Afrobeats is a collaborative sound that at any point may combine or highlight a number of different black musical art forms across the black diaspora. It pools the sounds of hip-hop, techno, R&B, house, soul, and many others into a popular genre of music. However, Afrobeats is most identifiable by its signature driving drum beat rhythms, whether electronic or instrumental. These beats harken to the stylings of a variety of traditional African drumbeats across West Africa as well as the precursory genre of Afrobeat [12] . The beat in Afrobeats music is not just a base for the melody, but acts as a major character of the song, taking a lead role that is sometimes equal to are of greater importance than the lyrics and almost always more central than the other instrumentals. Another distinction within Afrobeats is the notably west African, specifically Nigerian and/or Ghanaian, accented English [13] that is often blended with local slangs, pidgin English, as well as local Nigerian or Ghanaian languages depending on the backgrounds of the performers.

Excellent review. I heard a track from this album on Solar Radio this morning and would very much like to buy the album and indeed Volume 1 as well. Could anyone point me to a source I can contact to make the purchase.

Swing also helped moor up the national mood both during both the Depression and the Second World War . Armed Services Radio broadcast swing music to soldiers. Although musicians and record companies were at a standoff over musicians ’ royalties for airplay in 1942, a special V-Disc program produced records for the use of the military.

Since at least the emergence of bebop , forms of jazz that are commercially oriented or influenced by popular music have been criticized by purists. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". [14] Traditional jazz enthusiasts have dismissed bebop, free jazz, the 1970s jazz fusion era and much else as periods of debasement of the music and betrayals of the tradition. An alternative viewpoint is that jazz is able to absorb and transform influences from diverse musical styles, [20] and that, by avoiding the creation of 'norms', other newer, avant-garde forms of jazz will be free to emerge. [14]

Here, risk-taking—be it in the form of harmonic and rhythmic deconstructions of pop music or fighting for gay rights in less than hospitable surroundings—was a central topic of conversation amongst those artists, musicians and curators whose work is more than just a way to make a living. But what is artistic risk? Is it being unafraid to embrace improvisation and play wrong notes? Is it channeling a unique musical voice that teeters between brilliant and embarrassing?

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