Borrowed from the ancient Greek φαντάζω, the idea of a phantom evokes a shadowy force that someone cannot precisely locate. The term suggests something seen or heard but which is not actually present. The power of a phantom comes from the perceiver’s inability to fully understand their surroundings. In this sense, Phantom Station is an […]
Jazz and punk have long had a fascinating relationship. Mixing both styles dates back to at least fifty years ago, with punk powerhouse The Stooges incorporating jazz-influenced saxophone solos on “L.A. Blues” and the title track on Fun House (Elektra, 1970). Actually, many of the early punk icons were fans of jazz music, particularly the grittiness and […]
Symbolist painter Gustave Klimt once noted, “Art is a line around your thoughts.” Of course, as the march of time progresses, an artist’s thoughts change and adapt. No one should expect 1950s Miles Davis to sound precisely the same as his 1970s or 1980s counterparts. But what happens when an artist’s life circumstances change so […]
Arguably, the essence of jazz lies in its use of improvisation. The ability of an artist to create in the moment based on the artist’s then-existing perspective – rather than merely trying to put their own spin on the choices of another or their past self – often causes the artist to reveal more about […]
We continue our conversation with Lenny White (read part one here), with a discussion of his work with Santana, Azteca, Gato Barbieri, Return to Forever, Jaco Pastorious, and much more. PostGenre: A lot of your music has Latin influences. You worked with Santana on Caravanserai (Columbia, 1972). Around that time, you also performed and recorded with Azteca. […]
This site primarily emphasizes music that pushes – or even transcends – preexisting concepts of how certain music “should sound.” Arguably, jazz itself is an amalgamated confluence of diverse stylistic perspectives. One of the best examples of such music can be found in Miles Davis’ Bitches Brew (Columbia, 1969). The record’s boldness made it neither transfixed on […]
Canadian journalist Graydon Carter once noted, “We admire elephants in part because they demonstrate what we consider the finest human traits: empathy, self-awareness, and social intelligence. ” Given these attributes, the mastodon descendant is an apt symbol for Kahil El’Zabar’s Ethnic Heritage Ensemble. The trio’s original inspiration comes from the animal, with the imagery of […]
We continue our conversation (read part one here) with Chief Adjuah, formerly known as Christian Scott, by discussing the connections between Afro Indigenous music and R&B, rock, and hip hop. We also get into the social messages in his music and the origins of the Adjuah Bow, his custom made kamele n’goni gravi-hybrid. PostGenre: Although […]
Many attribute the phrase “History is a series of lies that people have agreed upon” to Napoleon Bonaparte, allegedly stated after his defeat at Waterloo in June 1815. Perhaps fittingly, there is some controversy on the origins of the quote. However, the substance behind the sentiment is undeniable. As Chief Xian aTunde Adjuah, formerly known as […]
As Arnold Schoenberg once noted, “Intelligibility in music seems to be impossible without repetition.” Repetition is a shared facet of all music. And it seems an attraction to repetition is an innately human response. Repetition transcends style. Repetition transcends culture. Repetition transcends era. But things are not exactly as they seem. Merely copying a sound […]
