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Devil's Vanga - Serramazzoni (App. Modena) - Devil's Charter Seismological

These structures are found in metamorphic rocks.
The foliations by CRENULATA are formed by folds and chevron folds developed in a pre-existing foliation. The new cuts foliation trasversalente the previous one (in some cases showing the cleavage planes).
Foliation by CRENULATA symmetrical folds of the lesion are symmetrical and the foliation is represented by CRENULATA hips;
Foliation by CRENULATA asymmetric: the lesion is asymmetric folds and the foliation by CRENULATA is only represented by side;

The old foliation is preserved within the microlithos, both as a hinge CRENULATA symmetrical and as one of the two sides of asymmetric CRENULATA.



The foliation due to tectonic stress, can be a cleavage by CRENULATA (crenulation clevage) where you can recognize the following two domains:

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Cross checks

Today I was a consideration: if you go to elections, Bersani, to have a small hope of winning, should do as Prodi, or embark on his Noah's Ark dogs and pigs.

is not for me to say which of these are the dogs and pigs which, although in my opinion, both definitions may be fine for a while all these parties.

Well, I reasoned that the classical stacked so loved by Bersani would lead to inevitable friction between the various components of inciucianti, since the mess (if there ever was) would last just long enough to proclaim the winners. After an infinitesimal time, however, revelers should deal with this situation:

If you did go to elections and to win in the crowded government there would be:

1. The Communists
2. The cattocomunisti (Catholics PD)
3. The pidini non-Catholics (laity of PD)
4. Peter
5. Grillo
6. Pannella
AND IF
7. Casini
8. Fini.

So now we do cross-comparisons, like the RIS to discover the flaws related to the suspects' alibis:

A. The Communists hate cattocomunisti, Di Pietro, Pannella, Fini and Casini (5 to 8, not bad).
B. Cattocomunisti I hate the communists, and Grillo panel (3 of 8).
C. Pidini I do not hate Catholics Di Pietro, Pannella, Fini and Casini (4 of 8).
D. Peter hates communists, Catholics and pidini (3 of 8).
E. Cricket hates everyone except the communists and Di Pietro (6 of 8).
F. Pannella hates communists, cattocomunisti, Di Pietro, Grillo and Casini (5 of 8).
G. Casini hates communists, pidini non-Catholics, and Peter Grillo (4 of 8).
F. Fini hates communists, cattocomunisti, pidini the non-Catholic, Di Pietro, Grillo (5 of 8).

result of the investigation: but you know that if they were really on the government (and there will never be) there would be a lot of fun??

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GEORGE BENSON

"If there is anyone in jazz who did what they did the Beatles in pop, this is George Benson"

George Benson is the guitar player par excellence, with excellent technique, by the book. Inspired by Wes Montgomery and Charlie Christian, two genes of the guitar, he began his career in 1964 with the recording of "The New Boss Guitar" for Columbia Records. The album, in collaboration with Lonnie Liston Smith and Ronnie Cuber, had some success and from then on, Benson has not stopped since releasing four albums in the other two years following. Young, age 21 years of his debut, he was soon spotted by a man "somewhat influential" in the world of jazz, or Miles Davis. Benson takes the chance and began a period of collaboration with Davis, in Paraphernalia, 1968 in the album "Miles In The Sky", the hypnotic electric guitar that accompanies the trumpet of Miles proprio quella di George Benson che definì il periodo di collaborazione con Miles Davis come il suo più importante periodo di formazione musicale. «Suonare con Miles è come andare all’università» dichiara scherzando in un’intervista. Fatto sta che Benson ne esce laureato a pieni voti, acquisendo da Miles soprattutto la libertà d’espressione e la capacità di pensare musica nello stesso momento in cui si sta suonando, senza rispettare necessariamente gli schemi, capacità di muoversi attraverso strutture sonore diverse l’una dall’altra.

Nel 1969 pubblica “The Other Side Of Abbey Road”, una propria reinterpretazione of "Abbey Roa d " by the Beatles, released a few months before, and so does publishing its own version of "White Rabbit" by Jefferson Airplane at that time. As often happens with great cover are not those of Benson, become, thanks to his musical genius, real unreleased album that have almost nothing of the original versions, so as to be considered by purists "Bensoniani" better than the originals.

In 1971, another pearl is published "Beyond The Blue Horizon", passed quietly for the general public, but an album sounded so eerily perfect by Benson that summons the likes of Jack DeJohnette on drums, Ron Carter on bass, Clarence Palmer to 'organ, percussion Michael Cameron and Albert Nicholson. After working with Miles and the effects are seen especially feel. Before I spoke to George Benson as a musical genius ... why? Well the first answer you in this album. One of the first recordings of jazz fusion, which begins with a cover of So What by Miles Davis ... Many are thinking about a misprint ... No not a mistake. Do not believe in the existence of a cover of So What ... actually me neither. Who would ever dream of "profane" and groped to reinterpret a masterpiece like that? How can a song coverizzare symbol of an era and a symbol of a kind, played by the likes of Miles Davis and Cannonball Adderley contained in "Kind Of Blue", the bible of Jazz? George Benson has done and the result was a cover with the letter "C"! Benson and his scramble and abuse in a good way, So What, especially in the beginning, going almost funk night scenes and away from the incredibly fascinating masterpiece davis. If you listen, for 9 minutes and 20 seconds will no longer belong to this size. Drawn by the sounds clear and clean perfectly ordered. Benson's guitar dominates the scene and riff after riff will take you on a journey that lasts for the rest of the album. As I said, this album has not been very successful. Probably the public at the time was not ready to "cast" but it is definitely an album worth listening to, especially if you like and love Benson's experimental albums that make you appreciate even more the genius of certain artists.

consecration, even the general public takes place in 1976 when George Benson goes to Warner and public "Breezin '". A this work, which marks a turning point, a landmark of American music. Prestigious the production headed by Tommy LiPuma and arrangements of a large class of Claus Ogerman. Breezin ' is something unique, a deep and enjoyable album that never fails. Winner of 2 Grammy Award for Best Pop Instrumental Performance for Breezin and Record of the Year for the single This Masquerade. Not to mention the several weeks at the top of the charts.

be noted in the release of 78 "Weekend in LA" recorded at the Roxy Theater West Hollywood . One of the finest live albums ever published with George Benson in perhaps the best moment of his long career. Its sound complex, but clean and his silky voice make it a masterpiece to have in house, on display

"Dedicated to the beautiful attitude of the people of California sunshine"

In subsequent years, Benson, played and released several albums and many pieces. Among the successes, there is also The Greatest Love of All , written as a soundtrack for the film "The Greatest" Muhammad Ali with . The piece was not very successful at least until it was revived and reinterpreted by Whitney Houston. He later wrote On Broadway for the movie All That Jazz Bob Fosse which won four Oscars at the Cannes Film Festival. Until the 80's when George Benson entrusts the production of his album "Give Me The Night" to Quincy Jones who "rediscovered" the talents of singer Benson to broaden its audience without losing that touch and style bluesman from innate George is inside.

"Give Me The Night" fact had some success and ended up in the Top Ten pop and R & B. It is an album by the typical sounds of the 80 alternating with a few romantic ballad. Benson knew che quello non era il suo “campo preferito”, sapeva che i suoi sostenitori più fedeli non avrebbero apprezzato questo suo allontanamento dal vecchio stile. Però gli servì per riscoprire effettivamente le sue doti canore che forse aveva un po’ trascurato negli anni e lo portò a riscoprire il suo amore per leggende con Nat “King” Cole e Ray Charles, in quel periodo c’era Donny Hathaway che stimava molto, insomma questo amore ritrovato per il canto arricchì Benson e lo influenzò per tutte le produzioni a seguire.

Le collaborazioni di George Benson sono infinite, si va da Miles Davis nel 68 a Chet Atkins nel 85 fino ad Aretha Franklin passando per Chaka Khan. Join the world's most famous Jazz festival in 2006 and began collaborating with Al Jarreau will conclude with a world tour through Africa, New Zealand and Australia to promote their album " Givin 'It Up" . A project that saw the re-interpretation of songs such as Breezin 'Benson or Mornin' of Jarreau and then continue with various covers of all ages starting from 40 years with God Bless the Child by Billie Holiday; 60 Years and Bring It On Home To Me Sam Cooke of up to 80 with Everytime You Go Daryl Hall through 70 with the Summer Breeze by Seals & Crofts, until today with the presence in God Bless The Child Jill Scott and the reinterpretation of Ordinary People by John Legend. Do not miss a fitting tribute to Miles Davis with the beautiful Four . There are several featuring : I told you to Jill Scott, but there are Stanley Clarke and Marcus Miller on bass, Chris Botti on trumpet, Patti Austin, Let It Rain and Paul McCartney in Bring It On Home To Me . A rare and unique collection of sensual grooves so appealing about the classic songs of the past reinterpreted by two giants of jazz and soul. Two genes that combine their experience and their overwhelming talent in this album "Hybrid" if we aimed not only to gender but purists may be suitable even for those who have never heard of George Benson and / or Al Jarreau.

Last year I had the pleasure of seeing and hearing George Benson Live at Umbria Jazz in Perugia. Title of the evening "An Unforgettable Tribute to Nat 'King' Cole."
From the title one imagines one of those unforgettable evening, where the mind of the listener is detached from the body and travels to the tune of Benson's guitar that charms the audience with his greatest hits, and that with his soulful voice whisks you away and interprets historical pieces of the great "King" Cole ...
Well if you imagine it, you did the center!!
define a unique and unforgettable evening that is an understatement. George appears on stage, on which the entire orchestra is ready for "Solisti di Perugia" accompanying him throughout the evening. He, elegant, starting immediately with Breezin ', then devotes the first part of his concert at the tribute to Nat Cole playing pieces like Route 66, When I Fall In Love, LOVE , concluding with Smile. I only say that at some point in the evening I was so busy, that between the workpiece and the other does not even applauded ... almost hypnotized by the voice of George Benson I turned to my only friend and we used to nod in agreement, almost in disbelief to what we were admiring.
After the tribute to Nat "King" Cole began with his repertoire and has given the public pieces like Nature Boy, You Are the Love Of My Life, Give Me The Night, Never Give Up On A Good Thing and other pieces historians of his infinite repertoire. At the end of the evening I was so stunned by the sound of that coming from the Arena Benson, singing and playing my Ibanez an imaginary

in my opinion are very few artists who can boast nearly 50-year career and have a production that more than 50 albums and published hundreds of concerts all over the world and still be in business! He crossed the 60, 70, 80 and 90 to now delighting with its Ibanez GB10 custom, at least three generations of audiences, dazzling shows and albums that have marked the history of jazz.

What is difficult to classify Benson in a specific genre, it is true is mostly a jazz guitarist / blues but has also made several discs and fusion during the 80's album almost album ... I personally would call simply a guru from Jazz Academy, one that with his technique can rewrite the manual guitar best odds. In any case, it is one of the most incredible musicians I have ever seen and heard more and more surprised after listening last time.

Yayo

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Vanga - Serramazzoni (Appennino Modenese)

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LOU DONALDSON

Ironia bogaloo: Sweet Lou Poppa

I piedi battono. Gli sguardi girano. Fuori fa freddo ma le pareti si scaldano e i corpi vibrano leggeri. Le mani si cercano e ballare è facile mentre Sweet Lou Poppa suona. La musica spinge i più riottosi ad alzarsi. Si balla. Si balla. Si balla... Il jazz è semplice, fluido, uniforme e caldo e le note del sax spingono verso un viaggio che parte dal sud degli states, attraversa la grande mela, vira verso Capoverde e torna su, caricandosi di suoni, ritmi ed atmosfere. È un suono dolce, la ritmica è ripetitiva e leggera, e i piedi non riescono a stare fermi. C’è groove. C’è soul. C’è funky. C’è tutto quello che si vorrebbe ascoltare e, soprattutto, che fa ballare…

Sassofonista per caso, iniziò come clarinettista autodidatta nella nativa Badin, e giocatore di baseball mancato - furono un infortunio a un dito e la concreta impossibilità, negli anni 30 e 40, per l’ostracismo razziale nei confronti dei giocatori neri con il divieto di entrare a far parte come giocatori di squadre di baseball a consigliargli di dedicarsi alla musica –, Lou Donaldson entra di buon diritto tra i più grandi contraltisti della storia del jazz a far tempo dal 1953 ( 9 giugno) quando con Clifford Brown, Elmo Hope, Percy Heath e Philly Joe Jones, entra in sala di registrazione per la Blue Note per “Carvin The Rock” che risultò essere il primo disco di Hard Bop. È qui che troviamo, per la prima volta, tromba e sassofono “giocare” all’unisono sostenuti da una ritmica costante and fluctuating, as opposed to the dictates of boppismo of Charlie Parker in which the tools were spears lonely in the night. The issue is still controversial for many, the first album Hard Bop is "Walking" by Miles Davis, but the first track recorded in that Hope is Bellarosa June 9, 1953, a hard bop anthem. In 1954, with Clifford and Art Blakey records what is considered the greatest live jazz history - "A Night at Birdland" - in which the blues sound of the ensemble is the turning point of the entire evolution of the hard bop . From this record will come out the Jazz Messengers, Art Blakey, with whom, in the period with Horace Silver on piano, works.

Between 1953 and 1957 Lou Donaldson is around the States, far from New York (during the New Yorkers took part in several recording sessions, including those with Telonius Monk) and is a little 'cut off from the session of the great jazz era (Miles Davis, for example). The stigma against it will be attributed to the dirty sound of his sax, even when the Donaldson declare that the real problem was the lack of drug addiction that distinguished him differently from other musicians of the time. "... For Miles - say - it was very easy handle a mass of drug addicts: they pay for themselves with heroin and kept the proceeds of the evening ... " . Recorded some albums in the history of hard bop as Blues Walk and Lou Takes Off, both on Blue Note, published some years after their registration.

In turn across the country - on the road - and moving from one club to another (making good earnings loss of visibility ...) hear sounds far from reality when he returns to New York and in 1957, is another leap in the history of musica. Con Jimmy Smith - organo, Eddie McFarland – chitarra e Donald Baley – batteria, registra, per la Blue Note, “Jimmy Smith Trio with Lou Donaldson”. La formazione, il cui modello nasce per caso (in una seduta in uno dei tanti locali girati negli States, mancò il bassista e John Patton lavorò con i piedi sui pedali bassi dell’hammond) è quella che caratterizzerà l’evoluzione funk - soul del jazz e il suono del disco è pulito ed essenziale, senza orpelli e sbavature ( in ciò si sente l’impostazione da clarinettista). Era il suono che Donaldson aveva ipotizzato ragionando sulla difficoltà di ascolto di un brano bop: “… nessuno riesce a canticchiarne il motivo. Non c’è melodia...” .

La risposta del pubblico fu eccitata. Alla contrapposizione tra jazz della west coast ( swingante e caldo con ampie note di cool) e jazz della east cost ( freddo e aggressivo) si inserì il soul jazz funkeggiante con i suoni dell’hammond di Donaldson e Smith. Una nuova strada che molti avrebbero esplorato e che altri avrebbero contrastato con tutti i mezzi possibili vedendo nell’hammond uno strumento da chiesa e non da session jazz.

Le case discografiche, però, fiutarono l’affare and although the sound was not as clean and decided the cool, bop, modal jazz and hard, "invested" in the beginning to make records sound characterized by hot and dirty the coupling product contralto Hammond. The sound of "dirty" and "groove" inherent in the structure of training allowed the simplification of delivery, all'orecchiabilità track of the listener. Donaldson was what he wanted. "... I used the public's reaction. The blues is just a groove where I come from - Badin, North Carolina - and I have not done anything but put together the sound I ever heard and what I have seen him dancing ... nothing purism, just music. If you're not dancing with your music, you do ...? and Jimmy was immediately understood. He is a great pianist and he played the Hammond like a top and the groove was all there ... " .

It produced, again for Blue Note albums like Lou Donaldson with Three Sound, The - LD +3, and songs such as The Natural Soul Watusi Jump where the sound is still half way between hard bop and Bogaloo. These discs influenced other products - the example is The Sidewinder by Lee Morgan - were opened and, specifically, the way evolution Bogaloo soul jazz of the late 60's.

was a music that signaled the crushing of any pre-existing jazz language, starting from the structure of training until you get the sound, enhancing the cleaning of the soul sound and approach and I'm like Lou balladeur Getting Sentimental Over You "by Jimmy Smith Trio with Lou Donaldson and the Dog Walk and albums Gravy Train (1961). All disks that contain alcohol and that note of dirty funk groove and attract public attention and urge to dance like with Good Gracious, alongside Big John Patton and Grant Greeen, which is taken Caracas groove by providing a unique and fascinating.

After a little bracket for the Cadet / Argo Records, the album Signifyin (1963), Possum Head (1964) and At His Best (1966), Donaldson returned to Blue Note in 1967, and care of its production is entrusted to Alfred Lion, first, and Fred Wolf, then. First product of this collaboration was recorded at Alligator Boogaloo Rudy Van Gelder Studio April 17, 1967 by Sweet Lou Stern with: Last-trumpet and Melvin filicorno, Lonnie Smith - Hammond, George Benson - guitar and Leo Morris (aka Idris Muhammad) - drums.

Bogaloo Alligator is one of the most loved and listened to records like that. With last, Benson Smith and accompanying Donaldson on a journey into the roots of soul, funk, bop and blues, holding out his hand toward the future and new horizons to be explored by others. One Clynder is the exact intersection of all jazz until then experimented with a look necessary and proper to the listener. The disc name derives from a curious event: playing golf, Donaldson threw the ball into a pond in Florida while he was going to pick it up and heard the screams dell'inserviente field shouting "Alligator! Alligator! "And was intrigued by the play of sounds assumed that the word combination with "Bogaloo. Even the cover is a must: a white woman who dances in the background of his own face. A tribute to psychedelic ...

After Alligator Bogaloo rode the wave with Lou Donaldson Mr. Shing-A-Ling, another stellar hit, and Hot Dog in 1969 with Shadow Of Your Smile, according to Parker on a languid pace that smells of bossa nova, and the wonderful Peppin and The Kidd with the rhythmic groove of Idris Muhammad proud protagonist. The guitar is eminently blues and the good vibes start from the be-bop alto sax in the key of Lou. Here too, the cover is a must for incredible graphics that plays on a black background and the shadow who sees herself in a position dancing.

followed Midnight Creeper (1968) and Say It Loud (1969) first Hot Dog (1969) whose five tracks are the complete line of jazz as understood by Donaldson, that of a music that knows communicate and engage with immediacy, featuring swing, blues, soul and a constant symbiosis between the rhythm section and soloists.

The entire production of this period is characterized by light and sound scratchy, the deep groove and Bogaloo more heated and pushed. In all the tracks of sax Poppa Lou is ironic and captivating and testimony di ciò sono le copertine di presentazione dei dischi che consiglierei di vedere.

Con Hot Dog, Everything I Play Is Funky e Sassy Soul Strut il jazz di Sweet Poppa Lou ha scalato le classifiche discografiche del ghetto, affiancandosi agli Lp dei maestri del soul, mentre le sue composizioni melodiche e ritmiche, come Blues Walk e Midnight Creeper, sono diventate standard nel più popolare repertorio del jazz nero.

Lou non ha mai definito funky, la sua musica, ma swinging bebop: “…il funk è James Brown ed Heart Wind and Fire…” yet, many of its tracks are under assault from the samples and the current hip hop. "Today we are much richer than before. I do not need to go around. It does my music and I pay for every pass. I enter the royalties ... ".

Sweet Lou continues, at the age of 82, playing around, with that tramp of music that is proper, and to produce records.

Lush Life is Beautiful (1986) with the orchestra of Duke Person to hold il viaggio di Lou e bellissime sono le sue produzioni degli anni 70. Ma il segno lasciato nella storia del jazz dalla produzione del periodo 67/73 non ha eguali.

Buona musica.

Marco Assanti

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SLY & THE FAMILY STONE

When Sly Stone and his "Family" take the stage at Woodstock is already past one o'clock in the morning of Sunday 17 Agosto 1969: il livello di energia è all'apice, le sostanze stupefacenti sono ormai in circolo nel sangue ed è ancora viva l'eco delle corde vocali della “perla” del blues, Janis Joplin.

Una veloce intro (Chip Monck / M'Lady) e poche note di “Sing A Simple Song” sono sufficienti per intraprendere un viaggio sul sentiero del funk, accompagnati dalla calda voce di un maestro che della musica ha fatto la propria missione. Il live della band è un crescendo di energia che si espande sulle note di “I Want To Take You Higher”, passando per “Dance To The Music”, adagiandosi infine sulla melodia di “Stand!”, degna conclusione a performance perfectly in the context of the "Three days of peace, love and music" that the festival represents.

Sly & The Family Stone are here to bring the world the message of black music, expertly mixing soul, rock, funk, psychedelia, dazzling with their bright colors, playing with sounds sophisticated but at the same time so primordial, reaching unknown spaces of the mind, creating an altered state of consciousness only. The concept of "family" is perfect for the occasion: Sylvester Stewart aka Sly Stone (named after a Californian DJ), the charismatic head of the family and multi-talented, his brother Eddie on guitar, Larry Graham on bass and drums, a white musician (Gregg Errico) complete the two women, a trumpet (Cynthia Robinson) and a keyboard (Rose Stone), and saxophonist Jerry Martini. Lots of personality (others will follow one another over the years), only one desire: to shake the soul of millions of people, filling the black heart of pure vibrations.

dell'istrionico The adventure begins in Texas, but the singer is in sunny San Francisco that finds its natural habitat, we are in the late '60s, the acids swarms, the air has the smell of sovversione, è il momento ideale per dare sfogo alla creatività e per far sentire la propria voce. Il sound collettivo che ribalta gli stilemi ritmici del soul più classico e la presenza di donne e uomini di colore su di uno stesso palco in uno stesso gruppo musicale sono il messaggio migliore da lanciare ad una società che ormai ha più poco da dire a propria difesa; se si aggiungono liriche dai testi sovversivi ed uno stretto legame con le Black Panthers, la miscela è esplosiva. Fu proprio questa scomoda amicizia di Sly Stone con gli esponenti del Black Power, intenti ad imporre il proprio pensiero in toto sulla carriera e la vita dell'artista, uno dei motivi di tensione tra lui e i membri della band, in aggiunta all'uso ed abuso di droghe che over the years became increasingly heavy a burden on the artistic production of the group since 1969, nearly two years, they released one single "Thank You (Falettinme Be Mice Elf Agin)", a song that marked a major turning point in how ask the singer (now decided to "be himself" in spite of good manners), and musical technique, being in fact the first piece that was used the technique of "slap", designed by bassist Graham (Graham Central leaders of the future Station).

And in 1971 see the light, the masterpiece album. Entirely written and arranged only by Sly Stone, "There's A Riot Goin 'On", from the amazing "Luv'n'Haight", "Family Affair" (one of the first songs for which you are using a "drum machine") to reach , panting, to the notes of the title track (and this one just to mention the Side!) is an unsettling mix of different sounds that now rely, such as sirens, lust hidden in the deepest depths of the body and mind, and now create projections visual and sound of lysergic universes.

The magic of Sly Stone and his family makes it possible to perceive a world, where rock lives with the soul, psychedelia goes hand in hand with the funk e la musica tutta è lo strumento per abbattere le barriere. Parte integrante di una vera e propria rivoluzione in un'epoca in cui il sogno americano stava svanendo, Sly Stone, e chi in lui ha creduto, ha combattuto la violenza a colpi di musica, sfondando il muro del razzismo e dell'oppressione e, anche solo per questo, a lui, e a chi come lui ha vissuto e ha fatto della musica la propria arma, va un emozionato e sincero “Grazie”.

Astrid Majorana

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A TRIBE CALLED QUEST

In the late '80s and early '90s was present, especially on the east coast of USA, a representative complaint which addressed social issues in a totally opposite to groups involved such as Public Enemy.

do it in a positive light and ironic it was, in fact, the hallmark of the Native Tongues tour, consisting of three groups: Jungle Brothers, De La Soul and A Tribe Called Quest to Queen Latifah adds that "yes".

Very common is the musical group, focusing on Afro-funk rhythms with jazz influences, especially in the case of ATCQ

And it is them that I want to talk.

Q-Tip, Phife Dawg and Ali Shaheed Muhammad joined in 1985 under the name of this, it will be later that, thanks to the Jungle Brothers, Q-Tip with whom he recorded the song Black is Black for their album "Straight Out The Jungle", adding "A Tribe Called."

Dopo aver registrato un demo nel 1989, per la piccolissima Geffen Records, che comprendeva i brani Description of a fool, I left my wallet in El Secundo e Can I kick it? (quest'ultimo contiene il campionamento del brano Walk on the wild side di Lou Reed), svariate case discografiche proposero al gruppo contratti molto allettanti, ma loro si accontentarono di firmare per la modesta Jive Records che però era molto conosciuta nell'ambiente rap.

of ATCQ's first LP came in 1990 for Jive Records called "People's Instinctive Travels And The Paths Of Rhythm" that only contains 2 of the 3 singles on cited, offers gems like Bonita Applebum and Luck of Lucien (pun with the name of gangster Lucky Luciano).

The themes of the disc varied between safe sex, vegetarianism, youthful experiences, all delivered with a sense of humor and positive. The carpets are mainly jazz-funk music, with sampling of artists like Cannonball Adderley, Roy Ayers, Les McCann and Rotary Connection.

An album, then, absolutely delicious and qualitatively high level.

year later comes their second album "The Low End Theory" (1991 Jive Records), to which the ATCQ are trying to make a sound even more uniform than the first working .

All a bit 'more based on Jazz, thanks to the' aid of the J-bassist Ron Carter, who with his performance provides some heat to the disc, unattainable with the use of samplers.

Anche qui non mancano temi impegnati come il consumismo in Skypager , e la violenza in The Infamous Date Rape. Altri brani notevoli sono Excursion (nel quale si sentono alcuni versi dei mitici Last Poets), Everything Is Fair che contiene un sample dei Funkadelic e la fantastica Scenario con la partecipazione di Busta Rhymes.

Nel 1993 continuano il loro percorso musicale pubblicando "Midnight Maraudes" (Jive records), altro disco di successo che tende ad utilizzare sonorità più melodiche rispetto ai precedenti, ma sempre incentrate sul jazz. Un disco molto bello nel complesso, con brani ottimi come 8 Million Stories, Clap Your Hands, Oh My God e Keep It Rollin' che si avvale della partecipazione di Large Professor sia in veste di produttore del brano, che in the mc.

The fourth album, considered by many the best, published three years later, in 1996, the height of the guerrilla war between East Coast and West Coast. Our heroes, however, are minimally affected by the situation and, indeed, are respected in both coasts. The work is titled "Beats, Rhymes and Life" (Jive Records), and contains the majority of the team The Ummah production, composed by the same Q-Tip, Ali Shaheed Muhammad and a promising young producer in Detroit years will become a legend Jay Dee (aka J Dilla, RIP).

The collective work in time with the likes of Janet Jackson and Whitney Houston.

"Beats, Rhymes and Life" includes classics like Keeping It Moving, Get A Hold, Motivators and many others because, eventually, the whole album is a classic enough to be nominated for Grammy Awards for best rap album, thanks to the single 1nce Again, and comes in first place in the Billboard charts.

In 1998, ATCQ announce the dissolution of the group, but did not leave empty-handed the many fans around the globe. "The Love Movement" (1998, Jive Records) is, in fact, the last chapter weblog A Tribe Called Quest.

Entirely produced by The Ummah collectively referred to, the album turns out to be yet another mature work of the trio. Do not miss important collaborations such as Redman, Noreaga, Busta Rhymes and Mos Def, and there are tracks now become real milestones as Find A Way.

After the division of the group, the three embark on a solo:

Q-Tip released the album "Amplified" product of his own in 1999 with the collaboration of Jay Dee and, after nearly a decade of collaborations spread and important back in 2008 with "The Renaissance".

Phife Dawg, however, just a public album in 2000 entitled "Ventilation: Da LP", which also sees as the likes of producer Hi-Tek and Pete Rock. In subsequent years will not publish any more albums, post only a few sporadic collaboration.

Ali Shaheed Muhammad published the album "Lucy Pearl" in 2000 together with Raphael Saadiq and Dawn Robinson for Virgin Records.

Ultimately, apart from the success of the group, who will actually be able to break through its Q-Tip, which also was the artist most featured of the three. Who thinks about ATCQ think first of a Q-Tip and its particular tone of voice that makes it unique.

The group will meet for a number of occasions, however, and live concerts such as the Rock The Bells 2004.

finish by saying that A Tribe Called Quest is one of those groups who should thank you for bringing to life, along with groups like Gang Starr, a 'wave in jazz rap music. It is thanks to artists like these that the great black music began to appreciate what is rap. Its elegance and its refinement.

do street music in a powerful and elegant at the same time is not easy, and A Tribe Called Quest have been able to do very well.

Dj Danko