We Got The Rhythm by W. Jeremy

We got the rhythm. You got the rhythm. The heartbeat is the sound of the drum. The rhythm is HOUSE. The synth is ACID. W. Jeremy’s second release for the Rebel Eye label. The House Cartel and Rhenalt provided remixes

we got the rhythm


MAY 13TH, 2016



Come and hangout with the Rebels of House Music on the super stylish rooftop of Space Ibiza New York. Underground Electronic Music will be played all evening long. Celebrating the release of Premo’s E.P Feel This Way! http://www.traxsource.com/title/607496/feel-this-way Enjoy the sunset with a fashion forward crowd, abstract dance rhythms and an Ibiza like scenery. This session is an after work event. DJs:
Angelo Boom http://www.angeloboom.com/
Premo https://m.facebook.com/deejay.premo/
Rhenalt www.rhenalt.com
Jon Martin Sub:culture
This event is: NYC DJ/provocateur Jon Martin’s 5th annual 40th birthday party

Chevalier de Saint-Georges (Black Mozart)


Joseph Bologne, Chevalier de Saint-Georges (December 25, 1745 – June 10, 1799) was a champion fencer, a virtuoso violinist and conductor of the leading symphony orchestra in Paris. Born in Guadeloupe, he was the son of George Bologne de Saint-Georges, a wealthy planter, and Nanon, his African slave.During the French Revolution, Saint-Georges was colonel of the Légion St.-Georges, the first all-black regiment in Europe, fighting on the side of the Republic. Today the Chevalier de Saint-Georges is best remembered as the first classical composer of African ancestry.


Joseph de Bologne’s father was George de Bologne de Saint-Georges, a member of a wealthy family which had lived in the French West Indies colony of Guadeloupe since 1645.  He married Élisabeth Merican on September 8, 1739.  By January, 1740 he had moved to a 250-acre plantation with 60 slaves.  One of the slaves was an attractive young woman about 17 who was named Anne but was called Nanon.  She was of African descent and was born on the island.  George and Nanon began an intimate relationship shortly after his arrival.  Their son Joseph de Bologne came into the world on Christmas Day, 1745.  His African heritage made him ineligible for the nobility and its titles under French law.

Young Joseph lived a privileged life on the plantation.  He had ample time to play, and his father gave him lessons in music and fencing.  When he was 8 years old, Joseph sailed for Bordeaux with Élisabeth to start school, arriving on August 12, 1753.  Nanon landed at the same port on September 10, 1754 and visited Joseph for several weeks.  Nanon and George arrived back in France on September 10, 1755.  They took Joseph to live with them in the fashionable Saint-Germain quarter of Paris.  On April 1, 1757, Pierre Bardin tells us, George obtained the position of Gentleman of the King’s Chamber, which meant he was a personal assistant to King Louis XV.

Saint-Georges became Conductor of Le Concert des amateurs in 1773, combining his duties with composing.  From 1773-1775, he produced 8 violin concertos and 2 symphonies concertantes, according to the Works List compiled by Gabriel Banat.  In 1775, only two years after Saint-Georges became Conductor, L’Almanach Musical [The Musical Almanac]  wrote that the ensemble was “the best orchestra for symphonies in Paris and perhaps in Europe”.

Saint-Georges’ first compositions, Op. I, were a set of six string Quartets, among the first in France. They were inspired by Haydn’s earliest quartets imported from Vienna by the eccentric Baron Bagge, whose musicales were frequented by some of the best musicians in Paris, including Joseph. Two more sets of six string quartets, three charming forte-piano and violin sonatas, a sonata for harp and flute and six violin duos make up his chamber music output. A cello sonata performed in Lille in 1792, a concerto for clarinet and one for bassoon were lost. Twelve additional violin concertos, two symphonies and eight symphonie-concertantes, a new, intrinsically Parisian genre of which Saint-Georges was one of the chief exponents complete the list of his instrumental works, published between 1771 and 1779, a short span of eight years. Six opéra comiques and a number of songs in manuscript complete the list of his works, remarkable considering his many extra-musical activities.

In 1773, when Gossec took over the direction of the prestigious but troubled Concert Spirituel, he designated Saint-Georges as his successor as director of the Concert des Amateurs. Less than two years under his direction, “Performing with great precision and delicate nuances [the Amateurs] became the best orchestra for symphonies in Paris, and perhaps in all of Europe.”As the Queen attended some of Saint-Georges’ concerts at the Palais de Soubise, arriving sometimes without notice, the orchestra wore court attire for all its performances. “Dressed in rich velvet or damask with gold or silver braid and fine lace on their cuffs and collars and with their parade swords and plumed hats placed next to them on their benches, the combined effect was as pleasing to the eye as it was flattering to the ear.”Saint-Georges played all his violin concertos as soloist with his orchestra. Their corner movements are replete with daring batteries and bariolages, brilliant technical effects made possible by the new bow designed by Nicholas Pierre Tourte Père – a perfect foil in the hands of a great swordsman. While their fast movements reveal the composer probing the outer limits of his instrument, his slow movements are lyrical and expressive, with an occasional touch of Creole nostalgia.

Saint-Georges was fortunate to be already established as a professional musician, because in 1774, when his father died in Guadeloupe, his annuity was awarded to his legitimate half-sister, Elisabeth Benedictine. While before that he contributed his services to the Amateurs, he now asked for and was willingly granted a generous fee by the sponsors of the orchestra, which he had turned into the largest and most prestigious ensemble in Europe.

In 1776 the Académie royale de musique, the (Paris Opéra), was once again in dire straits. Saint Georges was proposed as the next director of the opera. As creator of the first disciplined French orchestra since Lully, he was the obvious choice to rescue the prestige of that troubled institution. However, alarmed by his reputation as a taskmaster, three of its leading ladies “… presented a placet (petition) to the Queen [Marie Antoinette] assuring her Majesty that their honor and delicate conscience could never allow them to submit to the orders of a mulatto.” To keep the affair from embarrassing the queen, Saint-Georges promptly withdrew his name from the proposal. Meanwhile, to defuse the brewing scandal, Louis XVI took the Opéra back from the city of Paris – ceded to it by Louis XIV a century ago – to be managed by his Intendant of Light Entertainments. Following the “affair,” Marie-Antoinette preferred to hold her musicales in the salon of her petit appartement de la reine in Versailles. The audience was limited to her intimate circle and only a few musicians, among them the Chevalier de Saint-Georges. “Invited to play music with the queen,” Saint-Georges probably played his violin sonatas, with her Majesty playing the forte-piano.

The placet also ended forever Saint-Georges’ aspirations to the highest position of any musician in Paris. It was, as far we know, the most serious setback he suffered due to his color. Compared to the upheavals to come, it was a tempest in a teapot, but the wound it inflicted on Saint-Georges would fester until the Revolution. Over the next two years he published two more violin concertos and a pair of his Symphonies concertantes. Thereafter, despite of his humiliation by the operatic divas, except for his final set of quartets (Op. 14, 1785), Saint-Georges, fascinated by the stage, abandoned composing instrumental music in favor of opera.