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▀ ■
■ D-I-G-I-T-A-L-L-Y U-N-I-T-E-D
┌────────────────────────────────────────────────────────────────┐
│ john arnold - 4 minutes? (MS-30) │
└────────────────────────────────────────────────────────────────│──┐
┌───────────────────────────────────────────────────────────────│──┘
│ ││
│ Artist........ john arnold ││
│ Title......... 4 minutes? (MS-30) ││
│ Label......... Transmat ││
│ Cat. Nr....... MS-30 ││
│ Year.......... 2002 ││
│ Genre......... House ││
│ Street Date... 2002 ││
│ Release Date.. 09/02/2004 ││
│ Size.......... 20,2 MB ││
│ Tracks........ 03 ││
│ Length........ 13:36 min ││
│ Source........ Vinyl ││
│ Encoder....... Lame 3.93.1 ││
│ Quality....... VBRKBps / 44.1Khz / Full Stereo ││
│ ││
└──────────────────────────────────────────────────────────────│──────-·
││
┌─────────────────────────────────┐ ││
│ R E L E A S E C O M M E N T S │┐ ││
└─────────────────────────────────┘└─────────────────────────────│──┐
┌──────────────────────────────────────────────────────────────│───┘
│ ││
│ JOHN ARNOLD ││
│ ││
│ "When I make music, I feel like it's coming from my soul. ││
│ It's a gift. I'm pretty much the doorway for a greater ││
│ purpose, so the more music I write, it's just something else ││
│ speaking through me, and the more knowledge I learned, the ││
│ more eloquent my voice was, the more I could express that ││
│ gift," John Arnold, Detroit 2002. ││
│ ││
│ Detroit resident John Arnold is currently working on a ││
│ full-length album for Ubiquity, channeling his eclectic ││
│ musical influences in a forward thinking electronic style ││
│ and collaborating with peers from the motor city. ││
│ Multi-talented Mr. Arnold is equally happy playing guitar ││
│ with his acoustic jazz combo Blackman & Arnold or, as a club ││
│ DJ, spinning jazz, broken, techno and house, or in the ││
│ studio making beats. His interest in music started early on. ││
│ He took piano classes before his tenth birthday but ││
│ eventually grew bored as he discovered rock 'n' roll and, ││
│ like most young kids, fantasized about being in a band. ││
│ ││
│ After a brief stint with a drum kit Arnold took up the ││
│ guitar in his teens and this became his primary instrument. ││
│ "I loved everything, but I think at first, like a lot of ││
│ young kids, I was really into rock 'n' roll music," he ││
│ recalls. When his parents gave him his first album, a copy ││
│ of Stevie Wonder's 1970s opus "Songs In The Key Of Life," ││
│ Arnold was introduced to world of soul music. "As I got ││
│ older, I had started discovering different music - I really ││
│ started to like jazz, funk music and world music." Arnold ││
│ may have majored in jazz studies at Michigan's Wayne State ││
│ University but, as a hip-hop head (and aspiring ││
│ breakdancer), he'd long been curious about electronic ││
│ production - ever since hearing Herbie Hancock's "Rockit" as ││
│ a pre-teen. "I think that's when I first started to get a ││
│ real interest in the electronic sound, and I've always tried ││
│ to make a connection with what I do now and my childhood. I ││
│ remember even when I was doing heavy metal and rock I was ││
│ using drum machines to make tracks. It wasn't necessarily ││
│ for the dance club, but it was experimental music that ││
│ involved drum machines." ││
│ ││
│ The precocious instrumentalist was laying down his own ││
│ compositions as early as 13. "I think I peaked at 16 or 17," ││
│ he jokes. "Sometimes I break out the old tapes that I used ││
│ to do when I was a kid and it's tremendous!" In 1996 Arnold ││
│ formed the band Jazzhead and began to acquaint himself with ││
│ Detroit's electronic fraternity. "My whole vision with the ││
│ group was to really try and emulate what DJs were doing, but ││
│ do it live. We'd bring in a lot of the great DJs in town ││
│ who'd play with us before - Alton Miller came, DJ Bone... ││
│ All the Detroit guys would come through and play and it'd be ││
│ a great experience, 'cause we'd have this jazz band and then ││
│ we'd have the DJs as well, so it was a really well-rounded ││
│ educational thing about music, but people dug it 'cause it ││
│ was dance music as well." ││
│ ││
│ In this way Arnold met future supporters - Carl Craig, who ││
│ invited him to perform his first-ever live electronic gig at ││
│ the inaugural Detroit Electronic Music Festival (DEMF), and ││
│ Derrick May, who picked up his Sparkle EP for Transmat ││
│ Records' sister label, Fragile. In 2002 Arnold released a ││
│ second Transmat EP titled "Four Minutes?" and a new 12" ││
│ single on Ubiquity records called "We're Not." Meanwhile, ││
│ Arnold has lent his talents to others - jamming on John ││
│ Beltran's "Aztec Girl," which was licensed by British drum ││
│ 'n' bass innovator LTJ Bukem for Good Looking's Earth 4 ││
│ compilation, and on records by the Detroit Escalator Co and ││
│ Recloose. Arnold is also a member of the "world music" ││
│ five-piece Blackman & Arnold. "It's a lot of different world ││
│ music sounds. It's all acoustic. We do Brazilian music, ││
│ Afro-Cuban music and Latin music, and all in a jazz setting, ││
│ and so it's highly improvisational, but it's really cool." ││
│ ││
│ Within electronic music circles formally trained artists ││
│ often struggle to reconcile their academic backgrounds and ││
│ the unconventional DIY ethos of club culture, yet Arnold's ││
│ education has expanded, not limited, his imagination. "When ││
│ I make music, I feel like it's coming from my soul. It's a ││
│ gift. I'm pretty much the doorway for a greater purpose, so ││
│ the more music I write, it's just something else speaking ││
│ through me, and the more knowledge I learned, the more ││
│ eloquent my voice was, the more I could express that gift." ││
│ ││
│ This outlook forms the basis of Arnold's progressive ││
│ manifesto. "I'm very interested in making tracks that can ││
│ easily be played in the dance club and that people can dance ││
│ to, but I want to use that as a tool to express different ││
│ ideas that people might not necessarily be trying in terms ││
│ of different harmonic ideas and time signatures and rhythmic ││
│ ideas - like maybe using 7/4 as opposed to four-on-the-floor ││
│ all the time or doing 15/4 or just doing different ideas, so ││
│ almost educating people to another level of music, but doing ││
│ that in a way so it's still a party and everybody is ││
│ dancing." ││
│ ││
│ http://www.ubiquityrecords.com/ ││
│ ││
│ ││
│ ││
└──────────────────────────────────────────────────────────────│──────-·
││
┌─────────────────────┐ ││
│ T R A C K L i S T │┐ ││
└─────────────────────┘└─────────────────────────────────────────│──┐
┌──────────────────────────────────────────────────────────────│───┘
│ ││
│ [01] respectall 05:28 ││
│ [02] chika 04:17 ││
│ [03] 4 minutes? 03:51 ││
│ ││
│ Total Playtime : 13:36 min ││
│ ││
└───────────────────────────────────────────────────────────────│─────-·
┌──────────────────────────────────────────────────────────────┐
└──────────────────────────────────────────────────────────────┘