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Indie Misic

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Indie is sometimes categorized in two major lines, namely:

1. As an idealistic indie band related to the genre of music
2. Indie is not a musical genre but rather to the distribution of (minor labels)

The tendency lay in addressing the term indie is the leveler of all independent as "indie". Thus it only rests to the elements of words (independent) just as freedom is literally and without limit. Some are questioning the "indie" in his capacity as absolute freedom.

Actually what is meant by that indie?

Previously let us first examine the origins of the word independent to be indie, originated from the habits of British young people who like to cut the word in order to facilitate such an informal pronunciation; distribution to be distributions, a brit british, indie, etc. become independent. From there the birth of the word Indie and continue to grow until today to be one of the trends in art.
Does a band that beridealisme mainstream but they produce self-supporting? Does that include indie?
What about the development of indie music in Indonesia? Is it really a growing indie music?
Actually, what the intent of indie? What is the kind of music? Or just distribution of it?

Make friends, buddies, comrades and brothers and sisters, who have an opinion may be divided dong for our common development. thank you

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information about drummersWatch TV on Computer

Hilary Jones


Hilary is also a frequent writer for Drum magazine and performs instructional Seminars internationally. With the May 2001 release of her debut CD,"Soaring", Hilary has embarked on what promises to be a successful solo career as well.

"a precision power player..." Modern Drummer

"Hilary Jones was truly awesome! Watching her thrash her drum set, I would have literally paid to see a half hour of her alone..." Jakarta Times

"Jones on drums made an indelible impression... her charged accompaniment was consistent throughout." LA Jazz Scene
This solo by Hilary Jones could be an instructional video. In fact Hilary has done workshops and clinics to teach the craft. Notice the way she feathers the beats to soften the sound and then strikes back in hard and thunderous. She uses the whole stick including the butt, and the side and shows excellent command of awareness of her kit. Through out the six and a half minute performance, the feel and rhythm changes over a few times from jazzy funk, to rock, and even a tribal vibe. I think she has incredible soul and is an amazing talent.
Hilary released a CD in 2001 titled Soaring which I would love to get my hands on. She has been featured in other magazines and writings but unfortunately, little is known about what she’s up to currently. Her website still says “coming soon” and there does not seem to be anything published about her newer than 2002.
Nevertheless, this performance is one I wanted to share, in case you have never seen it. Once, we get a hold of Hilary, we’ll be sure to update you.
Alex Carulo
http://www.youtube.com/watch?v=74aftc3fKuk&feature=player_embedded

Baltimore native Hilary Jones began playing the drums professionally at age 16. Upon Graduation from the Baltimore School for the Arts she joined the U.S. Navy Band. The The first six months of her enlistment were spent at the Armed Forces School of Music, where she graduated with honors. In the next three years her musical duties included performances in just about every musical style, from big band to pop.

After being discharged from the Navy, Hilary relocated to the San Francisco bay area to join "Girlfriend", a hand picked group of musicians formed by acclaimed producer, Narada Michael Walden. Shortly thereafter Hilary worked for many artists such as Maria Muldaur, the Mamas & the Papas, Angela Bofill, Clarence Clemmons, Pete Escovedo, and Ray Obiedo.
Hilary & Jackie
Since moving to Los Angeles Hilary’s success continues as she’s recorded and/or toured with such artists as Lee Ritenour, Dave Grusin, Scott Henderson’s Tribal Tech, Eric Marienthal, Doc Severinson, Brazilian guitar virtuoso Badi Assad, and Robben Ford. When not on tour she keeps busy doing numerous recording sessions and enjoys playing on the local L.A scene with bands such as Cecilia Noel and The Wild Clams, The Delphines, and her own band.

Karen Anne Carpenter


Karen Anne Carpenter (March 2, 1950 – February 4, 1983) was an American singer and drummer. She and her brother, Richard, formed the 1970s duo The Carpenters. She was a drummer of exceptional skill, but she is best remembered for her vocal performances. She suffered from anorexia nervosa, a little known eating disorder at the time, and died at the age of 32 from heart failure, later attributed to complications related to her illness.
Karen Carpenter was the lead singer for the soft-rock duo the Carpenters, who scored a string of Top 10 hits in the early '70s, including "Close to You," "We've Only Just Begun," "Rainy Days and Mondays," and "Yesterday Once More."

Karen Carpenter recorded one solo album in the late '70s, yet it was unreleased at the time.

Following the recording of the record, she returned to the Carpenters, and they had one final Top 40 hit: "Touch Me When We're Dancing" in 1981 before she tragically died of heart failure, brought on by anorexia nervosa, in February of 1983.

Karen's drumming was praised by fellow drummers Hal Blaine, Cubby O'Brien, Buddy Rich and Modern Drummer magazine.

On February 4, 1983, less than a month before her 33rd birthday, Karen suffered heart failure at her parents' home in Downey, California. She was taken to Downey Community Hospital, where she was pronounced dead twenty minutes later. The Los Angeles coroner gave the cause of death as "heartbeat irregularities brought on by chemical imbalances associated with anorexia nervosa." Under the anatomical summary, the first item was heart failure, with anorexia as second. The third finding was cachexia, which is extremely low weight and weakness and general body decline associated with chronic disease. Her divorce was scheduled to have been finalized that day. The autopsy stated that Carpenter's death was the result of emetine cardiotoxicity due to anorexia nervosa, revealing that Carpenter had poisoned herself with ipecac syrup, an emetic often used to induce vomiting in cases of overdosing or poisoning.[18] Carpenter's use of ipecac syrup was later disputed by Agnes and Richard, who both stated that they never found empty vials of ipecac in her apartment and have denied that there was any concrete evidence that Karen had been vomiting. Richard also expressed that he believes Karen was not willing to ingest ipecac syrup because of the potential damage it presented to her vocal cords and that she relied on laxatives alone to maintain her low body weight.
Her funeral service took place on February 8, 1983, at the Downey United Methodist Church. Dressed in a rose colored suit, Carpenter lay in an open white casket. Over 1,000 mourners passed through to say goodbye, among them her friends Dorothy Hamill, Olivia Newton-John, Petula Clark, and Dionne Warwick. Carpenter's estranged husband Tom attended her funeral, where he took off his wedding ring and threw it into the casket.[10] She was buried at the Forest Lawn Memorial Park in Cypress, California. In 2003, Richard Carpenter had Karen re-interred, along with their parents, in a Carpenter family mausoleum at the Pierce Brothers Valley Oaks Memorial Park in Westlake Village, California, which is closer to his Southern California home.
Carpenter's death brought lasting media attention to anorexia nervosa and also to bulimia. In the years after Carpenter's death, a number of celebrities decided to go public about their eating disorders, among them actress Tracey Gold and Diana, Princess of Wales. Medical centres and hospitals began receiving increased contacts from people with these disordersThe general public had little knowledge of anorexia nervosa and bulimia prior to Carpenter's death, making the condition difficult to identify and treat. Her family started the "Karen A. Carpenter Memorial Foundation," which raised money for research on anorexia nervosa and eating disorders. Today the name of the organization has been changed to the "Carpenter Family Foundation." In addition to eating disorders, the foundation now funds the arts, entertainment and education. On October 12, 1983, the Carpenters received a star on the Hollywood Walk of Fame. It is located at 6931 Hollywood Blvd., a few yards from the Kodak Theater. Richard, Harold and Agnes Carpenter attended the inauguration, as did many fans. In 1987, movie director Todd Haynes used songs by Richard and Karen in his movie Superstar: The Karen Carpenter Story. In the movie, Haynes portrayed the Carpenters with Barbie dolls, rather than live actors. The movie was later pulled from distribution after Richard Carpenter won a court case involving song royalties; Haynes had not obtained legal permission to use The Carpenters' recordings. On January 1, 1989, the similarly-titled made-for-TV movie The Karen Carpenter Story aired on CBS with Cynthia Gibb in the title role. Gibb lip-synced the songs to Carpenter's recorded voice. Both films use the song "This Masquerade" in the background while showing Karen's marriage to Burris.

CAROLA GREY


Awards:
Burghausener Jazzpreis, Staatlicher Kulturfoerderpreis Bayern, Gouvernment Grand (DAAD), Nomination for the SWF Jazzpreis for "Noisy Mama", Nomination for U.S. "Jazzrockalbum of the Year '"for "Girls Can't Hit"

Selected recordings:
Noisy Mama "Noisy Mama" 1992,
Noisy Mama "The Age Of Illusions" 1994,
Maria Excommunikata "Ocean" 1995,
Noisy Mama "Girls Can't Hit" 1996,
Grey & Marsico " Happy Music" 2000,
Steve Hooks "66 Minutes of Joy" 2001,
Deirdre Cartwright Group "Precious Things" 2001,
Deirdre Cartwright Group "Dr.Quantum Leaps" 2003,
Witchcraft ‘Live!” 2005
Noisy Mama “ Drum Attack !” 2007


Selected clubs and festivals
New York "Blue Note", "Birdland", Jak Jazzfestival (Indonesia), Thailand Jazzfestival, Jazzopen Stuttgart, Burghausen Jazzfestival, Musicfestival Madras (Indien), Jak Jazz Malaysia, Indonesia Open Jazz, London Jazzfestival, Music China, Shanghai , Krakau Jazzfestival ,just to name a few

Collaboration with:
Mike Stern, Ravi Coltrane, Lonnie Plaxico, Craig Handy, Rocco Prestia, T.M. Stevens, Stu Hamm, Wolfgang Schmid, T.V. Gopalkrishnan, Kadri Gopalnath, Gisele Jackson a.o.


Carola endorses SONOR drums, ZILDJIAN cymbals & sticks, ROLAND electronics, REMO drumheads and ROCKBAG cases.


Born in Munich, Germany Carola started out as a very motivated classical pianist at the age of 6. When she discovered the drums at 14 it put an abrupt end to those carrier plans and she decided to study Jazz at the famous college for music" in Cologne where she received her masters degree in music and music education. The next 6 years she spent in New York, where, besides working with numerous artists from all kind of musical directions, she also right away started her own band and began touring.
In the next couple of years concerts and drum clinics should lead her all over the globe. Her CDs made it into the Top Ten of the U.S. Gavin Jazz charts and she received several awards as a drummer and composer.

Recently most of her energy goes into her reactivated group ‘noisy mama’ (“desperately awaited by her many fans”, JAZZZEITUNG). To have total creative control over her art she has founded her own record label :’ noisy mama productions’ She has released her CD ‘Drum Attack!’ in march 2007.


All music written by Carola Grey except for "Black Beauty" (Craig Handy) and "Hey, New Day" (Ron McClure). Includes liner notes by Carola Grey.

NOISY MAMA is a somewhat deceptive title, because drummer/composer Carola Grey comes to her instrument with a solid grounding in classical piano, and it is precisely her sense of color and dynamics that sets her apart from most young drummers making their recording debut. She punctuates the groove in a terse, flowing manner, with a hypnotically melodic touch on the cymbals.

Modern mainstream jazz is the order of the day on NOISY MAMA, with a nod towards the Latin tinge on Grey's drum overture to "Bedsidestory" and on the lighthearted "Don't Play It Again, Sam!" On the latter, Grey uses various percussion effects with the drum kit to extend her rhythmic phrases into fresh melodic directions. And while this is a drummer's session, the lyrical nuances and rhythmic understatement of "Black Beauty" and "Nagual" again illustrate her interest in a total musical presentation, as opposed to an excuse for percussive showboating. NOISY MAMA is a promising debut.

This debut album has strong sidemen and an original compositional style. Grey wrote most of the tunes and is clearly influenced by hard bop tradition, but already shows an original style. With some humorous moments and song titles, this is one of the rare albums recorded live to two-track in 1992. ~ Alex Merck

Recorded at The Studio, New York on January 29 and July 27, 1992.

Personnel: Carola Grey (drums), Peter Epstein (soprano & alto saxophones), Craig Handy (tenor saxophone), Ralph Alessi (trumpet), Mike Cain (piano), Lonnie Plaxico, Ron McClure (bass).

Down Beat (8/94) - "...The young German-born drummer keeps a solid pulse and, as a composer, shows a good-flair for post-hard bop and Latin-flavored quintet writing....An auspicious maiden voyage...."
Musician (11/93, p.92) - "...Gray's music is on target, her writing is bright and open, the vamps have real harmonic movement and she hasn't fallen too deep into anyone's bag...."

Art Blakey

Blakey was born in Pittsburgh, Pennsylvania. By the time he was a teenager, he was playing the piano full-time, leading a commercial band. Shortly afterwards, he taught himself to play the drums in the aggressive swing style of Chick Webb, Sid Catlett and Ray Bauduc. He joined Mary Lou Williams as a drummer for an engagement in New York in autumn 1942. He then toured with the Fletcher Henderson Orchestra (1943–1944). During his years with Billy Eckstine’s big band (1944–1947), Blakey became associated with the modern-jazz movement, along with his fellow band members Miles Davis, Dexter Gordon, Fats Navarro and others.
Like many venerable jazz musicians, the drummer Art Blakey hung on long enough to see his approach to music come back into style.
A leading drummer of the post-World War II bop style epitomized by Charlie Parker, Blakey was better known for his leadership of his Jazz Messengers, one of the longest-running and consistently-excellent groups in jazz. The road to legendary status was winding, however. Eschewing the avant-garde, Blakey was ignored by jazz critics in the experimental 1960s and shunned by American audiences in the 1970s, when rock exerted its hegemonic control over the business of pop music. Unable to land a U.S. recording contract, he released numerous albums for European labels in the 1980s and won belated attention from American critics for his brief association with trumpet prodigy Wynton Marsalis. Ten years ago, Marsalis burst onto the jazz scene as a mature leader of his own tasteful group, and he credited a stint with Blakey's Messengers for his own poise and artistic direction. By the time of Blakey's death in 1990, a tour with the peripatetic Messengers was viewed as a sort of pre-requisite for up-and-coming jazz musicians. A quick way to be taken seriously by critics, record producers and audiences was to pass through Blakey's free-form university. Blakey's influence on young musicians was always hard to guage. He seemed to imbue in his acolytes an attitude of exuberant professionalism and fidelity to jazz acoustics rather than any particular compositional style.

EARLY CAREER
Art Blakey and the jazz messengers Blue notes 4003
In 1947 Blakey organized the Seventeen Messengers, a rehearsal band, and recorded with an octet called the Jazz Messengers. He claimed that he then travelled to Africa; however, no documentation has been uncovered that supports this claim. In the early 1950s he performed and broadcast with such musicians as Charlie Parker, Miles Davis and Clifford Brown, and particularly with Horace Silver, his kindred musical spirit of this time. Blakey and Silver recorded together on several occasions, including the album A Night at Birdland (1954, BN), having formed in 1953 a cooperative group with Hank Mobley and Kenny Dorham, retaining the name Jazz Messengers. By 1956 Silver had left and the leadership of this important band passed to Blakey, and he remained associated with it until his death. It was the archetypal hard-bop group of the late 1950s, playing a driving, aggressive extension of bop with pronounced blues roots. Over the years the Jazz Messengers served as a springboard for young jazz musicians such as Donald Byrd, Johnny Griffin, Lee Morgan, Wayne Shorter, Freddie Hubbard, Keith Jarrett, Chuck Mangione, Woody Shaw, Joanne Brackeen and Wynton Marsalis. Blakey also made a world tour in 1971-1972 with the Giants of Jazz (with Dizzy Gillespie, Kai Winding, Sonny Stitt,

The Jazz Messengers

Thelonious Monk and Al McKibbon.
From his earliest recording sessions with Eckstine, and particularly in his historic sessions with Monk in 1947, Blakey exuded power and originality, creating a dark cymbal sound punctuated by frequent loud snare- and bass-drum accents in triplets or cross-rhythms. Although Blakey discouraged comparison of his own music with African drumming, he adopted several African devices after his visit in 1948–1949, including rapping on the side of the drum and using his elbow on the tom-tom to alter the pitch. His much-imitated trademark, the forceful closing of the hi-hat on every second and fourth beat, was part of his style from 1950 to 1951. A loud and domineering drummer, Blakey also listened and responded to his soloists. His contribution to jazz as a discoverer and molder of young talent over three decades was no less significant than his very considerable innovations on his instrument
In the 1940s, Blakey was a member of bands led by Mary Lou Williams, Fletcher Henderson, and Billy Eckstine. He converted to Islam during a visit to West Africa in the late 1940s and took the name Abdullah Ibn Buhaina (which led to the nickname "Bu"). By the late forties and early fifties, Blakey was backing musicians such as Miles Davis, Bud Powell and Thelonious Monk — he is often considered to have been Monk's most empathetic drummer, and he played on both Monk's first recording session as a leader (for Blue Note Records in 1947) and his final one (in London in 1971), as well as many in between.
Up to the 1960s Blakey also recorded as a sideman with many other musicians: Jimmy Smith, Herbie Nichols, Cannonball Adderley, Grant Green, and Jazz Messengers graduates Lee Morgan and Hank Mobley, amongst many others. However, after the mid-1960s he mostly concentrated on his own work as a leader.

THE JAZZ MESSENGERS
The Jazz Messengers
The Messengers originated in a series of groups led or co-led by Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. The name "Jazz Messengers" had however been used by Blakey in the late forties for various groups. The most celebrated of these early records (credited to "The Art Blakey Quintet"), is A Night at Birdland from February 1954,[citation needed] one of the earliest commercially released "live" jazz records. This featured Silver, Blakey, the young trumpeter Clifford Brown, alto saxophonist Lou Donaldson and bassist Curly Russell. The "Jazz Messengers" name was first used for this group on a 1954 recording nominally led by Silver, with Blakey, Hank Mobley, Kenny Dorham and Doug Watkins — the same quintet would record The Jazz Messengers at the Cafe Bohemia the following year, still as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply The Jazz Messengers for Columbia Records in 1956. Blakey took over the group name when Silver left after the band's first year (taking Mobley, Byrd and Watkins with him to form a new quintet with a variety of drummers), and the band was known as "Art Blakey and the Jazz Messengers" from then onwards.

From 1959 to 1961 the group featured Wayne Shorter on tenor saxophone, Jymie Merritt, Lee Morgan, and Bobby Timmons. The second line-up (1961–1964) was a sextet that added trombonist Curtis Fuller and replaced Morgan and Timmons with Freddie Hubbard and Cedar Walton, respectively. Shorter was the musical director of the group, and many of his original compositions such as "Lester Left Town" remained staples of Blakey's repertoire even after Shorter's departure. (Other players over the years made permanent marks on Blakey's repertoire — Timmons, composer of "Dat Dere" and "Moanin'", Benny Golson, composer of "Along Came Betty" and "Are You Real", and, later, Bobby Watson.) Shorter's more experimental inclinations pushed the band at the time into an engagement with the 1960s "New Thing", as it was called: the influence of Coltrane's contemporary records on Impulse! is evident on Free For All (1964), often cited as the greatest document of the Shorter-era Messengers (and certainly one of the most fearsomely powerful examples of hard bop on record)

LATER CAREER
Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers — he had a policy of encouraging young musicians: as he remarked on-mic on A Night at Birdland (1954): "I'm gonna stay with the youngsters. When these get too old I'll get some younger ones. Keeps the mind active." After weathering the fusion era in the 1970s with some difficulty (recordings from this period are less plentiful and include attempts to incorporate instruments like electric piano), Blakey's band got revitalized in the early 1980s with the advent of neotraditionalist jazz. Wynton Marsalis was for a time the band's trumpeter and musical director, and even after Marsalis's departure Blakey's band continued as a proving ground for many "Young Lions" like Terence Blanchard, Donald Harrison and Kenny Garrett. Blakey continued performing and touring with the group into the late 1980s; Ron Wynn notes that Blakey had "played with such force and fury that he eventually lost much of his hearing, and at the end of his life, often played strictly by instinct." Blakey died in 1990 in New York City, leaving behind a vast legacy and approach to jazz which is still the model for countless hard-bop players
STORY DRAW TO HIT BLAKEY.
While a passionate drummer, Blakey almost never composed a song, relying instead on his sidemen for songs. Though his vintage-1950s groups produced solid recordings, filled with impressive solos, they suffered from a shortage of original material. It wasn't until the early 1960s that Blakey remedied this situation by assembling a series of small groups that rank with the best-ever in jazz. With Freddie Hubbard or Lee Morgan on trumpet, Curtis Fuller on trombone and Wayne Shorter on tenor saxophone, Blakey's Jazz Messengers had a Hall-of-Fame front-line whose compositional savvy was outstripped only by their extraordinary skills and emotional fire. Wedded to "hard" bop, Blakey's drumming was predictably swinging and his solos were astonishing for their power, wit and poly-rhythms. Yet he relied heavily on his sidemen to provide an aesthetic for his group; he was an unusually generous leader when it came to passing out assignments (which may well explain the longevity of the Jazz Messengers). Hubbard, Fuller and especially Shorter embraced new jazz idioms even as the rock-steady Blakey clung to more catholic tastes.
Blakey wasn't standing still, however. In the 1970s, he showed ample signs of absorbing the language of both the so-called "free" jazz and rock-tinged fusion. Blakey's flirtation with fresh styles would not last long, however. By the end of the decade, he had returned to his roots and essentially spent his remaining years re-creating the hard bop sound, relying on a new generation of musicians who revered him and were obsessed with turning post-War jazz into a kind of American classical music.
In this regard, Wynton Marsalis became Blakey's most important disciple, a testament to the fiery drummer's seminal influence. The easy romanticizing of hard bop, and its surprising prominence in the 1990s, elevated in importance the Jazz Messengers's first early recordings. The emphasis by critics on purity and swing lent a new luster to these tired 1950s records and brought belated-acclaim for Blakey's stunning early 1960 releases (especially the adroit "Free For All" and the haunting "Freedom Rider" in which Blakey's extended solo is the paragon of jazz modernism). In this fresh critical light, Blakey's recordings from the 1980s and early 1990s were viewed as a welcome revival.

His younger-generation Messengers performed jazz standards with verve and, at times, brilliance but contributed few original tunes worth remembering. Still, Blakey was a magnet for young talent, and he showcased such top young players such as Mulgrew Miller, Javon Jackson, Bobby Watson and Donald Harrison. The nostalgia for Blakey's most fertile period and the renewed appreciation for straight-ahead jazz has meant that music from the 1970s - Blakey's "down" period in terms of popularity - has been unfairly neglected.

During the decade of the 1970s, American audiences abandoned acoustic jazz, and Blakey struggled to retain first-class musicians and the support of record labels and club owners in the U.S. Setting aside his neo-bop classicism, which he pioneered, Blakey took in band members whose tastes were decidedly more pop than jazz. Chuck Mangione's little-known stay in the Messengers's trumpet chair was perhaps the ultimate reflection of the breakdown in the cultural concensus about the elements of authentic jazz. Yet for Blakey afficianados, the 1970s have much to offer, as a new re-issue from Fantasy Records demonstrates. Mission Eternal contains two full albums recorded by a superb Blakey band in March 1973 and originally released by the Prestige label under the titles of "Buhaina" and "Athenagin." A cut below Blakey's best recordings of the 1960s, these albums nevertheless show an awareness of the avant-garde, a taste for Latin beats and inspired performances by strong sidemen. Cedar Walton anchors the group on piano and contributes some strong compositions, notably Mission Eternal. Carter Jefferson, an inventive saxophonist who deserves wider appreciation, strikes a good balance between fidelity to standards and the inevitable search for new sounds. His solo on "Gertrude's Bounce" is brutish yet melodic. Vocalist Jon Hendricks, who joins the group on two cuts, is mesmerizing on the jazz standard "Moanin'" and ghostly on "Along Came Betty," an original by Benny Golson that Hendricks put lyrics to. And conga player Tony Waters is steady throughout, no small achievement given Blakey's commanding presence on drums...