We continue in another blog ( (if I find additional information I will remove it from this blog and upload it to the new blog) :
https://enbuscadelamusicaperdidayotrosnuevo.blogspot.com/
En este tutorial os explicaré como hacer copias de seguridad de vuestro blog de blogger.
Hacer copias de seguridad es recomendable y conveniente porque nunca se sabe lo que puede pasar y más vale estar prevenidos.
Las copias de seguridad que podemos hacer en blogger son de dos tipos.
Copia de seguridad de la plantilla: La plantilla es la parte visual de tu blog, el color de fondo, la cabecera, el tipo de letra de tus entrada, la forma de tu menú etc, es la parte que implica las modificaciones del html y del css que le hacemos al blog
Copia de seguridad del contenido: El contenido son tus entradas, los post que haces
¿Para que sirven las copias de seguridad?
Al hacer una copia de seguridad de nuestro blog descargamos los archivos a nuestro ordenador así si por algún motivo (propio o ajeno) le pasa algo a nuestro blog podemos recuperar los archivos de la última copia que hayamos hecho y restaurarlo.
¿Cómo hacer una copia de seguridad de la plantilla?
1.Entra al editor de blogger y haz click en la opción plantilla
2. A la derecha de la pantalla haz click en el botón gris donde pone “Crear/Restablecer copia de seguridad“
3. Te saldrá una ventana emergente como la de la foto de abajo, para hacer la copia de la plantilla haz click en el botón naranja “Descargar plantilla completa“, al hacer click se te descargará un archivo con formato xml, es importante que tengas localizado el archivo cuando lo descargues por si lo necesitas alguna vez, normalmente va a la carpeta de descargas, pero puedes guardarlo donde tu quieras para tenerlo localizado.
Si te fijas verás que en esta misma ventana tienes otra opción en la zona inferior donde hay un texto que pone “Sube una plantilla desde un archivo de tu equipo” y un botón para seleccionar un archivo de nuestro ordenador, esto sirve para restaurar la plantilla que previamente hemos descargado y volver a subirla en caso de que se haya producido algún fallo o error en nuestro blog, una vez seleccionado el archivo le daríamos a subir y volveríamos a tener restaurada nuestra plantilla.
Recomendación: Haz copias de seguridad de la plantilla cuando hagas cambios en el código, antes y una vez efectuados los cambios si todo ha quedado como querías
¿Cómo hacer una copia de seguridad del contenido de nuestro blog?
1. Para hacer copias de seguridad de las entradas de nuestro blog hay que ir a Configuración/ Otros (ver foto de abajo)
2. A la derecha justo al lado del texto Herramientas del blog hay tres opciones: Importar blog -Exportar blog y Eliminar blog.
La primera y la segunda opción son las que nos interesan en este caso, para hacer la copia de seguridad del contenido de nuestro blog hacemos click en la opción Exportar blog, al pinchar sobre ella se abre una ventana de diálogo donde nos explica para que sirve esta opción y hay un botón naranja para descargar el archivo
3. Esta es la ventana de diálogo que se abre para descargar nuestro archivo xml con el contenido del blog
Hacemos click en el botón naranja y descargamos el archivo en el ordenador, como con el archivo de la plantilla es importante que localices el archivo y lo guardes para tenerlo localizado en caso de que lo tengas que usar alguna vez
Si por algún motivo necesitar restaurar el contenido de tu blog, tienes que usar la opción de importar blog (la que está marcada en color verde claro en la foto de arriba) y te saldrá una ventana de diálogo con el siguiente aspecto (ver foto abajo)
Una vez abierta esta ventana localiza tu archivo xml en el ordenador desde el botón Seleccionar archivo, una vez localizado escribe el texto que te pide y pincha sobre el botón naranja “Importar blog” para poder restaurar y publicar de nuevo todas tus entradas del blog.
El proceso es muy sencillo, lo más importante es que tengáis localizadas las copias por si alguna vez tenéis que restaurarlas por cualquier motivo.
Importante no os confundáis de archivo el archivo xml que empieza por template es el que se corresponde con el formato de vuestro blog y el archivo que empieza por blog es el que se corresponde con el contenido
A1 Rock Of Ages Producer, Arranged By – William Thomas 7:05 A2 Sweet Lord Of Lord Arranged By – William Thomas 3:48 A3 Stop That Train Songwriter – William Thomas 3:05 A4 Hardworking People Songwriter – William Thomas 2:02 B1 Here I Am 3:53 B2 Oh Sinner Man 2:53 B3 Hold Your Head Up High 3:57 B4 Dear Lord 3:22
Notas Glossy cover. Orange label. Stereo. This issue has the mention "Imprimerie Montreuil Offset - Imprimé en France" on the lower left of the back cover and the letter (B) on the upper right of the back cover.
Eddie “Poppa Duke” Edwards was a renowned recording artist who performed in prestigious venues such as Carnegie Hall, and Madison Square Garden. Born February 24, 1936, into a Creole family filled with generations of jazz musicians, he began his personal musical career in the US Coast Guard’s Drum and Bugle Corps. Following his tenor at Berklee College of Music, Boston, MA, he traveled to Montreal, Canada, where joined jazz musician Sun Ra and his orchestra, studying composition and harmony. He released one LP as a solo artist, “Is It Too Late”, recorded in Montreal in the springtime of 1968, with his specially formed band “The Young Ones”, consisting of Clayton Johnston (drums), Bernard Moore (flute, saxophone), Wayne Prue (guitar), Julian Brown (organ), Doug Richardson (tenor saxophone) and Richard Woodson (trombone). He was introduced to booking agent, Rob Scribner and together, they formed Music Canada, where he created, produced wrote music, groomed, managed and worked with some of the finest musical talent in Toronto, Canada. In 1972, Eddie retired from the music industry and created a traveling communal group called the “Mud People”, which was made up of university professors, an attorney, and a doctor. They travelled to the banks of the Mississippi River in the parish of St. John in the town of Wallace, LA, to work in the community with the objective to create better race relations between people of all races while teaching universal brotherhood and New Orleans Jazz. Aged 80, he died on Sunday, March 20, 2016 at his home in New Orleans, LA.
Jeff St. Julian Brown (aka Jeff "Soulman" Brown or Julian Brown) was born in Philadelphia, PA on June 14, 1940. Brown started a band, The Challengers, with his cousin Larry Young Jr., before joining the Birdlanders. He left The Birdlanders and played with various R&B groups and acts including Shep & The Limelights, Little Anthony & The Imperials, The Young Philadelphians, Solomon Burke, and Rufus Thomas. In 1961, he joined the Earl Lett quartet who visited Montreal in 1962. Brown decided to stay in Montreal and form his own group - The Jeff Brown Quartet. This group would become the house band at The Esquire Show Bar and released one single on the Dinosaur record label. At the insistence of Duke Edwards, Sun Ra's percussionist, Brown put together The Young Ones.
Percussionist Duke Edwards, once of one of Sun Ra's many Arkestras, formed The Young Ones in the late '60s. They recorded three albums worth of material, but Prestige only put out this one release, which is a shame as it's a really unique and quite challenging listen. There's a few styles going on on here, but the best way to describe this album is as being totally righteous. Duke Edwards was obviously very troubled about the state of the world back then and needed to excersise that frustration through the medium of music. One track is an exception to this, "Black Elephant", this is just a total free form-jazz workout with endless guitar soloing going on - the real weak point of the album for me. However, the other two tracks are much more interesting. The main feel sways between folky jazz and deep spiritual bluesy soul. On top of that you have Duke Edwards speaking at you, ranting at you, screeching at you, even preaching at you, and with so much passion that you sense this guy certainly was feeling the pain of what he was talking about. There are moments when he's so insistent, tortured and really wrapped up in the message he's imparting, that I swear he's actually crying. This is a really unique and amazing one-off album, just be careful if you're too empathetic, it might hurt.
Notas Fabriano Unité ZION Recorded and mixed at studios: Beaubourg, Spade Music, La Félicité (Except track B4) Distribution: Discodeal - RN 370 - 78810 Feucherolles Including Insert with lyrics
This page contains links to audio of radio interviews with soul groups done on my radio show ("Sitting on the Park" -- see the main page for more details). You are free to copy or distribute these interviews as long as they remain unedited and you are not profiting from them. It is important to get the stories of these groups out, in their own words -- otherwise this history will remain undocumented and lost. You can contact me with any questions or comments at the email address listed at the main page. Check back frequently as I'm doing many more interviews soon.
A1 Get Off My Back, Jack 7:45 A2 Sad Songs Got To End Sometimes 5:20 A3 These Are My Happy Days 8:05 B1 Seasons 5:09 B2 Sweat (Choo Do Be) 7:11 B3 Ezay 3:17 B4 Bad Child 5:43
1 Mesopotamia 5:52 2 Atlantis Rising 6:37 3 Inca 4:30 4 Great Wall Of China Arranged By – Rick Kitaeff 5:10 5 African Village 6:59 6 Green Apple Quickstep 8:40 7 Birds Of A Feather 11:20 8 Stop-Stop 8:42 9 Nest Of The Wounded Crow 9:32
Notas Tracks 1 - 4 recorded December 5, 1974 by CBC, Vancouver for play on Radio Canada International, and released on the LP RCI 428. Tracks 5 - 8 are studio recordings from June 9, 1974, and are previously unreleased recordings. Track 9 was recorded in June 1971 with the 3 original group members that were known as The New Atlantis Houseband, and is a previously unreleased recording.
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
$20CAD or more
Compact Disc (CD) + Digital Album
A pioneering west coast band from the ,mid-1970's doing a
variety of original material ranging from Afro-latin to free form. Comes
with insert booklet with photos.
Includes unlimited streaming of Sunship Jazz Ensemble (Blue Minor Records and CBC Transcriptions).
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Please preview tracks before downloading. There are no refunds.
Richard Anstey- soprano saxophone; Ross Barrett-tenor saxophone, flute,
keyboard; Bruce Freedman- tenor saxophone (tracks 1, 2, 3, 4); Alan
Sharpe-guitar; Clyde Reed-bass; Gregg Simpson-drums). CD includes
booklet.
The
evolution of Sunship can be traced back to a number
of collaborations beginning with that of bassist Richard
Anstey and myself in the Al Neil Trio during the
latter half of the 1960s and the Al Neil Jazz Probe
in 1972. In 1971, we formed a trio with guitarist Alan
Sharpe, and called it The New Atlantis Houseband.
During
the same period in the early 1970s, tenor sax player, Bruce
Freedman moved to Vancouver from Los Angeles and began
playing in various small ensembles along with bassist Clyde
Reed, also a recent emigrant to Canada from Vancouver,
Washington. Flautist, saxophonist and keyboard player, Ross
Barrett, had already been playing with Richard Anstey and me
in a quartet, which also included the Montreal-born pianist
Rick Kitaeff, whose music the group would eventually play.
The
Sunship Ensemble, which formed in 1974, was a group in
tune with its times. The end of the Vietnam War gave birth
to a new optimism: The New Age had begun and this
manifested itself in a new pan-global musical consciousness.
A whole new generation of creative musicians in Vancouver
was coming of age.
The
incorporation of world music influences, drawn from various
cultures, was evident in many celebrated jazz/fusion groups
of the early 1970s, such as McCoy Tyner’s sextet, Weather
Report, Chick Corea’s Return to Forever, the
Mahavishnu Orchestra, Miles Davis and others. A second wave
of Latin American musicians like Airto, Flora Purim and
Santana brought jazz and rock closer together than ever. But
Sunship also incorporated even more extended free
form improvisations than many of the Latin or funk-tinged
groups of the time.
The
ensemble included Ross Barrett (tenor sax, flute and
keyboards), Bruce Freedman (tenor sax), Richard
Anstey (soprano sax), Alan Sharpe (guitar),
Clyde Reed (bass) and Gregg Simpson (drums).
Sunship
played concerts at the Western Front and at the opening of
the Granville Mall in Vancouver, plus opening for pianist
Keith Jarrett, at the Commodore Ballroom on June 11, 1974.
Bob Smith in The Vancouver Sun wrote, "a double-header
including pianist Keith Jarrett and resident quintet, the
Sunship Ensemble. Putting it mildly it was a
mind-blower, and the 800 who attended gave more than a
glimmering of hope for jazz in this city." Guitarist, Bob
Bell, who attended that concert, remembers the group’s music
as a revelation to him, as not many other similar fusion
ensembles were active in Vancouver at the time, although two
groups, Skywalk and Pacific Salt were to
emerge not long after.
While
international in outlook, the group played a
regionally-based music, which grew out of the west coast,
rainforest environment, but also incorporated exotic input
from the music of Asia, Africa, and Latin America. The
selections on this CD reflect the multi-directional approach
of the group, with free jazz material alternating with the
Afro-Latin influences of the times.
Some of
the material for the CD was previously released on a 1975
CBC Transcription Recordings LP, entitled Pacific Rim
(RCI 428), produced by George Laverock. One
piece, entitled Great
Wall of China,
was arranged from a traditional Chinese melody by Rick
Kitaeff whose group in Japan at the time, Electric
Ninja, shared the album with the Sunship Ensemble.
To reflect the international theme, the groups each did a
composition by their counterpart across the Pacific.
Sunship disbanded at the end of 1975, but in the late
1970s I went on to form the New Orchestra Workshop,
which eventually included Sunship members, Bruce
Freedman and Clyde Reed who still play in the NOW
Orchestra today. In this sense, the Sunship Ensemble
followed the pioneering efforts of the Al Neil Trio
in the 1960s, to become the next step in creating a
wonderful era of improvised music in Vancouver, which
continues until the present time.
Gregg
Simpson, 2004
CBC
Album Notes (RCI 428) Recorded December 5, 1974 in
Vancouver, B.C.
Producer: George Laverock Sound: Don Hardisty
Pacific Rim is a unique endeavour, uniting a Canadian
and a Japanese improvisational ensemble, each playing their
own, and the other group’s original compositions, based on
thematic material from each of the four Pacific continental
regions. Guitarist Alan Sharpe leads the Sunship Ensemble
of Vancouver, while the Electric Ninja group is
headed by ex-Montreal pianist-composer Rick Kitaeff, who
after traveling extensively in Asia, Indonesia and the
Orient, taught literature and communications at Kobe
University in Kyoto, Japan and now teaches at the University
of Seattle in Washington.
One of
the more interesting aspects of the contemporary music scene
is the breakdown of many of the artificially created
barriers that divide music. Many musicians are finding that
traditional categories such as “jazz”, “pop”, “avant garde”,
etc., restrictive and self-limiting, and are drawing more
freely on musical material from all sources, and in
particular from the Third World Cultures. As Rick Kitaeff
sees it: “The emphasis is now on fusion- of rock,
jazz, classical, Afro-Latin – and it won’t be long before
the so-called “melting pot” of North American culture fully
absorbs from the Third World as it has from Europe.
“…The
musical materials of all the pieces were drawn mainly from
the Pacific basin cultures. “Atlantis Rising”
represents, for the Sunship group, a starting point of
European-based modal structure, dissolving into free-flowing
samba-flavoured drum and tenor solos. The titles of the
Sunship compositions Mesopotamia”
and “Inca”
reflect
their inherent sympathies with ancient, mythic cultures and
present a contrast between the dense, rich textures of the
former and the deft, syncopated guitar punctuation by
composer Alan Sharpe in the latter.
“Great
Wall of China”
is another piece having a background of performances with
electronic elements. Sunship’s arrangement of the piece is a
lush, multi-layered structure, precisely articulated to give
novel harmonic proportions to the Oriental pentatonic scale.
Both
Electric Ninja and Sunship, as represented by
their efforts on this recording, have tried to return the
new music movement to its spiritual roots by intercultural
diversification of their musical materials. To say that they
play “earth music”, however, is not to make any claims of
exclusiveness in the orientation towards universality, but
simply to indicate that all music is ultimately ethnic.
“The
earth doesn’t belong to man; man belongs to the earth”
(North American Indian saying)
June 11,
1974 at the Commodore Ballroom -"a
double-header including pianist Keith
Jarrett and resident quintet, the
Sunship Ensemble. Putting it mildly it
was a mind-blower, and the 800 who
attended gave more than a glimmering
of hope for jazz in this city." -Bob
Smith -The Vancouver Sun