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Posts Tagged ‘Music’

Jogging, a healthy and a comparable alternative to a gym workout, is fast gaining popularity among people desirous of remaining in a good physical shape. Busy people prefer to go out for their jog at their own convenience rather than be bound by a fixed schedule.
Jogging in a park, by lakeside, or a scenic environment can be a freshening experience. It is a sight for sore eyes accustomed to the dull ambience of closed rooms, office surroundings, and workplaces. Not all are that lucky and your route for the jog may take you through busy commercial buildings and back to the apartment. This almost always curbs your enthusiasm and makes you skip the daily routine as it provides nothing to look forward to.
Many people have realized that jogging music helps in retaining the initial eagerness and makes jogging an experience as enlivening as it would if they were jogging in serene and scenic surroundings. Jogging music can stimulate senses and help to exercise in the rhythm of the music that that is playing.
All that you have to do is select equipment that will suit your needs and buy some convenient headphones that will not fall off while jogging. A CD player is not recommended as the CD might skip while jogging and disturb your rhythm. An MP3 player is most suited for its hassle free operations and longer playtime.
Different kinds of music stimulate the mind in different ways. Selection of jogging music that you should play depends upon the mood that you would like to promote. The idea is to make your jog as enjoyable as you can.
For example, if you are tense and worrying about something, classical music such as Handels Messiah or Nights in the Gardens of Spain just might help you get over the tension. In case you feel like taking a brisk jog, the theme from Chariots of Fire just might make you run faster and even surprise you.
Similarly, you can choose from thousands of albums ranging from rock, to lyrical favorites, to a gym trainer heavy music. The choice is unlimited. Choose jogging music for a specific purpose of mood elevation or simply to enjoy the music that you would love to listen to at that particular time. Jogging music has the capacity to elevate the spirits and keep up the fervor, side by side giving you excellent exercise to keep fit.
Jogging and music complement each other to a great extent. Oblivious of the sounds around you, you can meander through a world of your own. So what if it is short lived, it has given you your moments of oblivious pleasance.

Whether it has to do with the philosophy of better living through habit, thought or magical action, things that are associated with “New Age” are theoretically supposed to have some basis in spirituality. Yet much of this spiritually is lightly rooted in the shallows of corporate productivity techniques or power-of-positive-thinking type truisms with some pseudo eastern promises for dressing.

Then there is the New Age philosophy that harkens back to something ancient, even primordial. This is especially visible in the music. So much of what is called New Age music is made from artificial ingredients, from canned sounds created by synthesizers tuned and programmed for maximum vapidity; and voices, always the voices, high and breathy with a thin, grating tone that someone somewhere decided signified the celestial. But there are musicians who create spiritual and contemplative music based in the traditions and sounds of antiquity, from nations and cultures with long shadows such as Africa, China, Japan and India.

Riding on this track is the group NightDancers, a duo consisting of flautists Gera Clark and John Sarantos, who perform original songs based on the folkloric styles of several Native American tribes. The music on their CD Montana Crossings is both ethereal and earthy, reflecting the unitary, all-is-one world view common to Native American cosmology. The songs are mostly built on simple three to seven note motifs that go through different permutations. The flutes – NightDancers plays twenty-five different kinds of these wooden, handcrafted instruments – blend together and dance, their music resonating in what sounds like a valley high up in the mountains or a cathedral (kudos to engineer Jim Anderson of AVATAR Studios in NYC). The effect of the music is meditative and dreamy. The music itself is never static or boring; in fact its intricacies reveal themselves with repeated listening. The titles evoke, perhaps invoke, aspects of the natural and supernatural worlds, which many indigenous tribes say are one and the same.

The song titles and how the pieces are composed and arranged reflect this thinking. Musically these pieces evoke the objects and ideas behind the titles as well. The opening track “Spirit Winds” starts with soft, breathy tones that rise from silence in unison. Then one flute states a simple theme that is answered by a counter melody from the other flute; they go back and forth, each musical voice getting time and space alone while connecting with the other. The title track starts with bursts of fluttery, echoing sounds, followed by a long-toned plaintive melody calling to mind Montana’s terrain of mountains and wide-open plains. One characteristic element of all the songs is how the flutes will hit consonant harmonies that ring out dramatically, and dissonant unison lines that buzz gently yet also sooth in an odd sort of way.

On “Butterfly Dance” the flutes play lines that gently glide like the butterfly itself, answering and echoing each other in way that suggests the “round” form found in European folk and classical music. On “Turtle and Bird,” NightDancers take evocation literally. One flute moves in long-toned, deliberately paced turtle lines while the other play’s light riffs that flit and hop like our aviary brethren would. As the piece continues, the unitary theme comes through as the two flutes move together, conversing in similar voices that stills maintain their original animal character. “Elk Medicine” is a gentle wail of pleading and prayer and is one of the strongest tracks on the record. It is also an example of healing music. The opening cry is answered by melodies that create a sense of quietude and peace. And healing.

Ms. Clark and Mr. Sarantos take the healing aspects of their music literally. Clark, a RN, has been teaching people how to play the flute for meditation and stress relief. She also started New York City’s Miracle House Flute Circle where she works with cancer patients using music for healing. Sarantos teaches flute workshops all over the country.

Montana Crossings creates music that is relaxing and interesting, that can be played either as background or as an immediately engaging listen.

http://www.nightdancersmusic.com

http://cdbaby.com/cd/nightdancersmusic

Whether it has to do with the philosophy of better living through habit, thought or magical action, things that are associated with “New Age” are theoretically supposed to have some basis in spirituality. Yet much of this spiritually is lightly rooted in the shallows of corporate productivity techniques or power-of-positive-thinking type truisms with some pseudo eastern promises for dressing.

Then there is the New Age philosophy that harkens back to something ancient, even primordial. This is especially visible in the music. So much of what is called New Age music is made from artificial ingredients, from canned sounds created by synthesizers tuned and programmed for maximum vapidity; and voices, always the voices, high and breathy with a thin, grating tone that someone somewhere decided signified the celestial. But there are musicians who create spiritual and contemplative music based in the traditions and sounds of antiquity, from nations and cultures with long shadows such as Africa, China, Japan and India.

Riding on this track is the group NightDancers, a duo consisting of flautists Gera Clark and John Sarantos, who perform original songs based on the folkloric styles of several Native American tribes. The music on their CD Montana Crossings is both ethereal and earthy, reflecting the unitary, all-is-one world view common to Native American cosmology. The songs are mostly built on simple three to seven note motifs that go through different permutations. The flutes – NightDancers plays twenty-five different kinds of these wooden, handcrafted instruments – blend together and dance, their music resonating in what sounds like a valley high up in the mountains or a cathedral (kudos to engineer Jim Anderson of AVATAR Studios in NYC). The effect of the music is meditative and dreamy. The music itself is never static or boring; in fact its intricacies reveal themselves with repeated listening. The titles evoke, perhaps invoke, aspects of the natural and supernatural worlds, which many indigenous tribes say are one and the same.

The song titles and how the pieces are composed and arranged reflect this thinking. Musically these pieces evoke the objects and ideas behind the titles as well. The opening track “Spirit Winds” starts with soft, breathy tones that rise from silence in unison. Then one flute states a simple theme that is answered by a counter melody from the other flute; they go back and forth, each musical voice getting time and space alone while connecting with the other. The title track starts with bursts of fluttery, echoing sounds, followed by a long-toned plaintive melody calling to mind Montana’s terrain of mountains and wide-open plains. One characteristic element of all the songs is how the flutes will hit consonant harmonies that ring out dramatically, and dissonant unison lines that buzz gently yet also sooth in an odd sort of way.

On “Butterfly Dance” the flutes play lines that gently glide like the butterfly itself, answering and echoing each other in way that suggests the “round” form found in European folk and classical music. On “Turtle and Bird,” NightDancers take evocation literally. One flute moves in long-toned, deliberately paced turtle lines while the other play’s light riffs that flit and hop like our aviary brethren would. As the piece continues, the unitary theme comes through as the two flutes move together, conversing in similar voices that stills maintain their original animal character. “Elk Medicine” is a gentle wail of pleading and prayer and is one of the strongest tracks on the record. It is also an example of healing music. The opening cry is answered by melodies that create a sense of quietude and peace. And healing.

Ms. Clark and Mr. Sarantos take the healing aspects of their music literally. Clark, a RN, has been teaching people how to play the flute for meditation and stress relief. She also started New York City’s Miracle House Flute Circle where she works with cancer patients using music for healing. Sarantos teaches flute workshops all over the country.

Montana Crossings creates music that is relaxing and interesting, that can be played either as background or as an immediately engaging listen.

http://www.nightdancersmusic.com

http://cdbaby.com/cd/nightdancersmusic

[New Orleans, July 29, 2008] At the turn of the twentieth century as the palatial plantations up and down the Mississippi River became only a memory, thousands of former workers migrated to New Orleans as did immigrants, seamen, trappers, gamblers, hustlers, scholars and musicians. This convergence with the native population set the stage that birthed the free spirit of Jazz and opened a new frontier.The Eagle Saloon, built in 1875 and known as the ‘delivery room’ of Jazz, had its roof blown off during The Storm of 2005. The second and third floors were ruined, but the original tin tile ceiling and Spanish tiled floors survived and the blues, the spirit and all that jazz re-ignites every Tuesday night lit by the New Orleans Music Hall of Fame and Museum’s Blues and Jazz Band, featuring Guitar Slim, Jr., a showman extradonaire.The son of Eddie “Guitar Slim” Jones, Jr.’s first release earned him a Grammy nomination. Last Tuesday night, Jr., along with Blues Boy George on lead guitar, Anthony on bass and Milton on drums, received multiple standing ovations during their three-and-a-half hour nonstop renditions of BB King, Hendrix, Stevie Ray Vaughn, Ray Charles, Motown, Marvin Gaye, Prince, gospel and more, during a private party at the Eagle which was arranged as a thanksgiving service by Pastor John E. Pierre, of the Living Witness Church of God in Christ on Oretha C. Haley Blvd, a three minute drive to the Eagle Saloon at 201 South Rampart Street. Pastor Pierre and many in the heart of the Central City neighborhood, once a haven for drug dealers and prostitutes, demonstrated their gratitude and love for two teams of volunteers who had come to work in the heat of July alongside recovering addicts to demolish the old so as to bring in new opportunities for the formerly homeless men who commit to a year long residential boot camp known as the Nehemiah Restoration Project, just one of many community outreach programs provided by Living Witness.The teams of committed Christians came on their own dime from the Crossings Church in Clermont, Florida and Cedar Brook of Wisconsin. It was the first mission trip for the newly established Crossings, but some from Wisconsin were on their sixth and eighth work pilgrimage of service to a community that The Storm of 2005 wrecked havoc upon. The volunteers all work alongside the men in recovery who are now building a barbershop and beauty parlor next door to the Living Witness Church of God.The regal and patient Pastor Pierre informed me, “The bottom line for us is getting families back together and in strengthening the family. We have found that the effects of Hurricane Katrina have become a unifying source. The churches in this neighborhood came together when this area became a ghost town. My family had been evacuated to Houston and it wasn’t until October 2005 that my Deacon and I were able to return through the back door; by coming through the West Bank, [the area was still under Marshall Law and no freedom of movement was allowed]. It was stinking smelly all over the block; our roof had been torn apart when a tree fell upon it. There was phone and electricity, but still no water. “I received a call from the Federal Government Health and Human Services Department and was informed that a pre-Katrina grant for Compassionate Capitol had been granted. I had forgotten all about it!”Half of our church membership has been displaced and decent and affordable housing is still not up to speed. Then there is that double edged sword of the tourism and convention concerns claiming New Orleans is back for they paint a false picture. The French Quarter and St. Charles areas where the tourists go, didn’t receive much damage, but where the people live, the community that is New Orleans is stuck in a time warp. Our Government did not keep its promises.”After the levees broke and President Bush spoke in Jackson Square, it was lit up by a generator, and when he was through; boom, boom, out went the lights again!Ask NOT what our Government will do for the under served people who are the spirit of New Orleans, but what we the people of these United States can do to help heal them.To have a great time and book a gig with the New Orleans Music Hall of Fame and Museum’s Blues and Jazz Band, call Popagee at 504-861-2675 or 504-301-7088 and learn more: http://www.nomhf.org/To offer hands, feet and hearts to those who struggle with addictions and learn more about the program that has serviced over 900 men: http://lwcss.org

Rarely does one come across anything genuinely new in music. All the many genres have been mixed together and blended so much that originality often looks as if it has fallen by the wayside. This is not the case with Osaru on his debut album, Home.His is a unique vocal style, a one-off musical vision and an out of the ordinary personal story. Unlike many of his musical peers, Osaru has spent years honing his talents before cutting a record, and the maturity shows.Having learnt African percussion at the age of 8, church organ at 9 and subsequently discovering the joys of the keyboard and bass guitar, Osaru went on to play music in three separate continents. His inspirations coming from the worlds of soul, jazz, R&B, hip hop, reggae and even traditional African music. Only after such an extensive musical education, and while simultaneously working as a physician in North Carolina, has Osaru decided to share his gifts with the world.Listening to the quality and diversity of Home, you will agree that it was certainly worth the wait. The album combines hip hop and R&B beats with jazzy instrumentation and even elements of classical music. This all comes together to form a whole that is satisfyingly head-nodding at first, but deeper and more interesting the more you listen.There is something here for everyone, without the quality ever being compromised. From the dance floor inspired Start the Dancing to the slow, contemplative soul of the title track Home, Osaru is adept at supplying every musical need.There is music for getting into the groove at the club, in the shape of I Know and Made Up My Mind, and there is also music for those quieter moments – The ‘Piano version’ of Pretty Lady and ‘24′ spring to mind here. However, most of all, this is music for lovers of great music who do not want to be constrained by the narrow boundaries of genre.The best news is that this is only the beginning. Although Home has only just hit the shops, Osaru is already working on his next album, which he promises to deliver in the next Year. If it’s anything like this one, it can’t come soon enough.Home is available now on CD Baby.http://www.osarumusic.comhttp://www.osarumusic.com/audio/OSARU-Home-2.m3u