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Maji’s Music Servante’

Maj’s secret music stash…….

Le Servante 2010

This is an MP3 and M4a collection which features Majik somewhere in the mix….. The links below will give you a page which contains an mp3 link which will stream if you allow the time for the file to load. Another option is to download the file to your machine before playing it, to insure no interruptions during play.

						Maji solo composition- YOU CAN’T HIDE. 3.4 mb, M4a
						SBE Trance Sample Live (taper quality..some clicks and pops) 7.9 mb, MP3
						Crazy 4-19-06, (mp3, 4.3mb)
						bluelonelymaninspace into getonup w jam 3-26-06 (mp3, 22mb)
						SPECIAL CUT!! Ragin’ Raga by Cort Stricker & The Maji
						Asian Babe- HEXANONA BAND (mp3. 6.1mb)
						Stir It Up (Bob Marley) (Majik~*, Ricky Enriquez, Jared Jesperson, Thad Miller)
						Sugaree (Grateful Dead) (Majik~*, Ricky Enriquez)
						Goathill Blues (Ricky Enriquez, Majik)
						Allison (Elvis Costello) (Ricky Enriquez, Majik)
						Me n My Uncle (Ricky Enriquez, Majik)
						First jam with Majik~*(BUS-Jared, Michael, Vincent, Gregory, Daniel, Majik)
						Window Paints -Jared Jesperson, Stephen Saunders (BUS-Jared, Michael, Vincent, Gabriel, Daniel, Majik)
						All Along The Watchtower -Bob Dylan (BUS-Jared, Michael, Vincent, Gregory, Daniel, Majik) Let It Shine- Retro look at the Band BUS (mp3. 6.8mb)
						Kali chant (Big PICKUP band Chip,Tom,Chris,Bryan.Majik)
						Animalia (Didgenus)
						Cosmik Day (FULLON) (Shotgun Ragtime Band and Daniel “Tron” Wilsterman) Little Wing (Jimmy Hendrix) (Shotgun Ragtime Band)
						Spirits (Santana) (PhiRatio)
						Korg Duet (Chris Roberts and Majik)
						You Don’t Have To Stay (Bobby Dalton)-(Majik solo)

Namaste’

In La KESH

Praises be to Kali-Pasch Jah Rastafari

Aloha

2010^©majik.org MADE BY MAJIK~*
@ sirius media services

PASSINGS: JOE CUBA

David Gonzalez, NY Times – For the first time anyone could remember – or even comprehend – the sight of Joe Cuba brought people to tears. For more than half a century, this conga-playing son of El Barrio fronted bands whose music was relentless, hip and happy. Real happy.

But there was no joy on 116th Street Wednesday, at least not at first sight of Joe, laid out in his coffin, though sharp as ever in his black tux, white gloves and a gray homburg. Here was the Father of the Latin Boogaloo, a fusion of Latin and soul music that made him a crossover king in the late 1960s. . .

Outside, under the narrow awning, people huddled to escape the rain.

“I’m going to see him,” Juan Nieves said. “A friend of mine died, too, and I’m going to see her inside. But I have to see him. His music was the best from the ’60s. His sextet was the ultimate. They had all the songs. Oye, ese pito!”

Hey, that whistle! That was the first line to “El Pito” – which was always followed by five quick toots.

For a while in the 1960s, those five notes were the clarion call of an emerging musical . . . The song’s signature chorus is taken from Dizzy Gillespie’s introduction to “Manteca.” The classic whistled opening gives way to hand claps, a Latin-tinged piano line, frenetic vibe playing and maniacal laughter.

In some neighborhoods, the song was a revelation. Where I lived in the Bronx, on Mapes Avenue off 181st Street, teenagers drove people crazy whistling the opening notes while chanting what can only be described (here, at least) as a gleefully obscene twist on Georgia.

Its bilingual lyrics and urban attitude presaged the coming boogaloo craze. The distinctly New York musical form Joe Cuba helped birth reflected the interplay (with the emphasis on play) between Puerto Ricans and African-Americans in this city. Coming at the dawn of a political and cultural awakening among New York-raised Puerto Ricans, it was a heady mix.