Dave Matthews sax player LeRoi Moore dies at 46 from ATV wreck injuries

LOS ANGELES - LeRoi Moore, the versatile saxophonist whose touch staccato fused jazz and funk overtones onto the eclectic sound of the Dave Matthews Band, died Tuesday of complications from injuries he suffered in an all-terrain vehicle chance event, the band said. He was 46.

Moore died at Hollywood Presbyterian Medical Center, where he was admitted with complications that arose weeks afterward the June 30 wreck, according to a statement on the band�s Web site. It did non specify what led to his death, and nursing supervisor Galina Shinder said the hospital could non release details.

On June 30, Moore crashed his ATV on his farm outside Charlottesville, Va., but was discharged and returned to his Los Angeles place to start physical therapy. Complications forced him back to the hospital on July 17, the band said.

The band went on with its show Tuesday night at the Staples Center in Los Angeles, where lead singer Dave Matthews dedicated the entire show to Moore.

"It�s invariably easier to leave than be left," Matthews told the crowd, according to Ambrosia Healy, the band�s publicist. "We appreciate you all existence here."

Saxophonist Jeff Coffin, wHO played with Bela Fleck and the Flecktones, had been sitting in for Moore during the band�s summer tour.

Matthews credited Moore with arrangement many of his songs, which compound Cajun fiddle-playing, African-influenced rhythms and Matthews� playful but haunting voice.

The band formed in 1991 in Charlottesville, Va., when Matthews was working as a barman. He gave a demonstration tape of his songs to Moore, who liked what he heard and recruited his friend and fellow jazz musician Carter Beauford to play drums, and other musicians.

The group broke out of the local music view with the album "Under the Table and Dreaming." The band won a Grammy Award in 1997 for its hit sung dynasty "So Much to Say" off its second album "Crash." Other hits include "What Would You Say," �Crash Into Me" and "Satellite."

Moore, world Health Organization wore dark sunglasses at the bands� many live concerts, had classical preparation but said jazz was his main musical influence, according to a life history on the band�s Web site.

"But at this stage I don�t really consider myself a jazz musician," Moore said in the biography. Playing with the Dave Matthews Band was "almost bettor than a jazz gig," he aforementioned. "I stimulate plenty of space to improvise, to try new ideas."

Fans wHO attended Tuesday�s concert expressed sadness over Moore�s end and concern about the band�s future without him.

"LeRoi was just super of import to the band," Shawn Harrington said before the concert. "That�s how the band came to be."

Another fan, Byron Ramos, aforementioned was surprised to hear of Moore�s death as he approached Staples Center. He aforesaid the ring is "consecrate to what they do" and was happy the concert was not canceled.

"It�s a grounds, right?" Ramos said.

___

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Download Afrika Bambaataa

Artist: Afrika Bambaataa: mp3 download    Genre(s):  Electronic Other Rap: Hip-Hop     Discography:      Beware (The Funk Is Everywhere)    Year: 2005    Tracks: 9      The Dance Album    Year: 2004    Tracks: 12      TelLieVision Maxi    Year: 2004    Tracks: 5      Dark Matter: Moving At The Speed Of Light    Year: 2004    Tracks: 16      Looking for the Perfect Beat: 1980-1985    Year: 2001    Tracks: 13      Pupunanny    Year: 1994    Tracks: 6      The Decade of Darkness (1990-2000)    Year: 1991    Tracks: 12      Funk You 12''    Year: 1985    Tracks: 4      Unity    Year:     Tracks: 6      Dont stop the Planet Rock    Year:     Tracks: 7      Agharta    Year:     Tracks: 4 A originative Bronx DJ during the 1970s, Afrika Bambaataa ascended to godfather condition with Planet Rock, the 1982 rap music authoritative which blended the beats of hip-hop with techno-pop futurism inspired by German pioneers Kraftwerk. Even in front he began recording in 1980, Bambaataa was hip-hop's frontmost DJ, an organizer and promoter of the large block parties during the mid to previous '70s which presaged the rise of rap. After the winner of Planet Rock, he recorded electro-oriented rap alone when meagerly, concentrating or else on merger -- exemplified by his singles with ex-Sex Pistol John Lydon and familiar godfather James Brown. Bambaataa had moved to the scope by the later '80s (as far as hip-hop was interested), simply the rebel of his Zulu Nation collective -- including De La Soul, Queen Latifah, A Tribe Called Quest, and the Jungle Brothers -- plant him in one case more being tipped as unrivalled of rap's creation fathers. Natural in the Bronx on April 10, 1957, Afrika Bambaataa Aasim took his name from a nineteenth one C Zulu gaffer. Beginning in 1977, Bambaataa began organizing block parties and breakdancing competitions about the Bronx. His first-class turntable techniques and noesis of music light-emitting diode many to proclaim him the best DJ in the patronage (though Grandmaster Flash and DJ Kool Herc were more groundbreaking), and his track record debut -- as a producer -- came in 1980 with Soul Sonic Force's "Zulu Nation Throwdown." The single was a rally cry for the Zulu Nation, a radical of like-minded Afrocentric musicians that only gained fame in the later '80s merely had been influencing the jump of hip-hop crews since the late '70s. Aside from more production credits on various afterwards singles during 1980-1981, Afrika Bambaataa didn't suit an actual transcription creative person until 1982. He sign with Tommy Boy records and released his number one individual, "Sporty Sensation," early that year. "Planet Rock" followed in June and quickly exploded. Recorded with the help of producer/dancefloor authorisation Arthur Baker and assimilative the melody of Kraftwerk's "Trans-Europe Express," the single strike identification number quaternity on the R&B charts (just lost the pop Top 40) and joined the Sugarhill Gang's "Rapper's Delight" as one of the early classics of hip-hop. (Grandmaster Flash's "The Message" followed exactly trey months later.) In the single's wake up came gobs of electro groups and recordings, though none touched the quality of "Planet Rock" -- demur, maybe, Bambaataa's possess review, "Looking for for the Perfect Beat." Out of those electro groups came several predominant dance styles of the 1980s and '90s: Detroit techno, Miami bass, and, to a more than limited extent, Chicago house. Freed slightly by his newfound popularity, Afrika Bambaataa began branching out in 1984, recording "Ace" with help from James Brown and "World Destruction" with John Lydon (as Time Zone). That like year, Bambaataa delivered an album debut of sorts, Shango Funk Theology, recorded as Shango with Material force Bill Laswell and Michael Beinhorn. A virtually LP-length unmarried coroneted "Funk You!" appeared in 1985, afterwards which Bambaataa recorded his proper album debut, Beware (The Funk Is Everywhere). He left Tommy Boy in 1986 afterwards an record album compiling of "Planet Rock" mixes, and signed with Capitol. The kickoff record album expiration for the label was 1988's The Light, recorded as Afrika Bambaataa & the Family, which included contributions from George Clinton, UB40, Bootsy Collins, and Boy George. Three days later, Bambaataa's third record album, 1990-2000: Decade of Darkness, was released on Capitol, coincident with his career retrospective Time Zone, released on his possess Planet Rock Records. Bambaataa recorded unpredictably during the '90s, simply returned to the mainstream in 1997 with Zulu Groove. The naked millenary brought the going of Hydraulic Funk on Strictly Hype, and Electro Funk Breakdown followed in other 2001.

Daleks invade the Proms (while earthlings pay �250 for a ticket)

Ossastorium

   
Artist: Ossastorium

   Genre(s): 
Metal: Death,Black
   

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Discography:


   
 Per Aspera...

   Year: 2004   
Tracks: 6

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Guy Ritchie Plans To Turn Robert Downey Jr.'s Sherlock Holmes Into Action Hero

Anne Hathaway�s Ex Slams Break-Up Stories

Anne Hathaway’s rumored split from boyfriend Raffaello Follieri has made just as many headlines as her starring role in the new ‘Get Smart’ movie, however, he has had enough of the gossip columns comments.
Melanie Bonvicino, a spokesperson for Follieri, addressed the numerous reports telling the New York Post he was “angered” by “repeated mischaracterizations” of the couple’s split.
“It is worth noting,” Bonvicino said. “As you continue to attempt to scandalize a respected businessman and philanthropist, that the Follieri Foundation has vaccinated hundreds of children in Nicaragua and Honduras to date, in addition to recently rebuilding an orphanage in Brazil.”
Follieri has made headlines recently for reportedly failing to file an IRS tax disclosure form for his foundation, which is a requirement for charities.
Hathaway was previously on the board of directors for the charity, however, her rep, Stephen Huvane, stated, “There is an investigation going on that does not involve Anne. She is no longer a board member of the Follieri Foundation. Other than that we will not be commenting.”
Photo courtesy of Warner Bros. Pictures.

Tesla Boogie

   
Artist: Tesla Boogie

   Genre(s): 
Other
   

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Discography:


   
 Electro Cyborg

   Year: 2004   
Tracks: 4

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Girls Aloud And Spice Girls Stars 'To Judge X-Factor'

Members of Girls Aloud and Spice Girls have been approached about judging the next series of X-Factor, according to former judge Sharon Osbourne.



Osbourne said that Spice Girl Mel B and Girls Aloud singer Cheryl Cole had both been asked to inherit her position since she announced her departure last week.



Speaking on BBC Radio 1, Osbourne said that she had “loved” working on the show, describing it as “the best four years of my life”.



Osbourne, who backed Cole to take over her place on the panel, denied that she had left the show over money.



"We were negotiating and they offered me an obscene amount of money. It didn't change anything. I had to walk away when I did,” she said.



Osbourne sat on the panel for four series alongside the shows creator Simon Cowell and fellow judges Danni Minogue and Louis Walsh.

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U2 manager lashes out at ISPs again

Paul McGuinness delivers Music Matters keynote





HONG KONG -- U2 manager Paul McGuinness has delivered another hard-hitting speech in which he said that by refusing to join forces with the legitimate music business, Internet service providers are clinging to the past and preventing the music industry's future growth.
In his keynote presentation at the Music Matters conference in Hong Kong on June 4, McGuinness said he wants to see "a real commercial partnership" between ISPs and the music business in which they fairly share their revenues, as well as "action to stop mass copyright theft."
McGuinness had used his keynote speech at MIDEM in January to accuse ISPs of "destroying the recorded music industry" by failing to tackle piracy, and he returned to this theme in Hong Kong -- although he welcomed some initiatives by European governments.
"Privately negotiated revenue-sharing partnerships are, I believe, a key model for the future," said McGuinness, who has managed the superstar Irish band for the past 30 years.
"One way or another, ISPs and mobile operators are the business partners of the future for the recorded-music business," he said. "But they are going to have to share the money in a way that reflects what music is doing for their business."
McGuinness believes that's especially true in China, where he says leading telecom China Mobile makes "hundreds of millions of dollars each year from sales of ringtones and ringback tones, yet pays a minuscule fraction of that to performers, producers and composers. That to me is not a fair business partnership."
While dismissing the general international legal framework as being of "only limited help," McGuinness welcomed recent initiatives by the French, British, Danish and other national governments aimed at disconnecting large-scale illegal file-sharers and exploring the filtering of copyright-infringing networks.
"Progress depends on national governments," McGuinness said in a press briefing after his speech. "I would like to see the workers (creators) paid, which they aren't at the moment."
In rejecting an advertising revenue-driven business model for the music industry, he said he doesn't want to see "artists reduced to the status of employees working for glorified ad agencies."
"The music business once had to bear the accusation that it was full of dinosaurs who looked back to an old business model rather than embracing a new one," McGuinness said. "Today, though, it is the music business that is charting the way to the future.
"If there are dinosaurs around today, I think they are the Internet free-thinkers of the past who believe that copyright is the great obstacle to progress, that the distributors of content should enjoy profits without responsibilities and that the creators and producers of music should simply subordinate their rights to the rights of everyone else. We have not reversed the troubles of the music industry yet -- but at least the dinosaurs are no longer running the show."