1. #1

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    christian mentioned about my first youtube about ketu candomble hookups in jazz and opanije in older jazz styles relating to django , i just finished this and it just got up . chapter 1 in a series of youtubes that goes more in depth about the ketu candomble hook ups in jazz . and its opanije. jelly roll and louis armstrong are from the first youtube idid but then there is prof long hair, dr john , ray charles, miles davis etc, just to show how in depth it goes. other chapters will bring in ilu, bravum, sato , jinka, avamunha , bata, vassi and show their hook ups with various american musics and artists .

    this isnt something im selling. this isnt for sale. i want to share these incredable discoveries so we all can understand jazz , what it is , where it comes from and what it takes to play it. there is no one else making these connections. you cant find these hookups on the internet unless you find something i have done. you let me know if you see anything talking about this. note, there are great musicians in salvador who understand these ketu concepts and play jazz. there is a big band called rumpilezz in salvador that plays great big band music over ketu, there is a group in rio led by a french guy called ketujazz. all of these groups are good, but none of them are going to give you the in depth information how these ketu codes are all over the history of jazz and black american music.

    and one of the mind blowing things is that, the early jazz doesnt use drums. all the tonal instruments are comding from these grooves. especialy louis armstrong. i just recorded the whole hot fives album by louis that changed the jazz world , and he has so much opanije ketu codes in his phrasing , you cant deny the power of these connections.

    this is a jazz guitar forum, this is serious information about elements that make up jazz and how to understand it and how to play it


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  3. #2

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    Wasn’t specifically talking about Django. Seems I can’t escape him haha.

  4. #3
    Sorry about that, I thought you were discussing what might be his two three approach at phrasing.

    louis on hot fives was seriously laying down opanije cadences ( he didn't know about ketu but his cultural origins come from the same place as ketu).

    now, I think lots of people copied Louis , but didn't know the groove he was coming from. I'm a drummer and I didn't get it until I learned opanije, then , it slapped me in the face.

    so , lots of big bands arranged around his phrases, I heard some dgango hitting the first part of the cadence , but not quite completing the opanije cadence. The singers copied his phrasing . But his phrasing is coming from a groove.

    as a drummer, I heard oompaoompa, with snare rolls , but I didn't get the bass drum was playing a cadence, and that was opanije cadence too. But Louis especially was grooving his phrasing.

    If i didn't get it as a drummer, I know lots of other people didn't get it.

    so that speaks to people outside of the inner circle of Louis and Jelly Roll, etc might get part right but not the whole concept.

    which is what I thought I heard in the European early jazz.

    werent they rewriting jazz songs to hide them from the nazi's?

  5. #4

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    Nice! The paragraphs of small text at the end scroll by a bit too fast for my eyes, though. Looking forward to #2.

  6. #5
    thanks , pcjazz , the text too fast noted.

    i hope to do about 4 chapters , and then put them all together

    the amount of popular American music covered should leave little doubt how these Ketu Condomble codes are in the history of our American pop music ( even more Brazilian pop music ). But, not as a codified religion like in Brazil. In Brazil, Ketu is a definite act of reaching back to try to be in touch with the religious and musical cultural roots where they came from in Africa.

  7. #6

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    Thanks for doing this

  8. #7
    christian , i really apreciete your interest . you were a great contributor to the thread i introduced the first clip i made about this. after talkiing with you about this , your ears were able to hear that red garland was doing opanije phrasing over a bravum rhythm section. that is so what this is all about, hearing things differently for a second to get a larger grasp on what is happening

    you were plugged into cuban rhythms and how they relate to american swing , before we talked

    and it shows. in the little bit of seeing your youtubes, i can tell you have a nice firm rhythm attack. you are thinking about these things and it pays off

    good luck on your journey learning your axe