his first name to make'"Roland".
In 1970, Kirk added "Rahsaan" to his name after hearing it in a dream. Kirk's multi-instrumentality was credited as having a substantial musical conception; this inclusivity included the blues, a love of stride piano and early jazz, appreciation for pop tunes. But his vision was much wider than most of his contemporaries. According to producer Joel Dorn, he was hugely knowledgeable about classical music. Pieces by Saint-Saens, Tchaikovsky and Villa-Lobos would all feature on his albums over the years, alongside standards, pop songs and original compositions. Rahsaan's influences went beyond jazz and consequentially, he preferred the term'Black Classical Music.'Kirk's musical career spans from 1955 until his death in 1977. He preferred to lead his own bands and performed as a sideman, although he did record with arranger Quincy Jones, drummer Roy Haynes and worked with bassist Charles Mingus. One of his best-known recorded performances is the lead flute and solo on Jones' "Soul Bossa Nova", a 1964 hit song repopularized in the Austin Powers films.
Kirk was politically outspoken. During his concerts, between songs he talked about topical issues, including African-American history and the Civil Rights Movement, his monologues were laced with satire and absurdist humor. According to comedian Jay Leno, when Leno toured with Kirk as Kirk's opening act, Kirk would introduce him by saying, "I want to introduce a young brother who knows the black experience and knows all about the white devils.... Please welcome Jay Leno!"In 1975, Kirk suffered a major stroke which led to partial paralysis of one side of his body. He continued modifying his instruments to enable him to play with one arm. At a live performance at Ronnie Scott's Jazz Club in London he managed to play two instruments, carried on to tour internationally and to appear on television, he died from a second stroke in 1977, the morning after performing in the Frangipani Room of the Indiana University Student Union in Bloomington, Indiana. His playing was rooted in soul jazz or hard bop, but Kirk's knowledge of jazz history allowed him to draw from many elements of the music's past, from ragtime to swing and free jazz.
Kirk absorbed classical influences, his artistry reflected elements of pop music by composers such as Smokey Robinson and Burt Bacharach, as well as Duke Ellington, John Coltrane and other jazz musicians. The live album Bright Moments is an example of one of his shows. Kirk played and collected a number of musical instruments various saxophones and flutes, his main saxes were stritch and a manzello. A number of his instruments were homemade. Kirk modified instruments himself to accommodate his simultaneous playing technique. Critic Gary Giddins wrote that Kirk's tenor playing alone was enough to bring him "renown", he appeared on stage with all three horns hanging around his neck, at times he would play a number of these horns at once, harmonizing with himself, or sustain a note for lengthy durations by using circular breathing. He used the multiple horns to play true chords functioning as a one-man saxophone section. Kirk insisted. While playing two or three saxophones at once, the music was intricate, powerful jazz with a strong feel for the blues.
Kirk was an influential flautist, including recorders. According to Giddins, Kirk was the first major jazz innovator on flute after the 1964 death of Eric Dolphy. Kirk employed several techniques. One technique was to hum into the flute at the same time as playing. Another was to play the standard transverse flute at the same time as a nose flute, he played a variety of other instruments, like whistles. He had unique approaches, such as using a saxophone mouthpiece on a trumpet, he used many non-musical devices, such as alarm clocks, sirens, or a section of common garden hose. From the early 1970s, his studio recordings used tape-manipulated musique concrète and primitive electronic sounds before such things became commonplace; the Case of the 3 Sided Dream in Audio Color was a unique album in jazz and popular music recorded annals. It was a two-LP set, with Side 4 "blank", the label not indicating any content. However, once wo
Second Avenue Subway
The Second Avenue Subway is a New York City Subway line that runs under Second Avenue on the East Side of Manhattan. The first phase of this new line, with three new stations on Manhattan's Upper East Side, opened on January 1, 2017; the full Second Avenue Line, if and when it is funded, will be built in three more phases to connect Harlem–125th Street in Harlem to Hanover Square in Lower Manhattan. The proposed full line would be 8.5 miles and 16 stations long, serve a projected 560,000 daily riders, cost more than $17 billion. The line was proposed in 1919 as part of a massive expansion of what would become the Independent Subway System. In anticipation of the Second Avenue Subway being built to replace them, parallel elevated lines along Second Avenue and Third Avenue were demolished in 1942 and 1955 despite several factors causing plans for the Second Avenue Subway to be cancelled. Construction on the line began in 1972 as part of the Program for Action, but was halted in 1975 because of the city's fiscal crisis, leaving only a few short segments of tunnels completed.
Work on the line restarted in April 2007 following the development of a financially secure construction plan. The first phase of the line, consisting of the 96th Street, 86th Street, 72nd Street stations and two miles of tunnel, cost $4.45 billion. A 1.5-mile, $6 billion second phase from 96th to 125th Streets is in planning and is expected to open by 2027–2029. Phase 1 is served by the Q train at limited rush-hour N and R trains. Phase 2 will extend the line's northern terminus from 96th Street to Harlem–125th Street, both the Q and limited N services will be extended to 125th Street. Phase 3 will extend the line south from 72nd Street to Houston Street in Manhattan's Lower East Side. Phase 4 will again extend the line south from Houston Street to Hanover Square, at which point the T would provide service to the entire line; the T will be colored turquoise. Services that use the Second Avenue Line through Midtown Manhattan are to be colored turquoise; the following services use part or all of the Second Avenue Line: Phase 1 of the Second Avenue Line opened in January 2017 and runs under Manhattan's Second Avenue from 65th Street to 105th Street, with stations at 72nd Street, 86th Street, 96th Street.
It is double-tracked along its entire length, with tracks in parallel tubes bored by tunnel boring machines, central island platforms at all stations. North of 96th Street, both tracks continue; as part of Phase 1, the Second Avenue Subway connects to the BMT Broadway Line using an existing connection via the 63rd Street Line. The Q, as well as and limited rush-hour N and R, operate northward from 57th Street–Seventh Avenue on the Broadway Line, curving east under Central Park on the 63rd Street Line; the Broadway trains stop at Lexington Avenue–63rd Street with a cross-platform interchange to the F train before merging with the Second Avenue Line near 65th Street. The northbound 63rd Street Connector track dips below the level of Phase 3's planned tunnels, providing for a future flying junction between the connector and the rest of the Second Avenue Line; the long-term plans for the Second Avenue Subway involve digging 8.5 miles of new tunnels north to Harlem–125th Street in Harlem and south to Hanover Square in the Financial District of Lower Manhattan.
The entire line would be double-tracked, except for a tentatively four-tracked segment between 21st and 9th Streets, including the 14th Street station, with the outer two tracks used to store trains. After Phase 4 is completed, the residents of Spanish Harlem and the Upper East Side will have mass transit service down both Second Avenue and Broadway to the Financial District, as well as across the Manhattan Bridge to Brooklyn via the Q train. An additional two-track connection is planned at around 63rd Street that will connect the Lower Manhattan-bound tracks on the Second Avenue Line with the Queens-bound tracks on the IND 63rd Street Line, using existing bellmouths at 63rd Street and First Avenue. Current plans do not call; the connection would allow for trains to run from the Financial District to Queens if the capacity of the IND Queens Boulevard Line were increased, or if the Queens Bypass were built. Service from Queens via the 63rd Street Tunnel would allow for the full capacity of the line south of 63rd Street to be used.
The whole line will be designed to accommodate 30 trains per hour, with the exception of the terminal at Hanover Square, which will only be able to handle 26 trains per hour. The portion north of 63rd Street is planned to have 14 TPH on the Q and 14 TPH on the T, for a combined 28 trains per hour on both routes. South of there, only 14 TPH on the T are planned, although 12 additional TPH could be provided in the future via the 63rd Street Tunnel; the 2004 plans for the Second Avenue Subway include the construction of short track segments to allow a future extension north under Second Avenue past 125th Street to the Bronx, as well as an extension south to Brooklyn. In order to store the 330 additional subway cars needed for the operation of the line, storage tracks would be built between 21st Street and 9th Street along the main alignment; the 36th–38th Street Yard in Sunset Park, would be reconfigured. The Second Avenue Subway
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Laughing Soul is an album by American saxophonist George Braith, his first effort for Prestige after a two-year stint with Blue Note Records. The album was recorded in 1966 and issued the same year as PRLP 7474. All compositions by George Braith except as indicated."Hot Sauce" - 3:45 "Chop Sticks" - 2:51 "Chunky Cheeks" - 4:39 "Crenshaw West" - 5:16 "Please Let Me Do It" - 3:06 "Coolodge" - 3:20 "With Malice Toward None" - 5:20 "Little Flame" - 4:07 "Cantelope Woman" - 4:04 George Braith - soprano and tenor saxophone "Big" John Patton - organ Grant Green - guitar Eddie Diehl - rhythm guitar Victor Sproles Jr. - bass Ben Dixon - drums Richard Landrum - congas