Tracker- NordicPlus Status- Site is DOWN more then 2 weeks.

Tracker-tazmania-den Status- Site is DOWN since Couple of days ------------------------------------------------ Staff Edit : Site up again - 05-09-2021

Tracker-Sharewood Status- 500 Internal Server Error

Tracker-HDCOREA aka Born 2 SEED Status- Site is DOWN since 3/4 Days

Trombonist and composer Curtis Fuller, a pivotal figure on his instrument since the '50s and a beloved mentor, passed away May 8. He was 86. His death was confirmed by his daughter, Mary Fuller, and by the Jazz Foundation of America. "His sound was massive, striking and immediate, a waveform that was calibrated to overload the senses and saturate the magnetic tape that captured it," says trombonist and composer Jacob Garchik. "In our era of obsession with harmony and mixed meters, Curtis Fuller's legacy reminds us of the importance of sound." Ryan Keberle, another current leading trombonist and educator, agrees. "Curtis Fuller's genius can be heard in the warm and vibrant timbre of his trombone sound and the rhythmic buoyancy, and his deeply swinging sense of time." Fuller was born in Detroit on Dec. 15, 1934 and always remained exceptionally proud of his Motor City roots. His parents, who were from Jamaica, died when he was young – Fuller grew up in an orphanage, eventually taking up music in high school, first playing the baritone horn then switching to trombone at the age of 16. After graduation, he served for two years in the Army, and during this time played in bands with future luminaries like bassist Paul Chambers and alto saxophonist Julian "Cannonball" Adderley. Upon returning home to Detroit in 1955, he began playing in a quintet led by reedman Yusef Lateef; that band travelled to New York in 1957 to record three albums, and it was there that Fuller's impact began to widen dramatically. In his first nine months as a New Yorker, Fuller recorded eight times as a leader or co-leader and appeared as a sideman on 15 other recordings, including John Coltrane's Blue Train (Blue Note), which the legendary saxophonist cited as one of his favorites. BASIC JAZZ RECORD LIBRARY Considering John Coltrane's 'Blue Train' Fuller's big, broad tone added depth and breadth to the trumpet and saxophone front line that had become the convention in hard bop. Yet on his own recordings, Fuller branched out in unique ways – one of his first recordings, Bone and Bari (Blue Note), featured a frontline of Fuller and baritone saxophonist Tate Houston with a stellar rhythm section of pianist Sonny Clark, bassist Paul Chambers and drummer Art Taylor; the dark, evocative mood of its frontline highlighted the broad sound of Fuller's instrument. Curtis Fuller Quintet, "Bone and Bari" YouTube It was an unprecedented Motor City influx of the New York jazz scene. A short list of influential musicians includes Chambers and Lateef, trumpeter Donald Byrd, pianist Barry Harris, guitarist Kenny Burrell, pianist Tommy Flanagan, drummer Louis Hayes, baritone saxophonist Pepper Adams, bassist Ron Carter, tenor saxophonist Joe Henderson, and the Jones brothers – pianist Hank, trumpeter Thad, and drummer Elvin. Fuller often recorded with these great musicians, but he made canonical recordings with others too. He was a member of the first Art Farmer/Benny Golson Jazztet, and he played with Art Blakey and the Jazz Messengers for three and half years. Ryan Keberle cited Fuller's solo on "One for One" from the album Ugetsu as one of his favorites. Fuller's solo on "One for One," from Art Blakey and the Jazz Messengers' album Ugetsu, is a standout in a career with no shortage of them. YouTube "Fuller was strongly rooted in the fundamentals of blues, swing and bebop, and his improvisations balanced head and heart in compelling fashion," said Mark Stryker, author of Jazz From Detroit. "He married a lickety-split technique with soulful expression, and even in his early twenties, he had a distinctive identity ideally suited for the hard bop mainstream." Fuller spent much of the late '60s through the late '80s touring with bands led by legends like Dizzy Gillespie and Count Basie, as well as performing with collective ensemble The Timeless All Stars. Like many of his peers, he joined the ranks of academia, teaching at the University of Hartford's Hartt School, and was on the faculty of Betty Carter's Jazz Ahead program at the Kennedy Center, where he mentored musicians like saxophonist Caroline Davis and bassist Dezron Douglas. It was in Connecticut, during the mid-to-late '80s, that trombonist and educator Steve Davis met Fuller and the two became friends. Davis often travelled to New York in the late '80s to hear Fuller with either the Jazztet or the Timeless band. "Curtis' playing was absolutely incredible... almost mystical," Davis says. "Curtis always said, 'I'm not trying to win any Trombone Olympics.' We all knew he could, but loved him because it was never his concern to 'out-play' anyone. He played too pretty and hip for that. He was all music."

“Vivo,” an animated movie that boasts new music from “Hamilton” creator Lin-Manuel Miranda, is coming to Netflix. The family friendly film was initially scheduled to release in theaters on June 4. But Sony Pictures, the studio that originally backed “Vivo,” has instead offloaded the project to Netflix. It’s unclear when it will debut on the streaming service. Sony Pictures will retain all rights in China, along with home entertainment and linear television rights everywhere else, following periods of exclusivity on Netflix. Netflix recently signed a lucrative deal with Sony, which gives the streamer exclusive U.S. rights to the studio’s theatrical releases in the first pay TV window. In addition, Netflix has a first-look deal with Sony’s offerings. However, the pact doesn’t commence until 2022 so it doesn’t include the sale of “Vivo.” “Vivo” was directed by “The Croods” filmmaker Kirk DeMicco and co-directed by Brandon Jeffords. Quiara Alegría Hudes, who wrote the book for Miranda’s “In The Heights,” has co-written the screenplay with DeMicco. The animated musical adventure follows a unique kinkajou (a.k.a. a rainforest “honey bear,” voiced by Miranda), who spends his days playing music to the crowds in a lively Havana square with his beloved owner Andrés. Though they may not speak the same language, Vivo and Andrés are the perfect duo through their common love of music. But when tragedy strikes shortly after Andrés receives a letter from the famous Marta Sandoval (Gloria Estefan), inviting her old partner to her farewell concert in Miami with the hope of reconnecting, it’s up to Vivo to deliver a message that Andrés never could: A love letter to Marta, written long ago, in the form of a song. Yet in order to get to the distant shores of Miami, Vivo will need to accept the help of Gabi (newcomer Ynairaly Simo) — an energetic teen who bounces to the beat of her own offbeat drum. The voice cast also includes Zoe Saldana, Brian Tyree Henry and Nicole Byer. “Bringing Vivo to life has been an incredible artistic journey. I couldn’t ask for better creative partners than Kirk, Quiara, Alex and the entire team at Sony Animation,” Miranda said. “I’m so excited Vivo will have a home at Netflix, where kids of all ages will be able to enjoy the film’s songs and adventures again and again.” Netflix has been growing its slate of animated films, including “SpongeBob: Sponge on the Run,” “The Mitchells vs The Machines” and “The Willoughbys.” The company’s VP of original animation Melissa Cobb praised “Vivo” for celebrating “the universal language of music to families around the world.” Recommended LATINOMexican villages arm children as they vie for government's attention LATINO'Embrace your uniqueness': Education Secretary Cardona encourages college grads “‘Vivo’ is full of comedy and heart. We’re excited to introduce families to the incredible cast of characters led by Lin-Manuel Miranda, who lends his voice to a lead animated feature role for the first time,” Cobb said. “Vivo” isn’t the first movie musical from Miranda that skipped theaters in favor of streaming. The live-recorded version of “Hamilton” was supposed to play on the big screen, but instead debuted on Disney Plus last July. Cinemas won’t be entirely devoid of Miranda’s creative offerings. “In the Heights,” an adaptation of his first Broadway show, is arriving in theaters on June 11.

Pop star the Weeknd said he still won't submit his music for Grammy consideration, citing an ongoing lack of trust in the award show's process despite a recent change to rules that inspired his boycott. The chart-topping singer was responding to the rule changes for the Grammy Awards announced by the Recording Academy on Friday — primarily a change that eliminates the "secret" nomination-review committees. That secretive committee process likely played a key role in his being shut out of all nominations for the 2021 awards, despite having one of the biggest albums and the most-streamed single of the year with "After Hours" and "Blinding Lights," respectively. "The trust has been broken for so long between the Grammy organization and artists that it would be unwise to raise a victory flag," the Weeknd, real name Abel Makkonen Tesfaye, told Variety. He added that he will continue to withhold his music from consideration for the awards. However, he does say that the move is "an important start." "I think the industry and public alike need to see the transparent system truly at play for the win to be celebrated, but it's an important start," he continues. "I remain uninterested in being a part of the Grammys, especially with their own admission of corruption for all these decades. I will not be submitting in the future." His manager, Wassim "Sal" Slaiby, added, "No change comes without a voice heard. I'm just proud of Abel for standing up for what he believes in. I was in a shock when all this happened but now I see it clearly, and I'm glad we stood for our beliefs."

Weezer performed their new song, “All the Good Ones,” on The Tonight Show Monday, May 10th. The track, which appears on the rock outfit’s latest album, Van Weezer, boasts stomping drums and crunching power chords, while guitarist Brian Bell gets to throw in some dazzling hair metal-style guitar tricks as well. Rivers Cuomo, meanwhile, sings about being gobsmacked by a new crush, belting, “She plays for all the marbles/Her Nietzsche books are conversation starters/And damn, I think I loved her from the first sight.” Weezer released Van Weezer last Friday, May 7th. It was supposed to be released last year, but was postponed due to the Covid-19 pandemic. With that extra time, Weezer was able to finish another in-the-works project as well, OK Human, which was released in January. In July, Weezer are scheduled to kick off the Hella Mega stadium tour with Green Day and Fall Out Boy. That run was also postponed last year because of the pandemic but is now slated to start July 14th in Seattle and wrap August 25th in Commerce City, Colorado.

Taylor Swift rewrites UK Official Chart history this week as her rerecorded album Fearless (Taylor’s Version) lands at Number 1 on the Official Albums Chart, surpassing a long-held chart record by The Beatles. The Official Charts Company can confirm that by scoring her third chart-topping album in the space of just 259 days (following Folkore on July 31 and Evermore on December 18), Taylor sets a new all-time record for the fastest accumulation of three Number 1 albums ever, and the first solo artist to do so in under 12 months. The record was previously held by The Beatles for 54 years – the band notched up a trio of chart-toppers in 364 days between 1965-1966, with Help!, Rubber Soul, and Revolver. ADVERTISEMENT Taylor Swift with her Official Number 1 Album Award from the Official Charts Company for Fearless (Taylor’s Version) Fearless (Taylor’s Version) racks up just over 21,000 chart sales to become the star’s seventh UK Number 1 album, and outperforms the Number 5 peak of the original, released in 2008. The entry now places Taylor third among female artists with the most chart-topping albums, behind Madonna (12) and Kylie Minogue (8). Taylor’s other UK Number 1 albums are: Red (2012), 1989 (2014), Reputation (2017), Lover (2019), Folklore (2020), and Evermore (2020). View Taylor’s Official Chart history in full here. Meanwhile, Ariana Grande’s former chart-topper Positions rebounds 45 places to Number 4 following its release on vinyl, topping the Official Vinyl Albums Chart, and DMX retrospective The Best Of enters at Number 12 one week after the news broke of the rapper’s death. Further down, there are new entries for French composer Jean-Michel Jarre’s latest album Amazonia (21), and Roadrunner – New Light New Machine by US hip hop boyband Brockhampton (24).

Olivia Rodrigo isn't stepping on the brakes anytime soon. Fresh off the release of her singles "Drivers License" and “Deja Vu,” she announced on Tuesday (April 13) that her debut album, Sour, will be released on May 21. After teasing the album’s tracklist by sending letters to fans for them to decode, the 18-year-old actress and singer-songwriter made the official announcement by sharing the album’s artwork on Instagram. Channeling ’90s teen nostalgia, the cover sees Rodrigo’s face covered in butterflies, stars, and heart stickers as she sticks her tongue out to reveal the title pasted onto it. Writing about the project on her Instagram Story, Olivia added: “My debut album Sour comes out May 21 and I couldn’t be more excited if I tried." After making the announcement, Rodrigo jumped on Instagram Live to reveal that she wrote most of the songs on Sour when she was 17. "It's this very, like, sour period of my life, which I think is why I liked the title," she said. "I think you're really gonna love the [songs] that are on the record. I worked really hard to write them and produce them in a really unique way. I'm so excited. It's going to be really fun." The 11-track album includes her previous mega-hits “Deja Vu” and “Drivers License,” both of which cracked the top 10 of the Billboard Hot 100 chart this week. There's also a blend of new material and previously released fan favorites like the poignant "Happier," which Rodrigo first shared online in 2020. Speaking with MTV News about the impact of "Drivers License," Olivia shared that, while she initially worried the song's meteoric success would leave her feeling pressured, it actually helped her to discover what makes her stand out as an artist. “I actually really think it gave me a lot of confidence in my voice and in what makes my songwriting special which I feel like is my vulnerability and honesty,” she said. “Learning that that’s what people resonated with kind of helps me with all of my other music."

Although Demi Lovato made her Disney debut in the series As The Bell Rings back in 2007, she transformed into a real-life Disney princess on Wednesday (April 13) by performing a medley of hits in her Los Angeles backyard for a crowd of adoring woodland creatures in her Tiny Desk (Home) Concert for NPR. Lovato effortlessly sang a collection of past and present fan favorites that included her soulful 2017 single “Tell Me You Love Me,” as well as newly released tracks “The Art of Starting Over” and “Dancing With the Devil," both of which feature as the title tracks on her seventh album, which was released on April 2. Though the performance was socially distant, a few furry attendees got to witness the powerful set in its entirety. “My squirrels are out here,” she said. “I have now taught them how to eat from my hand, and that’s a big accomplishment so I just wanted to let you know that was on my mind.” Back in March, Lovato released an honest, unflinching four-part documentary series on YouTube titled Demi Lovato: Dancing With the Devil that detailed her 2018 near-fatal overdose, battles with addiction and eating disorders, and her personal recovery journey. She followed the series with the release of her seventh album Dancing With the Devil ... The Art of Starting Over, which debuted at No. 1 on the Billboard Top Album Sales chart this week. Lovato told Entertainment Weekly that it was pivotal for her to tell her story in the most honest and accurate way possible on the album, even if it was daunting. "If I'm painting a picture as an artist, telling my truth is so important to me," she said. "I don't censor my substance use in 'Dancing With the Devil.' I don't hold back from that, so I don't want to hold back from any other place in my authenticity, you know?"

When Megan Thee Stallion and Lil Durk are in business together, they're unstoppable. The duo released the music video for their fan-favorite collab track "Movie" on Thursday (April 15) and brought the lights, camera, and action with them. Directed by Mike Ho, Megan and Lil Durk are the life of the party being held at the fictional club Stallions. As cash seems to rain endlessly from heaven above, multiple dancers perform jaw-dropping pole routines, pouring drinks into each other's mouths, and dancing the night away to the sensual track's snappy chorus. Intermixed between the festivities, Megan channels the early aughts as she raps with effortless cool and confidence in an orange bikini and sunglasses. Originally released as part of her debut album Good News last year, the bombastic club anthem's lyrics take place within a strip club and allow the two artists to take on very different perspectives of the same night: the happy-go-lucky VIP attendee at the club; the powerful, hard-working dancer on stage. They cross paths in the song's chorus, where Lil Durk raps: "Tell her shake it / Drop her friends off / And take her pants off." Megan easily counters his proposition with one of her own: "Tell him spend it / You ain't got no money / Keep your hands off." The release of the visual follows the Houston rapper's star-studded night at the 2021 Grammys last month, which saw her dominate the stage alongside Cardi B with a powerful performance of "WAP" and pick up three wins for Best New Artist, Best Rap Performance, and Best Rap Song. In response to the video's release, Megan shared a simple message on Instagram: "Thank you my babies for coming to Stallions." Come again soon.

A posthumous DMX song has been released featuring Swizz Beatz and French Montana. The hip-hip legend tragically passed away a week ago, following a stint in an intensive care unit after suffering a heart attack at his home on April 2. And ‘Been To War’ from the Forest Whitaker-starring series, 'Godfather Of Harlem', has dropped. Swizz had said in a touching tribute to his late friend upon hearing the news of his death: “My brother would take care of everybody before he would take care of himself. “I’ve never seen a human like him – the closest thing to a prophet … there’s only one DMX.” In a statement, the family of the 'Party Up' hitmaker - whose real name was Earl Simmons - said: "We are deeply saddened to announce today that our loved one, DMX, birth name of Earl Simmons, passed away at 50 years old at White Plains Hospital with his family by his side after being placed on life support for the past few days. “Earl was a warrior who fought till the very end. He loved his family with all of his heart and we cherish the times we spent with him. Earl's music inspired countless fans across the world and his iconic legacy will live on forever. We appreciate all of the love and support during this incredibly difficult time." Meanwhile, streams of the late music legend's tunes rocketted by 928 per cent after his passing on April 9. A total of 75.7 million audio and video streams were counted on April 9 and 10, compared to 7.36 million on April 7 and 8. Tributes have continued to pour in for DMX, with Snoop Dogg among those to pay their respects. The 49-year-old rapper hailed the ‘X Gon’ Give It To Ya’ star for being selfless and always putting others before himself. He said: “I’d like to say that DMX was wanting to glorify his relationship with God, and he was always pushing the right thing, and he was always trying to help other people. “And that leads me to believe that’s why God chose his angel to come back home with him. He did his time out here."

Annie Lennox gave her musician daughter Lola a huge boost on Thursday when she joined her for a live radio performance with the BBC Concert Orchestra. The Eurythmics star co-produced the track Wherever You Go and took on backing vocals during a session for BBC Radio 2's Ken Bruce Show. The pair were joined by string, percussion, brass and piano players for the remote performance. The track, which explores long-distance relationships, was co-created by Lola, who told Press Association, "I absolutely loved working on this orchestral version of Wherever You Go with my mum. We had a fun afternoon where I taught her the melodies and harmonies that she would be singing, it was great to hear her voice on the song and to sing alongside her."

When Kimball Township resident Theresa Winters agreed to be in STATE of MINE’s newest music video, she didn’t know what she was getting into. What ended up happening was her yelling inside a Port Huron Township auto shop as a character she described as a “Karen,” a windshield getting busted by a baseball bat and a cheeseburger getting smeared on the hood of a car. It was really fun. “I’m glad I got to be a part of something like that,” Winters said. Jay Gearhart, a St. Clair Township resident and lead vocalist for the rock/hard rock band STATE of MINE, said the song and its music video, “2 Middle Fingers" will be available 12 a.m. Friday on music services like Spotify and iTunes. The band's other four members, lead guitarist Aaron Ruhl, rhythm guitarist Matt Martin, bassist Corey Smith and drummer Mike Martin are from the Lansing area. But because Gearhart, country artist Drew Jacobs, who oversees music videos for their local label company Noise Machine Records, and a producer are in St. Clair County, 75% of videos are filmed there. Including this newest song, which was filmed at Blackmer Automotive & Custom Exhaust at the intersection of 24th Street and Lapeer Avenue. Gearhart didn’t realize how busy this intersection was until people started stopping to check out what was happening while filming the music video. Several pulled out their phones to film as Winters stood outside yelling “don’t do that to my car,” he said. Gearhart had to keep yelling they were doing a music video so people didn’t think the business had a real irate customer on its hands. “I didn’t want the cops to get called for somebody going crazy in the parking lot,” he laughed. Mike Blackmer, owner of Blackmer Automotive and a former band member of Gearhart's, said it was cool to have his business as part of the music video and he hopes to get a little extra advertising.

TORONTO — Summer 2021 was supposed to mark the triumphant return of Canadian music festivals. Instead, it’s ushering in another season of disappointment. As COVID-19 cases rage across the country, many of Canada’s beloved summer music events are falling like dominoes as organizers abandon any hope of a return this year. Since the start of April, RBC Bluesfest in Ottawa, Country Thunder festivals in Craven, Sask. and Calgary, as well as folk festivals in Winnipeg and Edmonton have been among those who’ve announced cancellations. And in the coming weeks, several other major music events are expected to make the final call on their own prospects of a 2021 festival season, in the shadow of strict health guidelines. Todd Jenereaux, executive vice president of Republic Live, is one of those organizers faced with a looming deadline. His company operates Boots & Heats in Oro-Medonte, Ont., and as one of the province's biggest music festivals, it remains on the calendar for the long weekend in early August. But he’s watched the prospects of holding this year’s country music extravaganza grow dimmer by the day. “If you can't have more than 10 people together in one space in Ontario right now, it's a long way to get to 30,000 in August,” he said. “We obviously have to deal with the reality of a deadline coming up that is going to be really hard for us to achieve … All we know is we can't do anything until things change. This is an industry that doesn't turn on a dime either. We can't get the go-ahead on Tuesday and be open on Friday." Festival organizers across the country say they’ve faced similar uncertainties as provinces make summertime plans a low priority while they grapple with surging cases of viral variants and a sluggish rollout of vaccinations. Beyond allowances on large gatherings, countless other pieces must fall into place for a successful music festival to move forward, such as water stations and swaths of portable toilets — shared accommodations that make public health authorities anxious, according to some planners. But the most urgent deadline involves the performers who take the stage. Most Canadian festivals rely on major U.S. acts to draw ticket buyers and many of those performers book their North American festival stops a year in advance as they map out larger summer tour schedules. With the U.S.-Canadian border still closed, festival organizers say they've been unable to predict whether bands and their crews might even be allowed to head north with their gear in tow. “I don't know how many times we've had conversations with agents over the last year (with them asking,) ‘When are they going to open up the borders?’ Well, I have no clue,” said RBC Bluesfest director Mark Monahan. “There were so many factors beyond our control that at a certain point you just had to throw in the towel.” Terry Wickham, producer of the Edmonton Folk Music Festival, said his board waited an extra month in hopes of a turnaround in COVID-19 numbers. Eventually, they decided it wasn't realistic to move forward with so many health concerns looming, among them asking volunteers to put themselves in a vulnerable situation. “If I thought things were going change in the next few weeks, I’d have hung in, but I just don't see it,” he said. “A lot of people have the feeling that the show must go on. Sometimes, you know, it doesn't,” he added. Outside Canada, one music festival learned the hard way about how precarious making plans to go forward can be. In late March, Australia's Byron Bay Bluesfest was blindsided when health authorities blocked the event from moving forward after a single COVID-19 infection was detected in the region a day before the festival was scheduled to begin. Evelyn Richardson, head of Live Performance Australia, told local media the fallout of a last-minute cancellation left the festival with a potential loss of $10 million (Australian). Those risks could beset any festival hoping for brighter days ahead this summer. The Osheaga Music and Arts Festival in Montreal remains on the calendar for late July, despite an ongoing nightly curfew in parts of the province. Organizers at Evenko declined interview requests but said in a statement that “it’s too early to talk about our summer festivals at this moment as Montreal is still in a red zone, but we continue to monitor the various elements.” The Calgary Folk Music Festival’s leadership also declined to be interviewed but said they remain “cautiously optimistic and adaptable” as they move towards four days of events that kick off July 22. Rather than sit this year out, Myles Rusak and his team at the Sound of Music Festival in Burlington, Ont. have drafted an alternative plan. Instead of holding the usual nine-day festival, the executive director said they will revamp the structure and stretch it out over three months. The Sound of Music Festival's Return to Live series will consist mainly of concerts performed on patios, inside restaurants and around the area by mostly local Canadian musicians. “Early on, we had to stop thinking about what we can't do — and that was the full-blown festival,” he said. “So we thought: What can we do?” he said. While many of the details are still in working stages, such as the performer lineup and the seating arrangements, Rusak said he's closely watching how other countries navigate their own live music rollouts. “I refuse to say, ‘Nope, we're done, let's just phone it in and wait it out,’” he said. “What we’re attempting to do is plan for the worst and hope for the best.” This report by The Canadian Press was first published April 15, 2020. David Friend, The Canadian Press

Despite the COVID-19 pandemic, Michigan State's College of Music plans to hold its annual Jazz Festival virtually. The college will livestream the festival on Friday, April 16th from 1-10 p.m. and Saturday, April 17 from 2-10 p.m. Both graduate students and Grammy-nominated jazz musicians such as vocalist Carmen Bradford, jazz trumpeter Jon Faddis and jazz drummer Jeff Hamilton will be at the festival. According to a press release from The College of Music, "The MSU Jazz Octets gets things rolling with virtual performances Friday evening led by graduate students under the direction of MSU Jazz professors Randy Napoleon and Diego Rivera. The Friday finale features Bradford in a virtual concert with the MSU Jazz Orchestra, directed by Rodney Whitaker and Michael Dease." Although not quite the same as an in-person performance, those facilitating the festival are making changes to adapt to a remote setting. Students and faculty are taking safety precautions by wearing face shields, masks, goggles and bell covers if necessary when rehearsing. Jordyn Davis recording her masters recital at Troubadour Studios. — Courtesy Photo | The State News "Some of it we were able to do it and record in the studio and do video, ... but now we're able to go into the studio because most of the studios now are fitted with video cameras now," Director of Jazz Studies Rodney Whitaker said. "So, most of the performances now were filmed with us playing together in separate booths in the studio." Additionally, the performances will be shorter than usual to allow for breaks from staring at a screen. This gives viewers time to stretch and use the bathroom prior to the next livestreamed performance. Students look forward to this event each year, specifically those in the jazz studies program. While the festival is open to anyone to attend, it is a time for jazz students to spend time with one another, which is something that those involved highly favor. "It's like this big coming together of communities and enjoying the music that we all love, so it is normally a really great time," jazz studies senior Austin Muthyala said. Jazz studies senior Sequoia Snyder said that having the opportunity to meet other musicians is helpful for younger musicians. "It is always amazing," Snyder said. "We always have multiple guest artists, and it is a great opportunity for younger students too because they get a change to come perform and hang around college-aged musicians and professional musicians and get feedback. ... It is a nice family feel and ... a very collaborative, fun event." Wyatt Forhan in personal protective equipment recording in Murray Hall for a virtual performance. — Courtesy Photo | The State News With that being said, there are a few aspects of not only the festival but the jazz studies program as a whole that are unable to occur due to COVID-19 health and safety rules and regulations. "The hardest part of this whole thing being remote is that it is infinitely harder to create a sense of community and closeness, but one of the things that makes the jazz program members unique is that we operate in a way that's like everybody in the program is really close," Muthyala said. "We have a fairly large program especially for a jazz program, but, everybody kind of knows each other, and we all hang together all the time."

ALLBLACK has announced a new album titled TY4FWM, short for Thank You 4 Fuckin’ With Me. The record is out May 7 via Play Runners/EMPIRE. The Oakland rapper has also shared the album’s “Ego,” featuring Drakeo the Ruler and producer Kenny Beats. Check out the MikeyRare-directed visual for “Ego” below and scroll down for the TY4FWM artwork and tracklist. “There are people around me who get up every day and work hard without cutting corners,” ALLBLACK said of his native Oakland in press materials. “Because of them, I feel like I’ve got to win—we’ve got to win.” The rapper embraced his collaborative nature for TY4FWM, which features appearances by Vince Staples, Mozzy, G-Eazy, E-40, and Sada Baby, as well as production from DTB, Cole M.G.N., ShMartin and Cal-A. ALLBLACK previously worked with Kenny Beats on the 2018 EP 2 Minute Drills. TY4FWM: ADVERTISEMENT 01 Life of a P [ft. Kossisko] 02 Get Yo Money Sis 03 10 Toes [ft. E-40 and G-Eazy] 04 Cobra Kai 05 War Stories [ft. Mozzy and Peezy] 06 P’s & Q’s 2 07 How I feel [ft. P-Lo and ShooterGang Kony] 08 Anejo 09 Cleat Check [ft. Guapdad 4000 and Rexx Life Raj] 10 Ego [ft. Kenny Beats and Drakeo the Ruler] 11 Save Me 12 Do or Die [ft. Sada Baby and Carrie] 13 We Straight [ft. Vince Staples] 14 Ride [ft. Dom the President]

@Ethan i have promoted invitehawk. 3 proofs are as follows: https://imgbox.com/bmDUf5NZ https://imgbox.com/kgXhZLCO https://imgbox.com/BS4I5mVN

facebook

don't have enough time for playing nowdays

youtubing

Fl for ME

Best Ever Food Review Show

IPT for mine