According to my parents, I just started drumming when I was two. I traveled with them from five to seven on the road, playing percussion. Between 8 and 12, my dad sort of prepared me by teaching me every aspect of road life.
Heaven to me is percussion and bass, a screaming guitar and a burbling Hammond B-3 organ. It's a soup I love being immersed in.
Well, I've heard a lot of people, but I think I would say a Brazilian musician named Hermeto Pascoal was one of my biggest influences. Through the years he mastered the keyboards. He use to play the organ Hammond B3, flute, saxophone, percussion and guitar. He is one of the most complete musicians that I ever met. Not too long after we came to the United States, Airto Moreira introduced him to Miles Davis, who recorded three of Hermeto's compositions on his album "Live Evil.
I got in the school band and the school choir. It all hit me like a ton of bricks, everything just came out. I played percussion for a while, and stayed after school forever just tinkering around with different things, the clarinets and the violins.
I grew up playing classical piano and percussion.
For a million years the sound of making handaxes provided the percussion of everyday life. Anyone choosing a hundred objects to tell a history of the world would have to include a handaxe.
There was this big skiffle craze happening for a while in England.... Everybody was in a skiffle group..All you needed was an acoustic Guitar, a washboard with thimbles for percussion, and a tea-chest- you know, the ones they used to ship tea from India- and you just put a broom handle on it and a bit of string, and you had a bass..you only needed two chords; Jing-jinga-jing jing-jinga-jing jing-jinga-jing jing-jinga-jing. And I think that's basically where i've always been at. I'm just a skiffler, you know. Now I do posh skiffle, that's all it is.
Electronic music was just discovery about sound, all our sound options. The core percussions and melodies, they forget about it, they didn't think about those those for a good four, five years, because they were just discovering the new tools and what they could do with them, you know? The big folk revival, I think is a backlash against that. And now, I think they'll probably try to find somewhere in the middle. It's interesting. It's like push-and-pull. It's always like that, you know? Music history is always like that, this repeating evolution of music.
I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.
When I heard We Are the World do a techno version of one of my songs, I didn't know the word techno, but I said, "That percussion is astounding, will you help me do a piece?" Nobody said, "Techno isn't allowed for you."
The musical mystery is: How do you marry tuned percussion and voice? On a metaphorical level, everything that's really important - like the clouds, the sky and the earth - is a giant mystery.
I studied classical percussion for ten years. At one point I was thinking about going to the Sydney Conservatorium of Music, but then I realized it's actually not what I wanted to do.
I miss the romance. I keep saying this over and over again, but dance follows music. And if the accent today is percussion and rhythm and loudness, then that is the way the dance numbers will be. But it is pretty hard on romance with seven guitars, three drums, and no melody instruments in the band.
I think the cornerstone for my impetus for doing arrangements for people is because I want to be an enabler. That is to say, I don't approach arrangements with the idea that I want to progressive the genre of arranging. I want to be more of an enabler, and if a person is making a record and they have the option of layering some real instruments down on a track and I can be of assistance whether it is brass or winds or stings or percussion then I do so. Sometimes I do take on projects because it is a pretty sweet deal to work with Pet Shop boys, you know?
No one can get really drunk on a novel or a painting, but who can help getting drunk on Reethoven's Ninth, Rartok's Sonata for Two Pianos and Percussion, or the Reatles' White Album?
That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group.
While we only look at Nature it is fair to say that Autumn is the end of the year; but it is still more true that Autumn is the beginning of the year.... Autumn is the time when in fact the leaves bud. Leaves wither because winter begins; but they also wither because spring is already beginning, because new buds are being made, as tiny as percussion caps out of which the spring will crack.... It is only an optical illusion that my flowers die in autumn; for in reality they are born.
I love more percussions more than anything. I always wanted to be a drummer.
Symmetria by the Uccello Project is a gorgeous, instrumental and largely unclassifiable record. Best thought of as 'cinematic', each of the tracks conjures up a range of emotions and images, taking the listener on a beautiful journey. The layers of basses, guitars and percussion ebb and flow, drawing on jazz, folk, blues and African music, blending all the elements into one lovely album. Recommended.
My father moved to Hawaii from Brooklyn and my mother came there as a child from the Philippines. They met at a show where my dad was playing percussion. My mom was a hula dancer.
My father was a jazz listener, and I think, at least before I was 5, I was not so into that. Although there were records that emphasized percussion that I liked, like Baby Dodds.
I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.
My mother says I have boring percussion.
Remember the last show you saw that got a standing ovation? Now try to think of one that had the audience on its feet at intermission. They stepped, strutted, stomped, romped, ran rung, hung, flung, flew, threw and played their way through 16 numbers (17 if you count the percussion encore in the lobby that stopped the departing crowd in its collective tracks). It was Blast! and it was fantastic. That said, the show is a cacophony of color and creativity a musical montage offering nearly two hours of stimuli.
I played djembe, percussion, keyboards and I sang.
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