They had it for a Great price. It was well packed. And the shipping was fast. Two thumbs up. This is the 2nd installment in the Blue Break Beats series. It is not a samplers record, it is a chance to hear the original tracks. This CD started life as a double LP - it was compiled by Dean Rudland and Eddie Pillar back inas a follow-up to the successful first compilation. If you remember Acid Jazz, then these names will mean something to you, along with Gilles Peterson.
The idea of the collection was to draw peoples attention to the really excellent Blue Note tracks being sampled in the Hip Hop records everyone was listening to ' This was way way before all the CD re-issues of the Blue Note Archive - we had to buy imports of the Japanese King re-pressings or go to Ray's Jazz shop and buy the originals. The success of this compilation, lead to the Straight No Chaser re-issue selection, more compilations, the re-awakening of people's love of Jazz and the general re-availability of the Blue Note catalogue.
You can thank Acid Jazz for that. See all reviews. Pages with related products, LP). See and discover other items: blue note jazz vinyls.
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Alexa Actionable Analytics for the Web. It only takes a minute to sign up. And to create the rock rhythm, you have to place the emphasis on the off-beats, which 2 and 4. At least that I was taught.
But I personally think this rhythm exist in basically kinds of music. Why is it called ''the rock beat'' then? Next I think this moved over to the snare drum in very early Rock n' Roll and Blues. If you ask a Talk A Good Game - Troy Beecham - Blazing Break Beats Volume Two (Vinyl for a "Rock" beat you will probably get straight eighths, but if you ask a drummer for a Hip Hop beat you might get swung eighths or swung sixteenths.
The word also has a descriptive character and is not merely a historically appellation. The beat has a rocking feel because the even accents make it syncopated. From the Macmillan Dictionary: "syncopated sounds or movements emphasize the weak beats instead of the strong beats.
Original rock'n'roll performances were drummerless. That backbeating rhythm emanated from a guitarist, pianist or occasionally the brass instrument s or organ or even the vocalist s.
The subsequent reliance on a drummer may have rendered subtleness into obviousness — namely, the rhythm into a beat. But there may be more — it seems that, especially in those early performances, each couple of bars consisted of the first of an unwinding, and, the second of a rewinding.
And this pattern may have come to be interrupted from time to time by breaking down into a whelming stagger or waddle. Rock'n'Roll is not least of all a dance with its roots in the somewhat faster Jive.
The Jive already has somewhat stronger movement accents on the off-beats the 1 is a step backward that is immediately reversed so you cannot put weight down at this speed. The Rock'n'Roll doubles down on the Jive by putting an actual kick on the off-beat cf this video from the World Dance Sport games Rock'n'Roll finals.
Early Rock'n'Roll performances were largely dancing events, with the kicks being a seminal part of its youth-perverting appeal it did show off the petticoats. Rhythms are rooted in dancing: even the highly artificial Bach solo partitas for violin and his orchestra suites are mostly composed of dances and thus rhythms familiar to the audience.
So the first question to ask yourself with regard to a specific rhythm's history is: was dance a part of its origin? Whenever a rapper sampled a recording in the '80s and '90s, the person who owned the Talk A Good Game - Troy Beecham - Blazing Break Beats Volume Two (Vinyl stood to make some big bucks -- that is, if the rapper had permission.
Some MCs made the mistake of sampling tunes without permission, which resulted in major lawsuits. But it also stressed that legal clearance would be required -- unless, of course, you wanted to face a lawsuit.
And asking for permission is most definitely the right thing to do; as many dues as veteran jazz artists have paid, they certainly deserve monetary compensation whenever their work is sampled assuming they kept their publishing.
Not everything on Blue Break Beats, Vol. Most of the tunes are from the Blue Note vaults, although Gerald Wilson 's infectious, Latin-flavored "Viva Tirado" which became a big hit for El Chicano in LP) actually recorded for Pacific Jazz. None of this material is for jazz purists or bop snobs; Blue Break Beats, Vol. But commercial doesn't necessarily mean bad, and for the most part, Blue Break Beats, Vol.
Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out LP) Love. Introspection Late Night Partying.
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