Beck and Black Crowes to headline San Diego festival & other

Friday 29 August 2008

Foals hit by crowd surfing chaos during Reading Festival show

Foals created hysteria in the NME/Radio 1 Stage this evening (August 23) at Reading Festival, as scores of crowd-surfers attempted to invade the stage.

Thousands of fans had packed out the big top tent before the five-piece took the stage.

Then, as the Oxford band played 'Two Steps, Twice', frontman Yannis Phillipakis leapt into the crowd, suggestion pandemonium.

Fans immediately began hurling themselves over the saftey barriers towards the leg.

Security guards struggled to contain the crowd members, as at least 50 fans breached the barriers in the space of a few minutes.

At one point guitarist Jimmy Smith was caught up in the chaos - with stewards attempting to bodyguard him tabu of the pit, subsequently briefly misunderstanding him for a fan.

After the song finished crowd-surfers began arriving at the front at a unfluctuating pace that security could manage for the rest of the set.

It wasn't the first time Foals had been met with madness at the festival. They made an appearance at last year's case, where they packed out the then-named Carling Tent.

"We were here last year - it was fun," the singer/guitarist said nigh the begin of the set. "But now we want to make this even better."

Before the stagecoach invasion endeavour the ring played songs including 'Cassius' and 'The French Open' and bigged-up Mystery Jets, who had played on the same stage earlier.

Foals ended their set with 'Electric Bloom', during which Phillipakis scaled an adenylic acid stack as yet more crowd-surfers cascaded forward.

Foals payed:

'XXXX'

'Olympic Airwaves'

'The French Open'

'Balloons'

'Cassius'

'Heavy Water'

'Two Steps, Twice'

'Hummer'

'Red Sox Pugie'

'Electric Bloom'

NME.COM is bringing you live reportage straight from both sites of the Reading And Leeds Festivals 2008. For the latest news, blogs, pictures and video interviews head to the Reading And Leeds Festivals index now.

Plus make certain you aim next week's issue of NME - on newsstands nationwide from Wednesday August 27 - for the ultimate Reading And Leeds Festivals reassessment.

For more than Reading And Leeds Festivals coverage including live footage and more than, visit fellow official media partner bbc.co.uk/readingandleeds

Sep 7, 2008 at Carling Academy, Newcastle -

Sep 27, 2008 at Civic Centre, Aylesbury -

Sep 28, 2008 at University, Cardiff -

More Foals tickets

More info

Tuesday 19 August 2008

Download Roy Eldridge mp3

Artist: Roy Eldridge: mp3 download

   Genre(s):

Jazz
Pop
Blues

Discography:

Decidedly

Year: 2002

Tracks: 4

Fiesta in Brass

Year: 1999

Tracks: 21

After You've Gone

Year: 1991

Tracks: 22

Little Jazz Boogie

Year:

Tracks: 1

One of the most exciting trumpeters to come forth during the swing geological era, Roy Eldridge's disputative approach, chancetaking style and strong musicianship were an inspiration (and an influence) to the next musical generation, most notably Dizzy Gillespie. Although he sometimes pushed himself farther than he could go, Eldridge never played a obtuse solo!

Roy Eldridge started extinct playing trumpet and drums in fair and circus bands. With the Nighthawk Syncopators he received a bit of attention by playacting a note-for-note recreation of Coleman Hawkins' tenor solo on "The Stampede." Inspired by the dynamic playing of Jabbo Smith (Eldridge would not discover Louis Armstrong for a few old age), Roy played with some territory bands including Zack Whyte and Speed Webb and in New York (where he arrive in 1931) he worked with Elmer Snowden (world Health Organization nicknamed him "Little Jazz"), McKinney's Cotton Pickers and most significantly Teddy Hill (1935). Eldridge's recorded solos with Hill, backing Billie Holiday and with Fletcher Henderson (including his 1936 strike "Christopher Columbus") gained a swell share of attention. In 1937 he appeared with his octet (which included brother Joe on contralto) at the Three Deuces Club in Chicago and recorded some outstanding selections as a loss leader including "Heckler's Hop" and "Wabash Stomp." By 1939 Roy had a bigger grouping playing at the Arcadia Ballroom in New York. With the go down of Bunny Berigan and the increasing predictability of Louis Armstrong, Eldridge was arguably the big top trumepter in jazz during this earned run average.

During 1941-42 Eldridge sparked Gene Krupa's Orchestra, recording classical versions of "Rockin' Chair" and "After You've Gone" and interacting with Anita O'Day on "Let Me Off Uptown." The difficulties of traveling with a White band during a racist point smart him as did some of the incidents that occurred during his stay with Artie Shaw (1944-45) only the music during both stints was quite memorable. Eldridge backside be seen in several "soundies" (short promotional photographic film devoted to single songs) of this epoch by the Krupa band, frequently in tie-up with O'Day, including "Let Me Off Uptown" and "Thanks for the Boogie Ride." He is likewise very prominent in the band's appearance in Howard Hawks' Ball of Fire, in an extended performance of "Drum Boogie" mimed by Barbara Stanwyck, pickings a long trumpet solo -- the snip was filmed soon later on Eldridge joined the band in late April of 1941, and "Drum Boogie" was a birdcall that Eldridge co-wrote with Krupa.

Eldridge had a transitory big band of his have, toured with Jazz at the Philharmonic and then had a bit of an personal identity crisis when he completed that his playacting was not as modernistic as the beboppers. A successful quell in France during 1950-51 restored his confidence when he completed that beingness original was more than significant than being up-to-date. Eldridge recorded steadily for Norman Granz in the fifties, was one of the stars of JATP (where he battled Charlie Shavers and Dizzy Gillespie) and by 1956 was oft teamed with Coleman Hawkins in a quint; their 1957 visual aspect at Newport was quite memorable. The sixties were tougher as recording opportunities and work became rarer. Eldridge had brief and unhappy stints with Count Basie's Orchestra and Ella Fitzgerald (feeling unneeded in both contexts) simply was prima his have group by the final stage of the tenner. He spent a great deal of the 1970s playing regularly at Ryan's and transcription for Pablo and, although his range had shrunk a bit, Eldridge's private-enterprise spirit was silent very much intact. Only a sober stroke in 1980 was able-bodied to stanch his horn. Roy Eldridge recorded throughout his life history for almost every label.