ALL POSTS TAGGED "michael-jackson"

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Every year, besides their always incredible original compositions, the SFJAZZ Collective treats us all to some seriously fresh takes on the works of a master keep reading »

Cyrille Aimée videos are becoming a fast fan favorite at Revive. We released the vocalist’s gypsy-soul treatment of Vanessa Paridis’ “Pourtant” late last week and keep reading »

WHERE THE DREAMS ARE features production from Daru Jones (Rusic Records/Jack White), The Fyre Dept. (Soulive’s Eric Krasno & Beatscience’s Adam Deitch), Karizma (R2/Atjazz/BBE) and Rudy Eckes all exclusively sampling Michael Jackson and the Jackson 5.

MJ was just as beloved among musicians as he was to his billions of adoring fans, however, no matter how universally appealing his music was/is, his songs are damn near impossible to reinterpret on wax. Jackson’s songs were so tailored to his voice (he had 3 ½ octave range) and personality that many who’ve re-corded his songs end up with flat, sometimes campy, results. One of the ways musicians found ways around this was to cover songs that Jackson didn’t write, such as Miles Davis’ cover of “Human Nature,” and Stanley Jordan’s remake of “The Lady in My Life,” and several other examples. But there’s one specific song that continues to get redone: “I Can’t Help It.”

On Tuesday September 3, 2013 renowned drummer Nate Smith (José James, Mark de Clive-Lowe, Michael Jackson, Dave Holland) will be bringing his new group kinfolk to the stage at Rockwood Music Hall. The band will feature Kris Bowers on keys, Fima Ephron on bass, Jeremy Most on guitar, Jaleel Shaw on saxophone, and Amma Whatt on vocals.

Wednesday August 29, 2012 would have been Michael Jackson’s 54th birthday. As we celebrate his life and the incredibly timeless music that he created, we can’t help but reflect during our Organ Issue on one of the great organ performances of modern pop music with Jimmy Smith’s solo in Jackson’s “Bad.” Recorded on January 5, 1987 and released later in ’87, “Bad” was written, composed, and co-produced by Jackson, and produced by Quincy Jones. The song was the second single from the album of the same name.

No other instrument has the same effect on the soul. From Sunday morning church to the Friday night clubs and some of your favorite recordings, the organ has tied itself both emotionally and musically with varying genres and styles, and as such has become one of the most unmistakeable sonic elements within music.

Michael Jackson will forever live on through his music in the collective beating heart of the world; that is a fact. As we remember him three years after his death, it is not the struggle we remember, but the music, the dance, and the persona that won him titles like “The King of Pop” and “the most successful entertainer in history.” Yet, MJ was more than just the King of Pop, he epitomized the changing nature of Black American Music with both his style and innovations. Integrating exquisite songwriting, fantastic hooks, and the most fly dance moves known to pop music, Jackson made his way into our hearts honestly.

Mike Melvoin, a veteran composer and studio musician passed away at the age of 74 this week. He is remembered for an extensive catalog as a pianist, composer, and arranger with the likes of Stan Getz, Frank Sinatra, Michael Jackson, The Beach Boys, and more. Melvoin was known to frequent jazz clubs around the East Coast pursuing his first passion, jazz music. Moreover, he was the first working musician to reside as the national president of the Recording Academy.

Maita is the daughter of a Syrian Muslim father, and a European Jewish mother, and a woman who has navigated the lines of rural farm life and the epicenter of Sao Paolo’s high culture. Her music exudes a love for the many influences throughout her life, including growing up listening to some of the great bossa and samba greats, as well as illustrious jazz vocalists. Maita’s music is reminiscent of the past while simultaneously trailblazing into the future of Brazilian music.