Portishead Relaunching At CoachellaFebruary 22, 2008, 2:30 PM ETLars Brandle, LondonOut in the California desert, the Coachella Valley Music & Arts Festival is fast becoming an oasis for high-profile reunions.The Jesus and Mary Chain, the Pixies, Rage Against the Machine, Gang of Four and Bauhaus are just a handful of the acts who've come back to life at the Indio, Calif.-based event in recent years.The trend will continue this year when two of Britain's most important '90s alternative bands, Portishead and the Verve, make their respective U.S. returns for the first time in nearly a decade.Securing the services of both groups, says Paul Tollett, principal of Los Angeles-based Goldenvoice, which organizes Coachella, has brought serious pulling power. "The fans like them," he says, "but also they attract other bands to the bill and give a serious feel to the show."Portishead should be nearing peak shape for Coachella, which will serve as a launch pad for "Third," its first studio album in more than a decade. "They've been asking us for quite a few years," Portishead's Adrian Utley says of Coachella. "It seems like a good place to play, being out in the desert, and it was started by what seems to be some pretty cool people."Gatfield is confident "Third" hits the stellar notes of earlier works."It's a really strong record and it's adventurous," he says. "Beth [Gibbons'] voice is as powerful as ever. The uptempo tracks are never going to be drum'n'bass, but they do hit 120 BPMs in some places."Adds Utley, "[It] sounds nothing like 'Dummy' or 'Portishead,' but it's definitely its older brother or sister. It's the same mindset we've always had, only further down the road."Admitting the band's creative process can be "very slow," with some tracks from "Third" percolating for four years, Utley says the members have drawn upon an eclectic mix for musical inspiration, including recordings by Can, the Silver Apples, Joy Division, early Human League and "weird doom metal band" Ohm.New tracks were first given an airing last December at the All Tomorrow's Parties festival in Minehead, England, which the band curated. Wider U.K. and European audiences will get a taste during a spring tour."There was never no Portishead," notes Utley. "It was just we'd had enough, and we didn't have any ideas. We all got on with various different things, but we worked on each others' projects. There was always a Portishead. We have ongoing business, obviously, to deal with -- permissions and compilations and film requests, even if we're not doing anything at all."Save Email Print Most Popular RSS Reprints


U2 Hits The Studio In DublinFebruary 19, 2008, 10:45 AM ETJonathan Cohen, N.Y.U2 has hit the studio in Dublin to continue work on its next album with longtime collaborators Brian Eno and Daniel Lanois. "We're going to try and break new sonic ground and deliver a masterpiece," Lanois tells "The sleeves are rolled up. Bono is all charged up with a lyrical angle."As previously reported, U2, Eno and Lanois have spent time working on new material on three prior occasions in France and Morocco, and Lanois confirms the results are prolific."There's so much material," he says, referring to speculation that the sessions could yield two new albums. "When you get Eno and I and those guys in the room, before lunch there's like eight things.""We've had some exciting beginnings via jam sessions," he continues. "Now we will pick our favorite beginnings and say, 'OK, that's a lovely springboard. Now what are we trying to say?' The springboards are sometimes melodic, sometimes riff-based, but I can assure you they are exciting."There's no date yet for the project, which will be the follow-up to 2004's "How To Dismantle An Atomic Bomb."In other U2 news, the group has contributed to a new charity single, "The Ballad of Ronnie Drew," proceeds from which will benefit the cancer-stricken Irish artist of the same name. The track will be available in Ireland only as a download beginning Friday (Feb. 22) and week later on CD.In addition to U2, "The Ballad of Ronnie Drew" features appearances by the Pogues' Shane MacGowan, the Frames' Glen Hansard, Sinead O'Connor, Andrea Corr, Damien Dempsey, Ronan Keating, Chris de Burgh, Gavin Friday and members of the Dubliners.Rhythm and blues"R&B" redirects here. For a newer definition of the term R&B, see Contemporary R&B. For other uses, see Rhythm and blues (disambiguation).Rhythm and blues Stylistic origins: Jazz, blues, and gospel music Cultural origins: 1940s United States Typical instruments: Guitar - Bass - Harmonica - Trumpet - Saxophone - Drum kit - Piano - Organ - Keyboard Mainstream popularity: Significant from 1940s to 1960s; iconic afterwards Derivative forms: Rock and Roll - Soul music - Funk - Ska - Reggae Subgenres Contemporary R&B - Doo wop Rhythm and blues (also known as R&B or RnB) is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.Writer/producer Robert Palmer defines "rhythm & blues as a catchall term referring to any music that was made by and for black Americans."[1] He has used the term R&B as a synonym for jump blues.[2] Lawrence Cohn, author of Nothing but the Blues, writes that rhythm and blues was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.



Music is an art form consisting of sound and silence. Elements of sound in music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, structure, and the sonic qualities of timbre and texture.The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and sub-genres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts", music can be classified as a performing art, a fine art, or an auditory art form.


Artist Chart History Advertisement Born: August, 30, 1924Years Active: 50's 60's 70'sRelated Artists: Art Blakey, Nat Adderley, Lee Morgan, Idrees Sulieman, Tommy TurrentineThroughout his career, Kenny Dorham was almost famous for being underrated since he was consistently overshadowed by Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan. Dorham was never an influential force himself but a talented bop-oriented trumpeter and an excellent composer who played in some very significant bands. In 1945, he was in the orchestras of Dizzy Gillespie and Billy Eckstine, he recorded with the Be Bop Boys in 1946, and spent short periods with Lionel Hampton and Mercer Ellington. During 1948-1949, Dorham was the trumpeter in the Charlie Parker Quintet. After some freelancing in New York in 1954, he became a member of the first version of Art Blakey's Jazz Messengers and for a short time led a group called the Jazz Prophets, which recorded on Blue Note. After Clifford Brown's death, Dorham became his replacement in the Max Roach Quintet (1956-1958) and then he led several groups of his own. He recorded several fine dates for Riverside (including a vocal album in 1958), New Jazz, and Time, but it is his Blue Note sessions of 1961-1964 that are among his finest. Dorham was an early booster of Joe Henderson (who played with his group in 1963-1964). After the mid-'60s, Kenny Dorham (who wrote some interesting reviews for Down Beat) began to fade and he died in 1972 of kidney disease. Among his many originals is one that became a standard, "Blue Bossa." ~ Scott Yanow, All Music Guide