National Philharmonic - Samuel Coleridge-Taylor - COMPACT DISCS [CD]
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About this product
'I was drawn to an approach of dealing with the history of slavery within one's family, the ownership of a name and it's 'rebranding' - reflecting on the American Slave and how Black Americans deal with creating a sense of pride, familial storytelling and lineage in contemporary America. This notion of 'rebranding' extends to the 'Negro Melody' My intent with these arrangements is to acknowledge the impact of those melodies on current popular culture, and reflect that influence onto the orchestral stage - to create moments where listeners may participate vocally, with movement, or rhythmically clapping along - to maintain a sense of belonging and recognition - to create community around this music in the classical concert hall - to embrace where all contemporary American Concert music extends from, in my belief - America's mother-music the Blues.' - Curtis Stewart
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- GenreClassicalDescription'I was drawn to an approach of dealing with the history of slavery within one's family, the ownership of a name and it's 'rebranding' - reflecting on the American Slave and how Black Americans deal with creating a sense of pride, familial storytelling and lineage in contemporary America. This notion of 'rebranding' extends to the 'Negro Melody' My intent with these arrangements is to acknowledge the impact of those melodies on current popular culture, and reflect that influence onto the orchestral stage - to create moments where listeners may participate vocally, with movement, or rhythmically clapping along - to maintain a sense of belonging and recognition - to create community around this music in the classical concert hall - to embrace where all contemporary American Concert music extends from, in my belief - America's mother-music the Blues.' - Curtis StewartArtistNational PhilharmonicTitleSamuel Coleridge-TaylorFormatCDLabelAvie
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MAMMOTH is a grabber right out of the gate, every step they take is unleashed with deadly economical precision. They may flash on Lynyrd Skynyrd and other vintage southern rock traditions but the brilliant way the vocals are recorded and the to-the-point interlocking guitar moves will fire up anybody into any sort of hard rock. They can rip it up with hot leads, probably jammed out on these songs at live shows but lucky us, they laid them down for all times here with the sort of thought out unified force and construction that screams hit radio. Loads of personality, accessible, produced and mixed with the clarity of classic rock that never loses it's perfectly deployed impact. The uncluttered arrangements leave plenty of space, crafted with the kind of balanced mojo in the mix where every detail adds to the whole. Down and dirty but also achieving a universal pop-friendly appeal! The Mammoth LP was recorded in 1981 at Relayer Studios in DeLand, Florida with the two guitars, bass and drums quartet line-up sounding like it could have been a decade earlier. Buzz Fetters on lead guitar, Bill Abell on rhythm guitar, Joey Costa on bass and Ron Herman on drums... with everybody contributing to the vocals. Rather than having a strong up front emotive singer the lead vocals here are multi-tracked and integrated into the songs with plenty of attitude but also a genre-transcending presence... you can imagine the vocal ambience working in punk, glam, even psychedelic contexts. Mammoth have a sound informed by roots music but it is really in the rear-view mirror the way they roll. The songwriting here is terrific, they have a way of saying things that comes off as sincere but not too serious. You get plenty of in-your-face hard rock action but also several melodic tracks that have a more reflective charm to round out the trip. AND... when you hear their brilliant ode to southern r
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