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| | James Chance (Site not responding. Last check: 2007-10-23) |
 | | He soon hooked up with Lydia Lunch and her crew of downtown adolescent artists/mischief-makers, playing briefly in the seminal Teenage Jesus and the Jerks, but he left in 1977 to form his own band, The Contortions. |
 | | Maybe more than anyone else in the so-called No Wave set, Chance was fascinated with fl music of the era, and with The Contortions, sought to integrate the horn-spiked stop-on-a-dime rhythms of funk and the heady freedom of Ornette Coleman's sax playing with the confrontational and political theatricality of punk. |
 | | Part parody, part homage, part smirking catastrophe in action, James White and the Blacks moved away from the punk that had defined their earlier incarnation, and towards a fusion of the soul, funk, and free jazz with disco that ranks as one of the weirdest musical hybrids of its era. |
| www.epitonic.com /artists/jameschance.html (553 words) |
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