Thu, 23 Apr 2026 22:05:17 +0200 https://hearthis.at/reggie-johnson/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/reggie-johnson/ https://img.hearthis.at/2/5/9/_/uploads/9163159/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1567375060952.jpg no no https://hearthis.at/reggie-johnson/ftsb-12102019-show/ 4148861 no no Wed, 11 Dec 2019 00:50:35 +0100 2019-12-11T00:50:35+01:00 2:13:17 https://hearthis.at/reggie-johnson/ftsb-08132019-show/
"Blood, Sweat & Tears was/is a Jazz-Rock band formed in New York in 1967, and one of the early examples of the genre that would be known as "Brass Rock" and sharing their hierarchy of the genre with Chicago Transit Authority (later Chicago), both being prime examples along with their UK competitor If. The original incarnation of the band was lead by Al Kooper (for just one album), Jim Fiellder (of Zappa's Mothers Of Invention fame), Fred Lipsius, Jerry Weiss, Steve Katz, Dick Halligan, Bobby Colomby, Corey Garrison and Randy Brecker. Both Al Kooper and Steve Katz had already worked together on The Blues Project, and Al Kooper got out of the band due to his desire to add horns and the frustration caused by the denial from the rest of his former band mates, only taking Steve with him." [Prog Rock Archives]]]>
"Blood, Sweat & Tears was/is a Jazz-Rock band formed in New York in 1967, and one of the early examples of the genre that would be known as "Brass Rock" and sharing their hierarchy of the genre with Chicago Transit Authority (later Chicago), both being prime examples along with their UK competitor If. The original incarnation of the band was lead by Al Kooper (for just one album), Jim Fiellder (of Zappa's Mothers Of Invention fame), Fred Lipsius, Jerry Weiss, Steve Katz, Dick Halligan, Bobby Colomby, Corey Garrison and Randy Brecker. Both Al Kooper and Steve Katz had already worked together on The Blues Project, and Al Kooper got out of the band due to his desire to add horns and the frustration caused by the denial from the rest of his former band mates, only taking Steve with him." [Prog Rock Archives]]]> 3652161 no no Mon, 02 Sep 2019 00:03:54 +0200 2019-09-02T00:03:54+02:00 2:00:14 https://hearthis.at/reggie-johnson/from-the-soundboard-390-the-germs/ 3429640 no no Thu, 25 Jul 2019 00:55:21 +0200 2019-07-25T00:55:21+02:00 2:02:26 https://hearthis.at/reggie-johnson/ftsb-4242019-show/
*Though it can reasonably be argued that rap grew almost directly out of funk and its particular beat, there are a lot of overlaps with jazz, particularly the bop and post-bop eras: the uninhibited expression, the depiction of urban life, just to name two. Jazz samples have also had a large role in hip-hop, but the idea of rapping over actual live jazz wasn't truly fully realized until Gang Starr MC Guru.* [Marisa Brown - All Music Guide]]]>
*Though it can reasonably be argued that rap grew almost directly out of funk and its particular beat, there are a lot of overlaps with jazz, particularly the bop and post-bop eras: the uninhibited expression, the depiction of urban life, just to name two. Jazz samples have also had a large role in hip-hop, but the idea of rapping over actual live jazz wasn't truly fully realized until Gang Starr MC Guru.* [Marisa Brown - All Music Guide]]]> 3040754 no no Wed, 24 Apr 2019 21:52:54 +0200 2019-04-24T21:52:54+02:00 1:56:23 https://hearthis.at/reggie-johnson/ftsb-01162019-show/
*Long before cross-cultural fusions involving jazz musicians became the norm, **Yusef Lateef** made a point of using Middle Eastern and Asian instruments on his albums. Apart from brief stints as a sideman, he continued to bring different types of music together in groups appearing under his own name. Acclaimed for his skill on various reeds, from saxophone to oboe and well beyond, he increasingly developed as a composer both in and out of jazz.* [Ronald Atkins - The Guardian]]]>
*Long before cross-cultural fusions involving jazz musicians became the norm, **Yusef Lateef** made a point of using Middle Eastern and Asian instruments on his albums. Apart from brief stints as a sideman, he continued to bring different types of music together in groups appearing under his own name. Acclaimed for his skill on various reeds, from saxophone to oboe and well beyond, he increasingly developed as a composer both in and out of jazz.* [Ronald Atkins - The Guardian]]]> 3024076 no no Wed, 17 Apr 2019 23:28:28 +0200 2019-04-17T23:28:28+02:00 1:58:29 https://hearthis.at/reggie-johnson/ftsb-04172019-show/
***Soft Machine** were never a commercial enterprise and indeed remain unknown even to many listeners who came of age during the late '60s and early '70s, when the group was at its peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground outfits. One of the original British psychedelic groups, they were instrumental in the birth of both progressive rock and jazz-rock. * [Dave Lynch - All Music Guide]]]>
***Soft Machine** were never a commercial enterprise and indeed remain unknown even to many listeners who came of age during the late '60s and early '70s, when the group was at its peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground outfits. One of the original British psychedelic groups, they were instrumental in the birth of both progressive rock and jazz-rock. * [Dave Lynch - All Music Guide]]]> 3023661 no no Wed, 17 Apr 2019 19:13:09 +0200 2019-04-17T19:13:09+02:00 1:57:44 https://hearthis.at/reggie-johnson/ftsb-04092019-show/
"Quite simply, Link Wray invented the power chord, the major modus operandi of modern rock guitarists. Listen to any of the tracks he recorded between that landmark instrumental in 1958 through his Swan recordings in the early '60s and you'll hear the blueprints for heavy metal, thrash, you name it. Though rock historians always like to draw a nice, clean line between the distorted electric guitar work that fuels early blues records to the late-'60s Hendrix-Clapton-Beck-Page-Townshend mob, with no stops in between, a quick spin of any of the sides Wray recorded during his golden decade punches holes in that theory right quick." [Cub Koda - All Music Guide]]]>
"Quite simply, Link Wray invented the power chord, the major modus operandi of modern rock guitarists. Listen to any of the tracks he recorded between that landmark instrumental in 1958 through his Swan recordings in the early '60s and you'll hear the blueprints for heavy metal, thrash, you name it. Though rock historians always like to draw a nice, clean line between the distorted electric guitar work that fuels early blues records to the late-'60s Hendrix-Clapton-Beck-Page-Townshend mob, with no stops in between, a quick spin of any of the sides Wray recorded during his golden decade punches holes in that theory right quick." [Cub Koda - All Music Guide]]]> 3008297 no no Thu, 11 Apr 2019 20:18:31 +0200 2019-04-11T20:18:31+02:00 1:56:28