Lenny Kravitz Discografia Dd
1989 – Let Love Rule 1990 – I Build This Garden for Us 1990 – Mr. Cab Driver 1990 – Be 1991 – Does Anybody Out There Even Care 1991 – Always on the Run 1991 – It Ain't Over 'til It's Over 1991 – Stand by My Woman 1991 – What the Fuck Are We Saying? 1991 – Stop Draggin' Around 1991 – What Goes Around Comes Around 1993 – Are You Gonna Go My Way.
Never let it be said that lives in the past - he knows that 2008 is all about the resurrection of, so he's constructed his eighth album, as a virtual tribute to the mighty. Once he dispenses with the neo-title track - a signature two-chord, fuzz-tone stomp recalling 'Are You Gonna Go My Way' - turns his attention to a stack of old LPs, borrowing the close of 'When the Levee Breaks' for the coda of 'Bring It On,' echoing 'Babe I'm Gonna Leave You' on 'I Love the Rain,' recycling the groove of 'The Crunge' twice (once freshening it up with some synth on 'Will You Marry Me'), and then stitching together the verse of 'Ramble On' and the chorus riff of 'The Rain Song' for 'If You Want It,' all before inverting the 'No Quarter' riff for the song's furious conclusion. Clever classicist that he is, does all this without outright thievery, drawing knowing allusions to sacred texts and then meticulously constructing an album that feels and plays like an LP from the golden age of gatefolds. What his newfound obsession with 's guitar army has done is revitalize his overly familiar aesthetic, giving him another palette of colors to splash across his re-creations of the past. This new coat of paint surely helps feel fresh, but it also helps that he has written some of his best classic rock pastiches in years, songs powered by big hooks and bigger harmonies.
As sonic sculptures, they're damn near irresistible but, as so many songs are, they're about almost nothing but the sound. Always one who favors a sledgehammer to a scalpel, he bluntly addresses his dying father in 'A Long and Sad Goodbye' and the Iraq War in 'Back in Vietnam,' never digging deeper than the messages in the titles, while the rest of the record is dominated by rhymes only slightly more complicated than those of 'Fly.' Then again, insight has never been among the chief reasons to listen to: his knack for shaping sound always has been his main gift. And by the measure of pure sound, is a glorious feast of retro-rock pleasures - a feast of empty calories, perhaps, but sometimes fast food is more irresistible than a five-course meal.
Blackman performing in Melbourne, May 2008Background informationBorn( 1959-11-18) November 18, 1959 (age 59), Ohio, United StatesGenresOccupation(s)Musician, bandleaderInstrumentsDrums, percussionYears active1980s–presentLabels, Sacred SoundsAssociated acts,WebsiteCindy Blackman Santana (born November 18, 1959), sometimes known as Cindy Blackman, is an American and rock drummer. Blackman has recorded several jazz albums as solo act and has performed with,. She was influenced early in her career by seeing perform. In 1997 she recorded the instructional video Multiplicity. 'To me, jazz is the highest form of music that you can play because of the creative requirements', says Blackman. Blackman is married to rock guitarist. Contents.Biography Early musical training and influences Born November 18, 1959 in, Ohio, Blackman comes from a musical family, both her mother and grandmother were classical musicians and her uncle a.
'My mom, when she was younger, played violin in classical orchestras, and her mom, incidentally, was a classical musician. My mom used to take me to see classical concerts', says Blackman. 'My dad was into jazz –, people like that.' Blackman's first introduction to the drums happened when she was seven years old in her hometown of and attending a pool party at a friend's house, she went to use the bathroom and saw a drum set and just hopped onto the set. 'Just looking at them struck something in my core, and it was completely right from the second I saw them', says Blackman. 'And then, when I hit them, it was like, wow, that's me. That's completely natural for me.
It's like breathing for me. It didn't feel awkward at all.' After her introduction to drums at her friend's house, Blackman began playing in the and persuaded her parents to get her toy drums when she was seven. 'Of course those would be broken up in a matter of days', Blackman says.
'The only thing I heard at home was, 'we don't know if you can play drums because one, they're noisy, and two, they're very expensive'. Some people ask why she didn't study violin or flute like other girls. 'I learned very early on – when I was 13 – that when I concentrate on those attitudes, I don't make progress for myself', says Blackman. 'If they're not paying my mortgage, I don't care what they think'. Influences When Blackman was 11, she moved to and studied at the Hartt School of Music in.
Blackman began to have an interest in jazz at age 13 after listening to and got her first professional drum kitset at 14. 'Jazz was the thing that was most intriguing because of the challenge that was involved', says Blackman. 'When I was shown that the drummers on these records were playing independently with all four limbs, I was like: 'Really?! Is that what they're doing?
Is that what Max Roach is doing on that record? 'Drummer was an early influence. 'The first drummer I ever saw, where I got to feel the impact up close, was Tony Williams', Blackman said. 'When I was 16, Tony came to my local drum store with a bassist and did a drum clinic that left a powerful impression on me. And that's what I thought drumming should be: drummers should have a lot of impact and a great sound, without being limited to a conventional role in the band—the drums should speak just as freely as anybody.' Blackman says that the way that Williams used all four limbs to attack the drums strongly influenced her. 'I just love and loved everything about Tony', says Blackman.
'To me, not only was he a master technician, a master drummer, the innovator of the age, but also, he was a sound innovator. He had so many things that elevated the sound and the level of skill required to play this kind of music.' But although Blackman is sometimes referred to as a disciple of Tony Williams, she follows her own path. 'On the one hand, it doesn't bother me at all to be associated and in line with a master of the instrument like that – Okay, I might not be where I want to be, but I'm on the right track', says Blackman. 'On the other hand, I don't plan on being a clone. What I'm doing is always looking to expound on something that he's done, or push the music in a different way'.Blackman moved to Boston to study at the with, one of Tony Williams' teachers. 'Alan's method was incredible in terms of getting your independence together, getting your hands together'.
Says Blackman. Arrival in New York. Cindy Blackman plays at the Iridium on December 9, 2007.While she was at Berklee a friend recommended her for a with so Blackman left college after three semesters and moved to New York City in 1982. Blackman worked as a New York street performer but also got a chance to watch and learn.
'I looked for, I looked for Elvin Jones, I looked for, for, for. I saw so many great drummers, like and,. I saw play quite a bit,. All these people, they're in New York so I got a chance to watch them do their thing'.While in New York, Art Blakey became a significant influence. 'He really was like a father to me. I learned a lot just watching him. I asked him a lot of questions about the drums and music – and he answered all of them.
He was fantastic', said Blackman. Blackman initially encountered resistance to a woman playing drums in the jazz world. 'I'm a woman, so I've encountered, and I've encountered. I've also encountered prejudice against my afro when I wore that out. Download mastercam x10 full crack. But I've also encountered prejudice against my musical opinions. What I've learned to do is completely ignore that'.
First compositions and recording contracts In 1984, Blackman was showcased on 's 'Jazz Stars of the Future' on in New York. In 1987, Blackman's first compositions appeared on 's Verses album. When an executive at heard Blackman's recordings, he offered her a to lead her own project. In 1988 Blackman released, her debut as a bandleader. Her band included Wallace Roney on trumpet, on, on, and on, and on piano. Work with Lenny Kravitz.
Blackman performs with Kravitz in concert in Chile on March 9, 2005.In 1993, Blackman had an opportunity to work with. From New York, Blackman talked over the phone with Kravitz in Los Angeles, and played drums for him as he listened. Kravitz immediately asked Blackman to fly out to LA. 'Lenny asked me can you play something for me over the phone', Blackman says. 'So I put the phone down and I started playing something like, BOOSH-bat-bat, BOOSH-BOOSH-BOOSH-bat, and I went back to the phone and I said, 'Can you hear that?'
He said, 'Yeah. Can you fly out to L.A. ' 'I flew out the next morning. While I'm downstairs waiting for the instruments to come from the studio, these people started coming in. First 12, and then like 30 more.
I was like, 'whoa, this is an '. I ended up playing and instead of staying for one or two days, I stayed for two weeks and did the first video that I did with him, '.
Apart from 2004, I played with him ever since.' Blackman had previously only played jazz shows and was unprepared to play for an entire arena. 'The first time I played in a really large concert with Lenny was at an outdoor festival called. We played for like 70,000 people. It was in the summer so most people had just t-shirts or tanks, a lot of guys had their shirts off, so you just see skin and hands and they're doing this wave thing.
I almost lost it, my equilibrium was teetering. I wasn't used to seeing that many people; I was disoriented; I just had to stop looking and start focusing.' Blackman's work for Kravitz is primarily as a touring drummer, to support Kravitz in live concerts.
Kravitz usually plays his own drums when recording his albums. The only Kravitz song that Blackman recorded in the studio is 'Straight Cold Player' from the album. Blackman says that playing with Kravitz and playing jazz are different. 'My job with Lenny is a different thing. My job is to play a beat for hours, and make it feel good, and add some exciting fills and exciting colors, when it fits tastefully', Blackman says.
'My job in my band or in a creative situation is a totally different thing. We may start with a groove that feels great, I may play that for hours too, but I'm going to explore and expand and change that, play around with the rhythm and interject with the soloists.' 'I like dance music and I like making the music feel good', says Blackman.
'To drive an audience of 100,000 into complete oblivion by playing a groove so strong. I love doing that. I love the chance to show versatility.' In an article published May 1, 2004, reported that Blackman had left Kravitz's group to focus on her own music. 'I love danceable music, and I love big fat beats and I really dig rock 'n' roll', says Blackman. 'But jazz is my heart, it's my love, and I've never left jazz in mind or spirit'.In 2014, Blackman returned to touring with Lenny Kravitz in support of his tenth studio album,.Return to jazz.
Blackman performing in, May 2008In 1994 Blackman made her first recording with a working group and called the album Telepathy because of the tight communication in the band. 'I wanted to do a record because of the amount of space you get with fewer players', she said in Telepathy's. 'It's intimate, but more dimensional than a piano trio. I'm really into this sound, and it was nice to play with a group that was a group. You can't help but have a better feel when the musicians know each other, are headed in the same direction, and have the same goals. You can make most everything work. You get chances to play a lot of colors, and really stretch your ideas.'
In 2005 Blackman released Music for the New Millennium on her Sacred Sounds Label. 'It's rooted in tradition, but it's not traditional music. It's explorative, very creative, very expressive, and we really try to expand any ideas we have that everything is played over the forms, but we like to stretch it, and really see the colors and make the music grow and move', says Blackman. 'We experiment – but it's never free. Everything is written out. I have charts for all the songs.
We expand on what's there, and stretch and note choices'.Blackman continues to make her home in Brooklyn in New York City. 'It's always such an amazing place, with every level of musical accomplishment, you can see complete beginners and you can see innovators. That's why I live in New York. Not only is it tough, but all the greatest people have come through New York', says Blackman. Blackman prefers to play jazz in small, intimate clubs. 'It's an acoustic situation. You are close-knit and you are creating one hundred percent of the time – so to me it just doesn't really get any better that!'
Blackman also travels extensively conducting drum clinics. In September 2007, she made a tour of South America, teaching clinics in Argentina, Chile, and Brazil, and on November 30, 2007, Blackman and her quartet performed at Art After 5 at the.In 2010 she released a first tribute album to her mentor and dominant inspiration. Another Lifetime featured on guitar and organist following the line-up of the original. As guest musicians appear,. Reid is the lead guitarist on the second Williams tribute album Spectrum Road (2012), a collaboration between Blackman, Reid, on organ and former bassist of Lifetime. Bruce also sings on three tracks of the album and Blackman lend her voice to 'Where', originally written by (then Lifetime guitarist) and sung by Williams (, 1969), which already appeared on Another Lifetime in an instrumental version. She appeared at the 2011 Montreux festival, Switzerland, playing drums for husband Carlos's one off reunion with John McLaughlin, after which she helped mix the sound for the video.Musical goals and personal life.
'Blackman, Cindy'. Current Biography Yearbook 2010. Ipswich, MA: H.W. Pp. 42–45. ^ Windsor, The (February 8, 2008).
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Lenny Kravitz Official
Retrieved October 6, 2011. ^. Retrieved October 6, 2011. Schulman, David (May 1, 2004). Retrieved October 18, 2018.
^ Telepathy. October 11, 2007. Retrieved October 18, 2018. ^. October 12, 2007. Retrieved October 18, 2018.
^ Reguero, Anna (June 8, 2008). 'Drummer Cindy Blackman brings her force to jazz'. Rochester Democrat and Chronicle. Rochester, New York. P. 36. Vozick-Levinson, Simon (July 12, 2010). Retrieved October 18, 2018.
Lenny Kravitz Tour 2019
Laudadio, Marisa (January 5, 2011). Retrieved October 18, 2018. ^ Mitter, Siddhartha (September 7, 2008).
Lenny Kravitz Discography Tpb
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