mathewnet
Confianza hombre - 35 años, Madrid, España
Blog 30
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LA CREACIÓN
La mujer y el hombre soñaban que Dios los estaba soñando.
Dios los soñaba mientras cantaba y agitaba sus maracas, envuelto en humo de tabaco, y se sentía feliz y también estremecido por la duda y el misterio.
Los indios makiritare saben que si Dios sueña con comida, fructifica y da de comer. Si Dios sueña con la vida, nace y da nacimiento.
La mujer y el hombre soñaban que en el sueño de Dios aparecía un gran huevo brillante. Dentro del huevo, ellos cantaban y bailaban y armaban mucho alboroto, porque estaban locos de ganas de nacer. Soñaban que en el sueño de Dios la alegría era más fuerte que la duda y el misterio; y Dios, soñando, los creaba, y cantando decía:
—Rompo este huevo y nace la mujer y nace el hombre. Y juntos vivirán y morirán. Pero nacerán nuevamente. Nacerán y volverán a morir y otra vez nacerán. Y nunca más dejarán de nacer, porque la muerte es mentira.
Eduardo Galeano, Memoria del fuego I. Los nacimientos, Casa de las Américas, La Habana, 1988 -
EL AMOR
"En la selva amazónica, la primera mujer y el primer hombre se miraron con curiosidad. Era raro lo que tenían entre las piernas. -¿Te han cortado? – preguntó el hombre.
- No – dijo ella – Siempre he sido así.
Él la examinó de cerca. Se rascó la cabeza. Allí había una llaga abierta. Dijo:
- No comas yuca, ni plátanos, ni ninguna fruta que se raje al madurar. Yo te curaré. Échate en la hamaca y descansa.
Ella obedeció. Con paciencia tragó los menjunjes de hierbas y se dejó aplicar las pomadas y los ungüentos. Tenía que apretar los dientes para no reírse, cuando él le decía:
- No te preocupes.
El juego le gustaba, aunque ya empezaba a cansarse de vivir en ayunas y tendida en una hamaca. La memoria de las frutas le hacía agua la boca.
Una tarde, el hombre llegó corriendo a través de la floresta. Daba saltos y gritaba: lo encontré!! ¡Lo encontré!!
Acababa de ver al mono curando a la mona en la copa de un árbol.
Es así – dijo el hombre, aproximándose a la mujer.
Cuando terminó el largo abrazo, un aroma espeso, de flores y frutas, invadió el aire. De los cuerpos, que yacían juntos, se desprendían vapores y fulgores jamás vistos, y era tanta su hermosura que se morían de vergüenza los soles y los dioses".
Los Nacimientos
(Eduardo Galeano) -
HAROLD MELVIN & THE BLUE NOTES
Harold Melvin & the Blue Notes were an American singing group, one of the most popular Philadelphia soul groups of the 1970s. The group's repertoire included soul, R&B, doo-wop, and disco. Founded in Philadelphia, Pennsylvania in the early 1950s as The Charlemagnes, the group is most noted for several hits on Gamble & Huff's Philadelphia International label between 1972 and 1976, although they performed and recorded until Melvin's death in 1997. Despite group founder and original lead singer Harold Melvin's top billing, the Blue Notes' most famous member was Teddy Pendergrass, their lead singer during the success years at Philadelphia International.
Early years
The group formerly known as The Charlemagnes took on the name "The Blue Notes" in 1954, with a lineup consisting of lead singer Harold Melvin (born June 25, 1939 in Philadelphia, died March 24, 1997), Bernard Williams, Roosevelt Brodie, Jesse Gillis, Jr., and Franklin Peaker. The group recorded for a number labels without success from its inception into the 1960s. The 1960 single "My Hero" was a minor hit for Val-ue Records, and 1965's "Get Out (and Let Me Cry)" was an R&B hit for Landa Records. During this period, the group's lineup changed frequently, with Bernard Williams leaving the act to start a group called "The Original Blue Notes", and Harold Melvin bringing in new lead singer John Atkins.
In 1970, the group recruited Teddy Pendergrass as the drummer for their backing band. Pendergrass had been a former member of The Cadillacs, and was promoted to lead singer when John Atkins quit the group the same year.
Philadelphia International success
This incarnation of the group, including Melvin, Pendergrass, Bernard Wilson, Lawrence Brown, and Lloyd Parks, were signed to Kenneth Gamble & Leon Huff's Philadelphia International label in 1972, and scored several major R&B hits over the next four years. Among the Blue Notes' most important and successful recordings are love songs such as "If You Don't Know Me By Now" (1972, their breakout single), "I Miss You" (1972), "The Love I Lost" (1973), and "Don't Leave Me This Way" (1975), and socially conscious songs such as "Wake Up Everybody" and "Bad Luck" (both 1975). "Bad Luck" holds the record for longest-running number-one hit on the Hot Dance Music/Club Play chart: eleven weeks. A 1976 cover of "Don't Leave Me This Way" by Motown artist Thelma Houston was a number-one hit on the US pop chart; both it and the Blue Notes' originals are considered defining recordings of the disco era.
Despite success, the Blue Notes' lineup continued to change regularly. In 1974, Melvin Brought in Jerry Cummings to replace Lloyd Parks, and female singer Sharon Paige was added to the lineup. While at the top of their success in 1976, Pendergrass quit the Blue Notes, after unsuccessfully lobbying to have Melvin rename the act "Teddy Pendergrass & the Blue Notes". Pendergrass went on to a successful solo career, cut short by a paralyzing 1982 car accident, although he made a brief comeback at the historic Live Aid concert in 1985.
Later years
Melvin replaced Pendergrass with David Ebo, and the Blue Notes departed Philadelphia International for ABC Records in 1977. "Reaching for the World" became the group's final major single, and by 1980, Jerry Cummings, Bernard Wilson, and Sharon Paige had all left the group. Harold Melvin, Lawrence Brown, and new members Dwight Johnson and William Spratelly moved over to MCA Records' Source division in 1980, and recorded two commercially unsuccessful albums.
Gil Saunders took the lead position in 1982, replacing David Ebo. With Saunders, the group had success in the United Kingdom with the album Talk It Up (Tell Everybody), and singles such as "Today's Your Lucky Day" and "Don't Give Me Up". Several of the Pendergrass-era hits were re-recorded in England with Gil Saunders on lead. Saunders left the act in 1992, and Harold Melvin continued to tour with various lineups of Blue Notes until suffering a stroke in 1996. Melvin died on March 24, 1997 at the age of fifty-seven. Brown died on April 6, 2008 at the age of sixty-three of a respiratory condition.
Legacy
Harold Melvin & the Blue Notes are arguably the most-covered Philly soul group in history: many of their hits have been re-recorded by other artists, including Simply Red, David Ruffin, Jimmy Somerville and Sybil, while dance music DJ Danny Rampling cites "Wake Up Everybody" as his favorite song of all time. Today, Gil Saunders continues to perform as a solo artist, and still performs all the hits of the past as well as his own material. Several members of various incarnations of the Blue Notes continue to tour as "Harold Melvin's Blue Notes". Harold's widow currently manages Harold Melvin's Blue Notes featuring Lead singer, Donnell "Big Daddy" Gillespie, Anthony Brooks, Rufus Thorne, John Morris and Sharon Paige.
For his album This Note's for You, singer Neil Young named his back-up band The Blue Notes without permission from name rights holder Harold Melvin. Melvin took legal action against Young over use of the Blue Notes name, forcing the singer to change the name of the back-up band to "Ten Men Workin'" during the balance of the tour that promoted the This Note's for You album.
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PHILLY JOE JONES
Joseph Rudolph (Philly Joe) Jones (July 15, 1923 – August 30, 1985) was a Philadelphia-born United States jazz drummer, known as the drummer for the Miles Davis Quintet.
The name "Philly Joe" was used to avoid confusion with Jo Jones, the drummer from the Count Basie Orchestra, who became known as "Papa Jo Jones". In 1947 he became the house drummer at Café Society in New York City, where he played with the leading bebop players of the day. The most important influence on Jones among them was Tadd Dameron.
Jones then toured and recorded with Miles Davis Quintet from 1955 to 1957 — a band that became known as "The Quintet", and is regarded by many as one of the greatest groups in the history of jazz. Miles also acknowledged that Jones was his favorite drummer (in fact, in his autobiography, Davis admitted to asking other drummers to play that "Philly Joe lick", with mixed results). He organized the Davis Quintet in 1955 so that he and Davis would not have difficulties finding competent local musicians to play with them. From 1958 onwards he worked as a leader, but continued to work as a sideman with other musicians, including Bill Evans and Hank Mobley. Evans also openly admitted that Philly Joe was his all time favorite drummer. For two years (1967-69) he taught at a specially organised school in Hampstead, London, but was prevented from otherwise working in the UK by the Musicians' Union.
From 1981 he helped to found the group Dameronia, dedicated to the music of the composer Tadd Dameron, and led it until his death.
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THE CREAM
Cream (o The Cream) fue una banda de rock británica de los años 60. Fue uno de los primeros y más célebres power trios y supergrupos de la década. Estaba formada por Eric Clapton en la guitarra, Jack Bruce en el bajo y como vocalista y Ginger Baker en la batería.
Esta formación dio lugar a una de las más vitales y efectistas bandas entre 1966 y 1968. Su sonido combinaba el blues de la guitarra de Clapton con la potente voz y las intensas líneas de bajo de Bruce y la batería con influencias del jazz de Ginger Baker.
Cream es considerada una banda adelantada a su época y de una influencia inconmensurable. Supuso el adiós del pop por la vía del blues y la búsqueda de mayor amplitud conceptual para el rock en un estilo denominado entonces música underground. Junto con The Jimi Hendrix Experience, causó un gran impacto sobre la música popular de la época, ofreciendo una sonido potente aunque cargada de virtuosismo, que hizo sombra al nacimiento de bandas como Led Zeppelin, Deep Purple o The Jeff Beck Group a finales de los 60. Las actuaciones en vivo de la banda influenciaron a grupos de rock progresivo como Rush, jam bands como The Allman Brothers Band, Grateful Dead o Phish, o bandas de heavy metal como Black Sabbath.
En la discografía de Cream aparecen temas de blues tradicional como Crossroads y Spoonful, y de blues moderno como Born Under a Bad Sign, así como temas más exóticos como Strange Brew, Tales of Brave Ulysses o Toad. Entre sus mayores éxitos aparecen I Feel Free, Sunshine of Your Love, White Room, Crossroads y Badge.
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FRANK ZAPPA
Frank Vincent Zappa (21 de diciembre de 1940 - 4 de diciembre de 1993) fue un compositor, guitarrista, productor discográfico, y director de cine estadounidense. Con una carrera de más de 30 años, Zappa compuso rock, jazz, electrónica, música clásica, y música concreta, entre otros. También trabajó como director de cine y de videoclips, y diseñó portadas de álbumes. Además, produjo casi todos los más de 80 álbumes que ha grabado.
En su adolescencia adquirió gusto por compositores de avant-garde como Edgard Varèse, y la música rhythm and blues de los años 50. Comenzó a escribir música clásica en el instituto, mientras tocaba la batería en algunas bandas de rhythm and blues, cambiando después a la guitarra eléctrica. Era un compositor y músico autodidacta, y por su diversidad de gustos musicales llegó a crear música a veces imposible de clasificar. Su álbum debut de 1966 con la banda The Mothers of Invention, Freak Out!, combinaba canciones de rock convencionales con improvisaciones imposibles y sonidos generados en el estudio de grabación. Sus álbumes posteriores eran una mezcla de música experimental y ecléctica, independientemente de que fueran de rock, jazz o música clásica. Escribía las letras de todos sus temas, frecuentemente humorísticas. Fue crítico con lo políticamente correcto, con la religión y un gran defensor de la libertad de expresión y la abolición de la censura.
Zappa fue un artista muy prolífico y recibió grandes críticas positivas. Muchos de sus álbumes son considerados esenciales en la historia del rock, y es reconocido como uno de los guitarristas y compositores más originales de su tiempo, siendo hoy en día una referencia para un gran número de artistas. Tuvo algo de éxito comercial, sobretodo en Europa, por lo que pudo ser un artista independiente la gran mayoría del tiempo que duró su carrera. Fue incluido de forma póstuma en el Salón de la Fama del Rock and Roll en 1995 y recibió un premio Grammy a toda una carrera en 1997.
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EGBERTO GISMONTI
Egberto Gismonti es un compositor y multiinstrumentista brasileño. Nació en Carmo, Estado de Río de Janeiro, Brasil el 5 de diciembre de 1947, hijo de un siciliano y una libanesa. Comenzó su estudio formal de piano a la edad de seis años. Después de estudiar música erudita durante 15 años, se fue a vivir a París, donde estudió con la compositora y directora de orquesta Nadia Boulanger (con quien aprendió orquestación y análisis) y con el compositor Jean Barraqué (alumno de Arnold Schönberg y de Anton Webern).
Después de volver a Brasil, Gismonti vivió varios meses con los indios xingú, del Amazonas, que le ayudaron a vislumbrar una realidad musical más amplia que la del estrecho mundo clásico. Se formó escuchando música tan dispar como la de Django Reinhardt y Jimi Hendrix. Para él, los logros de Hendrix en la guitarra eran prueba de que el idioma de la música popular y la erudita no necesitan estar en polos opuestos.
Su música tiene influencias diversas, como las ideas de orquestación y chord voicing de Maurice Ravel, la música clásica brasileña de Heitor Villa-Lobos, las batucadas, el choro, un tipo de música popular instrumental tocado por varias guitarras, y jazz. Para poder tocar esta música empezó a estudiar guitarra, comenzando por la guitarra clásica de 6 cuerdas. Después —acostumbrado a generar armonías complejas de jazz en el piano, con un uso completo de los registros agudos y bajos— se pasó a la guitarra de 8 cuerdas en 1973 y luego a la de 10 cuerdas (que combina 6 cuerdas de guitarra con 4 de contrabajo). Durante dos años experimentó con diferentes afinaciones y timbres (utilizando flautas indígenas, kalimbas, sho, voces, campanas, etc. Es increíblemente experto tanto en el piano como en la guitarra.
Su obra, además de abundante (ha grabado más de 50 discos), es polivalente y multidireccionada en varios frentes, con influencias del jazz, el rock, la música de películas, el bossa nova, el samba, y la erudita, principalmente del romanticismo y modernismo, además de presentar elementos indios, indígenas y nordestinos (del nordeste brasilero). Sabe combinar las flautas de los indios xingú con una orquesta de cuerdas o música sintetizada.
Ha grabado discos con grandes artistas de diversos países como Jan Garbarek, Charlie Haden, Hermeto Pascoal, Naná Vasconcelos, Nando Carneiro, Jaques Morelenbaum, Zeca Assumpção, Colin Walcott e incluso con la Orquesta Sinfónica de Lituania.
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WILSON PICKETT
Wilson Pickett (March 18, 1941 – January 19, 2006) was an American R&B/Rock and Roll and soul singer and songwriter known for his raw, raspy, passionate vocal delivery. A major figure in the development of American soul music, Pickett recorded over 50 songs which made the US R&B charts, and frequently crossed over to the pop charts as well. Among his best known hits are "In The Midnight Hour" (which he co-wrote), "Land of 1,000 Dances", "Mustang Sally", and "Funky Broadway". The impact of Pickett's songwriting and recording led to his 1991 induction into the Rock and Roll Hall of Fame.
Pickett was born March 18, 1941 in Prattville, Alabama, and grew up singing in Baptist church choirs.
He was the youngest of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.
Pickett's Atlantic career began with a self-produced single, "I'm Gonna Cry", which stalled at a lowly #124 on the national charts. Looking to boost Pickett's chart chances, Atlantic next paired him with famed producer Bert Berns and established songwriters Barry Mann and Cynthia Weil. With this team, Pickett recorded "Come Home Baby," a pop duet with New Orleans singer Tammi Lynn, but this single failed to chart completely.
Pickett's breakthrough came at Stax Records' recording studio in Memphis, Tennessee, where he recorded his third Atlantic single, "In the Midnight Hour" (1965), perhaps his best-remembered hit, peaking at #1 R&B, #21 pop {US}, and #12 hit {UK}.
The genesis of "In the Midnight Hour" was a recording session on May 12, 1965, in which producer Jerry Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, which also included bassist Donald "Duck" Dunn. (Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the MG's, did not play on any of the Pickett studio sessions.) Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?" He performed a dance step. Cropper later explained in an interview that Wexler told them that "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here this was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[citation needed] The song that resulted from this encounter established Pickett as a star, and also gave Atlantic Records a bona fide hit.
Pickett recorded three sessions at Stax in May and October 1965, and was joined by keyboardist Isaac Hayes for the October sessions. In addition to "In the Midnight Hour," Pickett's 1965 recordings included the singles "Don't Fight It," (#4 R&B, #53 pop) "634-5789 (Soulsville, U.S.A,)" (#1 R&B, #13 pop) and "Ninety-Nine and A Half (Won't Do)" (#13 R&B, #53 pop). All but "634-5789" were original compositions Pickett co-wrote with Eddie Floyd and/or Steve Cropper; "634-5789" was credited to Cropper and Floyd alone. All of these recordings are considered soul classics, and show a range of different styles, from the hard-driving "Midnight Hour" and "Don't Fight It," to the more overtly gospel-influenced "Ninety-Nine and A Half" (which borrowed its title from a gospel standard recorded by The Ward Singers) and the pop-soul of "634-5789".
For his next sessions, Pickett would not return to Stax; the label's owner, Jim Stewart, banned all outside productions in December, 1965. As a result, Wexler took Pickett to Fame studios, another recording studio with an even closer association to Atlantic Records. Located in a converted tobacco warehouse in nearby Muscle Shoals, Alabama, Fame was very influential in shaping soul music, and Pickett recorded some of his biggest hits there. This included the highest-charting version ever of the kinetic "Land of 1,000 Dances", which became Pickett's third R&B #1, and his biggest ever pop hit, peaking at #6. The song had previously been a hit for the song's writer, Chris Kenner, and Mexican-American band Cannibal & the Headhunters.[citation needed]
Other big hits from this era in Pickett's career included two other covers: Mack Rice's "Mustang Sally," (#6 R&B, #23 pop), and Dyke & the Blazers' "Funky Broadway," (another R&B #1 for Pickett, as well as #8 pop). The band heard on almost all of Pickett's Fame recordings included keyboardist Spooner Oldham and drummer Roger Hawkins.
Outside of music, Pickett's personal life was troubled. Even in his 1960s heyday, Pickett's friends found him to be temperamental and preoccupied with guns; Don Covay described him as "young and wild". Then in 1987, as his recording career was drying up, Pickett was given two years' probation and fined $1,000 for carrying a loaded shotgun in his car.[citation needed] In 1991, he was arrested for allegedly yelling death threats while driving a car over the mayor's front lawn in Englewood, New Jersey. The following year, he was charged with assaulting his girlfriend.
In 1993, Pickett was involved in an accident where he struck an 86-year-old pedestrian, Pepe Ruiz, with his car in Englewood. Ruiz, who helped organize the New York animation union, died later that year. [3] Pickett pled guilty to drunken driving charges and received a reduced sentence of one year in jail and five years probation.[4][5] Pickett had been previously convicted of various drug offenses.[citation needed]
Throughout the 1990s, despite his personal troubles, Pickett was continually honored for his contributions to music. In addition to being inducted into the Rock and Roll Hall of Fame, his music was prominently featured in the film The Commitments, with Pickett as an off-screen character. In 1993, he was honored with a Pioneer Award by the Rhythm and Blues Foundation.
Pickett was also a popular songwriter, as songs he wrote were recorded by artists like Led Zeppelin, Van Halen, The Rolling Stones, Aerosmith, the Grateful Dead, Booker T. & the MGs, Genesis, Creedence Clearwater Revival, Hootie & the Blowfish, Echo & The Bunnymen, Roxy Music, Bruce Springsteen, Los Lobos, The Jam, Ani DiFranco, among others.
Several years after his release from jail, Pickett returned to the studio and received a Grammy nomination for the 1999 album It's Harder Now. The comeback also resulted in his being honored as Soul/Blues Male Artist of the Year by the Blues Foundation in Memphis. It's Harder Now was voted Comeback Blues Album of the Year and Soul/Blues Album of the Year.
In 2003, he co-starred in the D.A. Pennebaker-directed documentary "Only the Strong Survive," a selection of both the 2002 Cannes and Sundance Film Festivals.
Pickett spent the twilight of his career playing dozens of concert dates a year until 2004, when he began suffering from health problems. While in the hospital, he returned to his spiritual roots and told his sister that he wanted to record a gospel album. But, sadly, he never recovered.
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RETURN TO FOREVER
Return to Forever fue una banda de Jazz Rock creada hacia fines de 1971 y liderada por el pianista Chick Corea.
Su primera formación estaba integrada por el mencionado Chick Corea en teclados, Stanley Clarke en bajo, Joe Farrell en saxo soprano y flautas y Airto Moreira en la percusión. La esposa de Airto, Flora Purim, ejerció el trabajo vocal de la banda.
Tras un tiempo de experimentación, en febrero de 1972 graban su primer álbum, titulado con el mismo nombre del grupo, en el que se incluyó la célebre composición de Corea llamada La Fiesta. En septiembre de ese mismo año graban Light as a Feather, un compilado de melodías brasileras reinterpretadas desde las influencias del Jazz al que venía apuntando el grupo.
Sin embargo, en los primeros meses de 1973 Return to Forever toma un rumbo diferente. Al incorporarse el guitarrista Bill Connors y el enérgico baterista Lenny White, el grupo se lanza de lleno al Jazz fusión, y en ese mismo año, en agosto, graban Hymn of the Seventh Galaxy, el cual lo transporta hacia el reconocimiento general como uno de los máximos exponentes del movimiento del Jazz Rock, junto a Mahavishnu Orchestra y Weather Report.
En dicha línea musical, en el verano de 1974 se suma a Return to Forever, para reemplazar a Connors, el joven y virtuoso guitarrista Al Di Meola, con fuertes influencias flamencas recibidas de Paco de Lucía. Con esta incorporación el grupo encontró su momento de máxima creatividad y calidad, grabando varios trabajos que fueron, en todos los casos, fieles exponentes de la energía y plenitud del Jazz Rock, representado de manera inconfundible con esta banda.
Así es que graban, en 1974, Where have I known you before; en 1975 No Mystery; y en 1976 el paradigmático Romantic Warrior, considerado por algunos críticos como su obra maestra.
Una tercera edición del grupo Return to Forever surgió en 1977, al incorporarse nuevos músicos auxiliares en vientos, el percusionista Gerry Brown y la por entonces futura nueva esposa de Corea, Gayle Moran, en la voz. Esta nueva formación grabó el álbum Music magic, y el cuádruple Return to Forever Live, el cual refleja la tremenda energía de la banda en sus perfomances en vivo, y consituye su última grabación antes de la disolución del grupo.
Transcurridos más de veinte años, en 1999, Stanley Clarke junto al baterista Lenny White, ex miembros de la banda, deciden convocar a otros músicos de renombre, tales como el guitarrista Richie Kotzen, la teclista Rachel Z, y la multifacética y virtuosa violinista Karen Briggs, con el objeto de formar el grupo Vertú, considerado por algunos críticos como la continuación musical de Return to Forever.
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BOOTSY COLLINS
William "Bootsy" Collins (born October 26, 1951 in Cincinnati, Ohio) is a funk bassist, singer, and songwriter.
Rising to prominence with James Brown in the late 1960s, and with Parliament-Funkadelic in the '70s, Collins' driving bass guitar and humorous vocals established him as one of the leading names in funk. Collins is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic.
Collins' bass playing is driving, rhythmic and groovy, and has been very influential in the development of funk. His characteristic juicy sound, produced by envelope filters (for example the Mutron), is one of his distinguishing traits as a bass player. He also uses highly syncopated 16th note patterns combined with a very strong slap technique, highly influenced by Larry Graham.
Bootsy's bass patterns are often up-front in the mix and more often than not, drive the song (rather than the guitars or horns). Bootsy is widely considered a pioneer in many aspects of not only funk, but also in the progression and evolution of bass playing techniques.
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