Label: Seeco - SCLP 9065 Series: Gold Series (3),Seeco Serie de Oro Format: Vinyl LP, Album Country: Venezuela Genre: Latin Style: Cubano
Lunch was at El Viejo Yayo, a Latin restaurant that frequents Joe since he was a child and which still swear is the best of the whole city of New York. It was part of a collection of ballads, Oyeme Mama - Bienvenido Granda - Canta Bienvenido Granda (Vinyl he sings about going to leave his wife. Joe is here to record with his brother Joseph, a famous percussionist who championed many of the parts of the battery in Hammock House. Michael Duffy 4. Michael Rucker, from one DJ to another… You are the best! He was friends with the owner, beginning with his musical career.
Elias Perez. Various Artists. Joaquin "Joe" Claussell. Bienvenido Granda Canta Bienvenido Granda. Quick shop. Continue Shopping Continuar la compra. Checkout Echa un vistazo. Music Credits: Alberto Lopez Shekere: Steve Haney Timbales: Michael Duffy 4. Tito Puente - Africa Linda feat. Quetzal Guerrero Rhodes Piano: Claudio Passavanti. Sidy Maiga Balafon: A short biography of Joaquin "Joe" Claussell Joaquin "Joe" Claussell born in Brooklyn, where thanks to the deep musical roots of its diverse and large Puerto Rican family, music was his refuge, family, food, comfort and escape.
His first encounter with the world of DJs was in their own neighborhood, at parties and meetings of the association of his block. He started collecting vinyl at the age of 15 years, and his passion for music and dancing took him from Disco Inferno to CBGBs, alternative club Mudd Club, the most famous Underground and the legendary Paradise Garage. While living in the East Village in the early 90 fell in love with the record store Dance Tracks, which was chill, but in turn was technologically impressive.
He was friends with the owner, beginning with his musical career. Joe became the DJ Store and gave weekly parties that drew a diverse group of devoted music lovers. Over time he learned about the music business and took over the store. At the same time he oversaw the creation of Ibadan Records with his friend, executive producer Jerome Sydenham.
Seal Productions are fluid - with African rhythms, Brazilian, Latin and Middle Eastern that cross genres of disco, jazz, house and electronic music. It is intimately involved in every aspect of the production process: Under the seals he has promoted and produced novice artists. His first full-length album itself was Language. For six years, lovers of music and dance of the City of New York and around the world came religiously to form part of the unique musical journey through the classic, world, soul, disco, funk genres, and house.
The tracks were elevated to an infinitely higher level thanks to the synergy of artistic live performance of each DJ, and the care and creativity of the crowd. During the last ten years Joe has constantly been playing music all over the world, remixing, producing and diversifying into other genres of art world.
New York originated the Sacred Rhythm party, designed to bring together artists house with artists who perform live in an intimate setting. Soon it will air its first radio show on the Internet, entitled An Invitation to Openness, which is based on the freedom to play whatever they please at the time, rather than be at the mercy of the musical whims of an audience. Joe contemplates humanity and trends from a distant prospect but wrapped.
Tries to reach spiritual and creative autonomy in their personal lives, and encourages their loved ones using their unique resources to build a society in which art and individuality are encouraged and praised.
He has the ability to connect with people who share your passion for the rhythms of life through a universal language, which keeps them intrigued and tune while listening, dance and share their philosophy. Each project will communicate in their own language, rhythms and ideas that can only be the product of such a creative mind like yours.
And everyone will be as interesting as to keep those who think they know intrigued and attentive. Hammock House by Andy Battaglia Joaquin "Joe" Claussell comes from an area of Brooklyn that could be considered that idyllic Brooklyn that is part of the collective imagination. He grew up a few blocks from Fifth Avenue, a busy street that adjoins a cozy neighborhood known as Park Slope. Day and night, virtually unabated, life goes on as it has done for years: Black, brown, white, young, old, straight, gay, lazy, cunning, sneaky There is life everywhere in a manic and peaceful balance.
Joe shows us the place where you bought your first album, a small shop which had told us at lunch the day before. We are a group of three who are following Joe for a few days to see where you live and where does what he does. Lunch was at El Viejo Yayo, a Latin restaurant that frequents Joe since he was a child and which still swear is the best of the whole city of New York.
People chatted with cooks at the counter and smiles abounded everywhere. We ordered dishes that were so large they could Glad we fed for days. What was good? Very good: The record store was another success, but felt like something from another era, another mentality, and somewhat strange.
Several CD a few years ago are in the showcase, faded by sun and covered with dust. The place is a mess and smells basement Grandfather. Not the kind of establishment run by meticulous collectors or those who have learned to move things online.
Joe flipping through the merchandise that finger and thumb movement dominated world by DJ scavenging among the drawers. Do not be surprised at anything before we left, but he looks happy to just be there, looking for something in a place where he could find it.
It is at home, in the kind of old record store where the masterpieces of Fania Records initially prospered, where sometimes still hide or hibernate or just hang out, waiting for someone to listen again. To be part of this now, look at the labels of Fania discs spin in front of me I can not believe I had the opportunity to work on this.
It still seems unbelievable. He talks about it with a little astonished tone reserved for a project which had to listen to her past and literally had to hold history in your hands. Have you ever seen an old tape reel of study? Joe shows us one you have in your office. We have driven over the bridge to Brooklyn to Lower Manhattan, near the area of construction of the World Trade Center, which rents space in Tribeca for Spiritual Life Sacred Rhythm and two record labels who helps run.
It is also home to a personal studio where he works and stores preproduction assertion - very convincingly - is a collection of over a million records. A whole wall full of tablets containing countless classics: But there is something in a battered cardboard box that holds for our inspection. Inside, a reel of metal surrounded by many feet of magnetic tape and a page to crumble a "Report tracks" day any of the 70 different numbered columns are written in pencil: Scribbled names appear in the top right corner, with cryptic notes that mark other important parts of what appears to be a hot and complicated Latin melody.
This was something miraculous anduviese still out there, and the history of all these things is wonderful. When I opened all the multi-tracks, the pleasure of having an entire string orchestra with which those days really could work Many sounded perfect as they were. They took for granted a lot of the technical part.
Made music without thinking about the different mixtures or someone were to touch his work in the future, so I tried to maintain the integrity of what is there. Or specifically nuyorican - with all the hot and bubbling concoction of identity that occurs when a boy It grows with nine brothers and sisters and a shared battery in the turbulent and working community of Brooklyn. We are bombarded with music 24 hours a day, seven days a week, all types of music: We gave it all at once.
And Latin music flew everywhere in the neighborhood, from the basement, through the windows, in parks. My mother put us abreast of all Latin songs. Each issue was addressed and armed differently, each in its own terms.
As Joe says, "Some songs were released, others were elongated Now we are in a recording studio in the Lower East Side of Manhattan. It is dark outside, in a hidden in a rough neighborhood marked by dazzling the ruined Jewish synagogues and trendy boutique bars street. Joe is here to record with his brother Joseph, a famous percussionist who championed many of the parts of the battery in Hammock House. The session looks like a family event, which is apparently the case wherever he goes Joe even if it is alone with three strangers following him wherever he goes.
Both Claussell have headphones on and congas between his knees. Joseph plays a lively syncope, grunting and humming while playing. Joe sways from side to side, lost in the music as it occurs will fall where the new lines of percussion.
Both spend much time with his eyes closed under bright studio lights, but they seem to be able to see each other, or at least listen to each other, while their way into a sound that both learned in his youth. Perhaps some of them hear this and like it. So begins the chain reaction. The objective of this remix was possible to hear the feeling of walking into a jungle where a new world opens up. Historically, all this music originated in Africa, and through the movement of the slave trade it spread around the world.
It was important for me to establish its roots. I used many natural sounds of the forest, jungle and animals to generate the feeling of going somewhere. Then comes the flute and percussion and strongly enter the piano, like a tribal meeting. What kept the original multi-track was a flute and percussion. Everything else reproduced: The story begins in Africa and across the new world. The production is completely original. The reason why I suggested that we used it was to give this project a real sense today, something new and something now that fits into the idea of "hammock house".
He was working with Jai Veda before starting this project and this is a song that I connected from the start because it has a kind of Latin style that complements the rest. Then it was just a demo; originally had a slower rate hip-hop, so I called my brother Joseph to help me redo it with a Latin beat, and the end result is a two-part story that travels from one another. Jai was thrilled when I said I was going to be part of this. I used to play the original version all the time for years, but not many people know, so I thought that if this project is a DJ that exposes the world to some lost or hidden music, then had to use it.
Initially production was so good we did not really need anything, but in my original attempt to strengthen I added more percussion and Rhodes electric piano lines to complement the original chords Rhodes. The new percussion sounds are my brother playing at the same time as the original parts of Santamaria, who was a great Cuban percussionist. Because this was recorded in the late 60s, many original sections as these were buried in the mix, perhaps because they were produced for listening caseramente.
As a child I remember that everyone admired. The atmosphere around her was profound. My mother loved her. This is a song in Yoruba, the African religious music. The original is very minimalist: I just tried to give a more modern profile, with the addition of the lower and percussion, both produced by my brother, and some sound effects interwoven with bells, whistles and African kaba layers.
So I brought a pianist Bennett Paster, who played for a while, talking and responding to the music rhythmically and really complement the melody. Everything was there, so I decided to do a more traditional remix with him, as they did in the 70s, when they did remixes manipulating existing tracks of the multi-tracks and reorganized parts that were already there.
I added some percussion, but it was enough, and Palmieri had great musicians playing with him. Moreover, it is one of the few Latin artists who used lots of delay and reverb, and tried to give an air of dub. The guitars are echoed. There are a lot of reverb to give more space and what I like to call freakiness.
Ray Barretto was a very special musician in my family life, as it was in the world of Latin music. I wanted to make it a tribute to Ray and created an entirely new introduction. Everything up where chords say "exodus" was created as a tribute. I wanted people to feel the love and appreciation we all feel for this man, and why has such cosmic and spiritual introduction. Все объявления 9, Аукцион Купить сейчас 9, Находится показать все.
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