92 Method Man Redman Hanz On Streetlife | en

Redman (born Reggie Noble on April 17, 1970 in Newark, New Jersey) made his rapping debut on the EPMD songs "Hardcore" and "Brothers on my Jock", after Erick Sermon of the seminal group spotted him freestyling in a New York club and added him to their crew of aspiring emcees (along with K-Solo among others). Redman's 1992 Def Jam debut Whut? Thee Album broke into the US Top 50, achieved gold status in the United States, and prominent hip-hop magazine The Source subsequently named Redman Rap Artist of the Year for 1993. Redman's solo career continued throughout the remainder of...

Eclectic Method (aka Jonny Wilson) started out as a digital outlaw who spliced together music, TV and film and set it to high-energy dance beats. Jonny worked frequently with Brian Eno and others growing up between London and post-war Bosnia, and when he started Eclectic Method, he created a project so progressive that the simple tag of VJ would never do. Wilson constantly pushes the technology to improve video remixing and create compositions that perk ears, move feet and capture moments in time. The video mixtapes and performances are wildly entertaining, but the unique format also allows Eclectic Method to...

Sometime between 1946 and 1950, a Mongolian overtone singer named Chimiddorzh Ghanzhuryin stepped into a state-controlled recording studio and cut a few sides for preservation on a brittle, shellac 78-rpm record. Perhaps this opportunity came about after Ghanzhuryin had sung at a local festival, wowing crowds with his ability to sing a duet with himself diaphonically. Whatever the case, he left the world of recorded sound a much richer place with his pastoral, meditative vocals. One of his songs, "Gunan Kor", rereleased in 1996 on The Secret Museum of Mankind, Vol. 3, stands apart from the other 23 tracks on...

In 1967 San Francisco's tenor saxophonist Dewey Redman (1931), who had already recorded an original Look for the Black Star (january 1966) for piano-based quartet, moved to New York and joined Ornette Coleman's quartet (1967-74). While his huge tenor counterpoint to Coleman's alto was mesmerizing the audience of free-jazz, Redman penned more originals for a trio session with the Art Ensemble of Chicago's bassist Malachi Favors and Don Cherry's drummer Ed Blackwell, Tarik (october 1969), particularly Paris? Oui!, Lop-O-Lop and Related and Unrelated Vibrations. Besides featuring three of the most creative minds of the free-jazz movement, it was moody and...