News & Updates

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  {
    "id": "doc-pomus-june-27-1925-march-14-1991",
    "data": {
      "title": "Doc Pomus / June 27, 1925 - March 14, 1991",
      "slug": "doc-pomus-june-27-1925-march-14-1991",
      "date": "2017-06-27T00:00:00.000Z"
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    "body": "![](/images/6928395ebcbd2cafbfdf6e88797d7664_large.jpg)\n\nJerry Felder, a Brooklyn-raised Jewish kid who suffered from polio, became a champion songwriter for the likes of Elvis Presley (who recorded a couple dozen of his tunes), Ray Charles, The Drifters, Phil Spector, Dr John, BB King, Bobby Darin and many, many more.\n\nHe was originally a sax player, but in the early '40s he took the made-up name of \"**Doc Pomus** \" and started singing the blues in clubs. Fairly successful with this, he cut a bunch of records with Milt Jackson, King Curtis, Mickey Baker and others. By '57 he was a full-time songwriter in the Brill Building. He wrote or co-wrote several hit songs: \"Save The Last Dance For Me\", \"A Teenager In Love\", \"Surrender\", \"This Magic Moment\", \"Lonely Avenue\", \"Viva Las Vegas\" and many more. He also championed artists such as Lou Reed, Big Joe Turner (one of Doc's major heroes), Little Jimmy Scott, Dr John and Willy DeVille, all of whom were his friends.",
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      "html": "<p><img src=\"/images/6928395ebcbd2cafbfdf6e88797d7664_large.jpg\" alt=\"\"></p>\n<p>Jerry Felder, a Brooklyn-raised Jewish kid who suffered from polio, became a champion songwriter for the likes of Elvis Presley (who recorded a couple dozen of his tunes), Ray Charles, The Drifters, Phil Spector, Dr John, BB King, Bobby Darin and many, many more.</p>\n<p>He was originally a sax player, but in the early ’40s he took the made-up name of “<strong>Doc Pomus</strong> ” and started singing the blues in clubs. Fairly successful with this, he cut a bunch of records with Milt Jackson, King Curtis, Mickey Baker and others. By ‘57 he was a full-time songwriter in the Brill Building. He wrote or co-wrote several hit songs: “Save The Last Dance For Me”, “A Teenager In Love”, “Surrender”, “This Magic Moment”, “Lonely Avenue”, “Viva Las Vegas” and many more. He also championed artists such as Lou Reed, Big Joe Turner (one of Doc’s major heroes), Little Jimmy Scott, Dr John and Willy DeVille, all of whom were his friends.</p>",
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          "title": "Doc Pomus / June 27, 1925 - March 14, 1991",
          "pagination": "https://www.peaceandrhythm.com/?page=41",
          "date": "June 27, 2017",
          "post": "Doc Pomus / June 27, 1925 - March 14, 1991",
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  {
    "id": "r-d-burman-june-27-1939-jan-4-1994",
    "data": {
      "title": "R.D. Burman / June 27, 1939 - Jan 4, 1994",
      "slug": "r-d-burman-june-27-1939-jan-4-1994",
      "date": "2017-06-27T00:00:00.000Z"
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    "body": "![](/images/burman_650_062714034414_large.jpg)\n\nShout-out to the Bollywood film composer extraordinaire **Rahul Dev Burman** , born today in 1939. As someone who didn't grow up with Bollywood movies, my big ears found some of the wacky, funky, psychedelic soundtracks that seemed to annoy my Hindi friends. Often times the craziest tunes to my ears would be from R.D. Burman.\n\nHis wife was the great singer Asha Bhosle, who often worked with him. He has been a popular presence in Hindi film music since the mid-'60s and continues to be popular long after his passing. Often a trendsetter in the industry, his soundtracks included Indian folk music with pop, funk, disco, rock and electronics.",
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      "html": "<p><img src=\"/images/burman_650_062714034414_large.jpg\" alt=\"\"></p>\n<p>Shout-out to the Bollywood film composer extraordinaire <strong>Rahul Dev Burman</strong> , born today in 1939. As someone who didn’t grow up with Bollywood movies, my big ears found some of the wacky, funky, psychedelic soundtracks that seemed to annoy my Hindi friends. Often times the craziest tunes to my ears would be from R.D. Burman.</p>\n<p>His wife was the great singer Asha Bhosle, who often worked with him. He has been a popular presence in Hindi film music since the mid-’60s and continues to be popular long after his passing. Often a trendsetter in the industry, his soundtracks included Indian folk music with pop, funk, disco, rock and electronics.</p>",
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          "title": "R.D. Burman / June 27, 1939 - Jan 4, 1994",
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          "date": "June 27, 2017",
          "post": "R.D. Burman / June 27, 1939 - Jan 4, 1994",
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  {
    "id": "arthur-doyle-june-26-1944-jan-25-2014",
    "data": {
      "title": "Arthur Doyle / June 26, 1944 - Jan 25, 2014",
      "slug": "arthur-doyle-june-26-1944-jan-25-2014",
      "date": "2017-06-26T00:00:00.000Z"
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    "body": "![](/images/f-a-12-06-spy-music-fest-arthur-doyle2_large.jpg)\n\nHappy birthday to the unsung free jazz reedsman **Arthur Doyle** , he of the Alabama feeling. From Birmingham, his early touring and session work came with Motown groups, including Gladys Knight & the Pips, as well as some local Southern R&B groups before he went to NYC in the late '60s.\n\nHe brought his R&B, gospel and bop chops to the city's free jazz scene and fit in his style very well with the high energy blowing music. He declined a full-time gig with Sun Ra's band to hook up with Noah Howard (the _Black Ark_ band). The early '70s saw him laying low until he re-emerged full force with Milford Graves' band in '76, followed by his low-budget, live-recorded _Alabama Feeling_ LP, an underground classic of fire music.\n\nIn the late '70s he joined the no-wave noise improv band The Blue Humans and recorded an intense live album (with Rudolph Grey on guitar and Beaver Harris on drums) from a 1980 performance. (The no-wave connection was not lost to time--Sonic Youth named a song after him). He moved to Paris in '82 but spent some of that time in jail. Upon release he continued working and recording right up until his death.\n\nHe dubbed his style as \"free jazz soul\" and composed over 300 songs, several of which he recorded on a boombox and released! (Check out his amazing version of the standard \"Nature Boy\"! One of my faves!). He played tenor, flute, bass clarinet, recorder and EWI, as well as piano and some unique scat vocalizing. During his career he also (aside from those mentioned above) played with Alan Silva, Pharoah Sanders, Sunny Murray, Thurston Moore, Hamid Drake, Wilbur Morris and others. Honk if you like the Arthur Doyle Electro-Acoustic Ensemble!!",
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      "html": "<p><img src=\"/images/f-a-12-06-spy-music-fest-arthur-doyle2_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the unsung free jazz reedsman <strong>Arthur Doyle</strong> , he of the Alabama feeling. From Birmingham, his early touring and session work came with Motown groups, including Gladys Knight &#x26; the Pips, as well as some local Southern R&#x26;B groups before he went to NYC in the late ’60s.</p>\n<p>He brought his R&#x26;B, gospel and bop chops to the city’s free jazz scene and fit in his style very well with the high energy blowing music. He declined a full-time gig with Sun Ra’s band to hook up with Noah Howard (the <em>Black Ark</em> band). The early ’70s saw him laying low until he re-emerged full force with Milford Graves’ band in ‘76, followed by his low-budget, live-recorded <em>Alabama Feeling</em> LP, an underground classic of fire music.</p>\n<p>In the late ’70s he joined the no-wave noise improv band The Blue Humans and recorded an intense live album (with Rudolph Grey on guitar and Beaver Harris on drums) from a 1980 performance. (The no-wave connection was not lost to time—Sonic Youth named a song after him). He moved to Paris in ‘82 but spent some of that time in jail. Upon release he continued working and recording right up until his death.</p>\n<p>He dubbed his style as “free jazz soul” and composed over 300 songs, several of which he recorded on a boombox and released! (Check out his amazing version of the standard “Nature Boy”! One of my faves!). He played tenor, flute, bass clarinet, recorder and EWI, as well as piano and some unique scat vocalizing. During his career he also (aside from those mentioned above) played with Alan Silva, Pharoah Sanders, Sunny Murray, Thurston Moore, Hamid Drake, Wilbur Morris and others. Honk if you like the Arthur Doyle Electro-Acoustic Ensemble!!</p>",
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          "title": "Arthur Doyle / June 26, 1944 - Jan 25, 2014",
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          "date": "June 26, 2017",
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    "id": "big-bill-broonzy-june-26-1893-aug-15-1958",
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      "title": "Big Bill Broonzy / June 26, 1893 - Aug 15, 1958",
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      "date": "2017-06-26T00:00:00.000Z"
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    "body": "**![](/images/gettyimages_88428499-605bfc7ee3d4a19c80b52603054147a133a041b8_large.jpg)**\n\n**Bill Broonzy** had a long and distinguished career, from spirituals to jazz to country blues to urban and back to folksy. One of 17 children born to a Southern family (precise date and location, unsure), he grew up in Arkansas. His first instrument was a cigar-box fiddle and he sang spirituals. He was a preacher, farmer, soldier and husband for awhile before he went north to Chicago around 1920.\n\nIn Chicago he started playing guitar and gigging, signed to Paramount and released his first sides in 1927. He did some recording in NYC and toured with Memphis Minnie as her second guitarist. In the '30s he started playing in a more urban combo and recorded some sides for Bluebird and Vocalion. He participated in the 1938 & '39 _From Spirituals To Swing_ concerts and started getting a name for himself, even landing some stage acting. He also played on his brother Washboard Sam's recordings from time to time (composing many of the tunes).\n\nBy the time he signed to Mercury in the late '40s, he was already a leading light for modern, urban blues. He made his first tour of Europe in '51, and his legend loomed large in the coming folk/blues/rock boom in Britain, where he has been cited as a major influence. The '50s found him touring the world (including Africa and Asia) and making pretty good bank. He published his autobiography in '55 and shortly before his death he helped found a folk music academy.",
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      "html": "<p><strong><img src=\"/images/gettyimages_88428499-605bfc7ee3d4a19c80b52603054147a133a041b8_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Bill Broonzy</strong> had a long and distinguished career, from spirituals to jazz to country blues to urban and back to folksy. One of 17 children born to a Southern family (precise date and location, unsure), he grew up in Arkansas. His first instrument was a cigar-box fiddle and he sang spirituals. He was a preacher, farmer, soldier and husband for awhile before he went north to Chicago around 1920.</p>\n<p>In Chicago he started playing guitar and gigging, signed to Paramount and released his first sides in 1927. He did some recording in NYC and toured with Memphis Minnie as her second guitarist. In the ’30s he started playing in a more urban combo and recorded some sides for Bluebird and Vocalion. He participated in the 1938 &#x26; ‘39 <em>From Spirituals To Swing</em> concerts and started getting a name for himself, even landing some stage acting. He also played on his brother Washboard Sam’s recordings from time to time (composing many of the tunes).</p>\n<p>By the time he signed to Mercury in the late ’40s, he was already a leading light for modern, urban blues. He made his first tour of Europe in ‘51, and his legend loomed large in the coming folk/blues/rock boom in Britain, where he has been cited as a major influence. The ’50s found him touring the world (including Africa and Asia) and making pretty good bank. He published his autobiography in ‘55 and shortly before his death he helped found a folk music academy.</p>",
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          "title": "Big Bill Broonzy / June 26, 1893 - Aug 15, 1958",
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          "date": "June 26, 2017",
          "post": "Big Bill Broonzy / June 26, 1893 - Aug 15, 1958",
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  {
    "id": "clifton-chenier-june-25-1925-dec-12-1987",
    "data": {
      "title": "Clifton Chenier / June 25, 1925 - Dec 12, 1987",
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      "date": "2017-06-25T00:00:00.000Z"
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    "body": "![](/images/p11474v58k1_large.jpg)\n\nHappy birthday to the King of Zydeco, **Clifton Chenier** , born on this day in 1925. A multi-instrumentalist from a musically-accomplished family, his music combined blues, cajun, jazz, rock & roll, waltzes and R&B to modernize and popularize the zydeco style. He recorded for Chess, Arhoolie, Specialty, Crazy Cajun and other labels, in a recording career that started in 1954 (he had been performing since the mid '40s) and continued until his death in '87 from diabetes.\n\nHe sang, played accordion, harmonica and guitar. He came from a musical family and he dug early on into the burgeoning rock & roll scene, blues and the rich music scene of New Orleans and elsewhere in Louisiana. He was playing professionally by 1944. He spent some time in Texas and cut his first record in '54. He met some regional and national success in the mid-'50s and signed to Chess in '57 and toured with Etta James.\n\nOn Arhoolie in the '60s, he recorded both \"ethnic\" musics and more commercial R&B, often on the same album. His '76 album _Bogalusa Boogie_ is an all-time classic. He continued to tour and record with success right up until his death. His C.J. Chenier is also a recording star, having taken over Clifton's band.",
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      "html": "<p><img src=\"/images/p11474v58k1_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the King of Zydeco, <strong>Clifton Chenier</strong> , born on this day in 1925. A multi-instrumentalist from a musically-accomplished family, his music combined blues, cajun, jazz, rock &#x26; roll, waltzes and R&#x26;B to modernize and popularize the zydeco style. He recorded for Chess, Arhoolie, Specialty, Crazy Cajun and other labels, in a recording career that started in 1954 (he had been performing since the mid ’40s) and continued until his death in ‘87 from diabetes.</p>\n<p>He sang, played accordion, harmonica and guitar. He came from a musical family and he dug early on into the burgeoning rock &#x26; roll scene, blues and the rich music scene of New Orleans and elsewhere in Louisiana. He was playing professionally by 1944. He spent some time in Texas and cut his first record in ‘54. He met some regional and national success in the mid-’50s and signed to Chess in ‘57 and toured with Etta James.</p>\n<p>On Arhoolie in the ’60s, he recorded both “ethnic” musics and more commercial R&#x26;B, often on the same album. His ‘76 album <em>Bogalusa Boogie</em> is an all-time classic. He continued to tour and record with success right up until his death. His C.J. Chenier is also a recording star, having taken over Clifton’s band.</p>",
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          "title": "Clifton Chenier / June 25, 1925 - Dec 12, 1987",
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          "date": "June 25, 2017",
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  {
    "id": "frank-lowe-june-24-1943-sept-19-2003",
    "data": {
      "title": "Frank Lowe / June 24, 1943 - Sept 19, 2003",
      "slug": "frank-lowe-june-24-1943-sept-19-2003",
      "date": "2017-06-24T00:00:00.000Z"
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    "body": "![](/images/3_mwredo023-for-klaus_large.jpg)\n\nHappy birthday shout to one of the unsung tenor men of the second wave of US free jazz, \"Freedom\" **Frank Lowe.** His lyricism was not limited to the avant-garde as he cut some great, swinging records that touched upon free, post-bop, R&B and other influences. Memphis born and reared, he took lessons from Stax Records' saxophonist Packy Axton, as well as working in the label's record shop and studio. After school he moved to San Francisco for further studies with Bert Wilson and Sonny Simmons.\n\nSome encouragement from Ornette Coleman persuaded Lowe to move to NYC in the late '60s and he was quickly playing with Alice Coltrane and Sun Ra. Alice's _World Galaxy_ was his recorded debut before he cut a duo album with John Coltrane's last drummer Rashied Ali (_Duo Exchange_) and the 1973 classic ripper _Black Beings_ (William Parker's recorded debut!). He may have come out of the gate with his fire-spitting sand-blasted sax screaming away like a punk Pharoah Sanders but his long career proved a much wider range than that initial landing. 1975's _Fresh_ flirted with R&B and Don Cherry collaborated with him on a few records. His one-sided duo album with drummer Philip Wilson for Sonic Youth's Ecstatic Peace label (_Out of Nowhere_ , 1993) displayed a tender ballad. Some excellent late '90s material for CIMP found him working in very concise, short, lyrical tunes touching on various themes.\n\nHe also cut albums with Billy Bang, Joe McPhee, Jazz Composers Orchestra, Noah Howard, Eugene Chadbourne, James Carter and others, in small group, duo and large ensemble settings, and kept up a concert pace toward the end of his life. And he played an unaccompanied solo for me upon request at a concert that came out on No More Records (2001's _Soul Folks_).",
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      "html": "<p><img src=\"/images/3_mwredo023-for-klaus_large.jpg\" alt=\"\"></p>\n<p>Happy birthday shout to one of the unsung tenor men of the second wave of US free jazz, “Freedom” <strong>Frank Lowe.</strong> His lyricism was not limited to the avant-garde as he cut some great, swinging records that touched upon free, post-bop, R&#x26;B and other influences. Memphis born and reared, he took lessons from Stax Records’ saxophonist Packy Axton, as well as working in the label’s record shop and studio. After school he moved to San Francisco for further studies with Bert Wilson and Sonny Simmons.</p>\n<p>Some encouragement from Ornette Coleman persuaded Lowe to move to NYC in the late ’60s and he was quickly playing with Alice Coltrane and Sun Ra. Alice’s <em>World Galaxy</em> was his recorded debut before he cut a duo album with John Coltrane’s last drummer Rashied Ali (<em>Duo Exchange</em>) and the 1973 classic ripper <em>Black Beings</em> (William Parker’s recorded debut!). He may have come out of the gate with his fire-spitting sand-blasted sax screaming away like a punk Pharoah Sanders but his long career proved a much wider range than that initial landing. 1975’s <em>Fresh</em> flirted with R&#x26;B and Don Cherry collaborated with him on a few records. His one-sided duo album with drummer Philip Wilson for Sonic Youth’s Ecstatic Peace label (<em>Out of Nowhere</em> , 1993) displayed a tender ballad. Some excellent late ’90s material for CIMP found him working in very concise, short, lyrical tunes touching on various themes.</p>\n<p>He also cut albums with Billy Bang, Joe McPhee, Jazz Composers Orchestra, Noah Howard, Eugene Chadbourne, James Carter and others, in small group, duo and large ensemble settings, and kept up a concert pace toward the end of his life. And he played an unaccompanied solo for me upon request at a concert that came out on No More Records (2001’s <em>Soul Folks</em>).</p>",
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    "id": "harry-partch-june-24-1901-sept-3-1974",
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      "title": "Harry Partch / June 24, 1901 - Sept 3, 1974",
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    "body": "![](/images/harry-patch_1457292c_large.jpg)\n\nA true original, **Harry Partch** not only built his own instruments of functional architectural and artistic beauty, but he also invented an entire system of music for which to play them, using an octave of 43 notes, just intonation and microtones. While a ton of theoretical thought went into these instruments, they can also be listened to on just a superficial level, meaning you don't need an articulate knowledge of music theory to appreciate them.\n\nThe instruments, and resulting music, can be clanging, droning, hypnotic, theatrical, noisy or relaxing, working in systematic ensemble. The compositions will often combine theater and/or text and it is gorgeous \"other\"-world type of approach to sound (his style took in influence from Asian, African and indigenous musics). He wrote for his percussion, marimba, stringed instruments, reed organ, keyed instruments and for vocals. A truly fascinating and original composer who believed theater and music belonged together.",
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      "html": "<p><img src=\"/images/harry-patch_1457292c_large.jpg\" alt=\"\"></p>\n<p>A true original, <strong>Harry Partch</strong> not only built his own instruments of functional architectural and artistic beauty, but he also invented an entire system of music for which to play them, using an octave of 43 notes, just intonation and microtones. While a ton of theoretical thought went into these instruments, they can also be listened to on just a superficial level, meaning you don’t need an articulate knowledge of music theory to appreciate them.</p>\n<p>The instruments, and resulting music, can be clanging, droning, hypnotic, theatrical, noisy or relaxing, working in systematic ensemble. The compositions will often combine theater and/or text and it is gorgeous “other”-world type of approach to sound (his style took in influence from Asian, African and indigenous musics). He wrote for his percussion, marimba, stringed instruments, reed organ, keyed instruments and for vocals. A truly fascinating and original composer who believed theater and music belonged together.</p>",
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          "date": "June 24, 2017",
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    "id": "alan-vega-june-23-1938-july-16-2016",
    "data": {
      "title": "Alan Vega / June 23, 1938 - July 16, 2016",
      "slug": "alan-vega-june-23-1938-july-16-2016",
      "date": "2017-06-23T00:00:00.000Z"
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    "body": "![](/images/2048_large.jpg)\n\nBorn today was Boruch Alan Bermowitz, multi-media artist, photographer, gallery owner, vocalist, electronic music pioneer and punk icon better known as **Alan Vega**. His electronic/punk duo Suicide (with Martin Rev) was a thing of ugly, simplistic beauty, and one of the first bands to describe themselves as \"punk\" in the early '70s. They were pioneering, exciting and controversial.\n\nHe grew up in Bensonhurst, Brooklyn and was into rock & roll in its early days and studied art in college. An artist of electronic light sculptures and found objects, he was also involved with the radical Art Workers' Coalition. After seeing The Stooges live in '69 he decided to do music, calling himself Alan Suicide. Around 1970 he opened a downtown gallery space called Project of Living Artists, featuring some jams by early punk characters. This is where he met the free-jazz pianist Martin Rev and they formed Suicide, one of the first bands to describe themselves as \"punk\". Their 1977 full-length debut remains an underground classic.\n\nAfter Suicide's initial split in '79, Vega's first solo album had the 1980 hit (in France) \"Jukebox Babe\". He held a rockabilly influence in a good amount of his solo music. Suicide would get back together on occasion to record and tour, in addition to a long solo career that produced over twenty albums. All told, he has worked with Lydia Lunch, Ric Ocasek, Pan Sonic, Genesis P-Orridge, Alex Chilton, Al Jourgenson and his wife Liz Lamere, among others. His music has been cited by Bruce Springsteen, Big Black, Radiohead, Nine Inch Nails, Depeche Mode, Daft Punk, Sonic Youth, Massive Attack and others as major influence. To the surprise of many, he was actually ten years older than people previously thought. Vega on Suicide: “Our philosophy was that the one thing Suicide was never going to do was entertain.”",
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      "html": "<p><img src=\"/images/2048_large.jpg\" alt=\"\"></p>\n<p>Born today was Boruch Alan Bermowitz, multi-media artist, photographer, gallery owner, vocalist, electronic music pioneer and punk icon better known as <strong>Alan Vega</strong>. His electronic/punk duo Suicide (with Martin Rev) was a thing of ugly, simplistic beauty, and one of the first bands to describe themselves as “punk” in the early ’70s. They were pioneering, exciting and controversial.</p>\n<p>He grew up in Bensonhurst, Brooklyn and was into rock &#x26; roll in its early days and studied art in college. An artist of electronic light sculptures and found objects, he was also involved with the radical Art Workers’ Coalition. After seeing The Stooges live in ‘69 he decided to do music, calling himself Alan Suicide. Around 1970 he opened a downtown gallery space called Project of Living Artists, featuring some jams by early punk characters. This is where he met the free-jazz pianist Martin Rev and they formed Suicide, one of the first bands to describe themselves as “punk”. Their 1977 full-length debut remains an underground classic.</p>\n<p>After Suicide’s initial split in ‘79, Vega’s first solo album had the 1980 hit (in France) “Jukebox Babe”. He held a rockabilly influence in a good amount of his solo music. Suicide would get back together on occasion to record and tour, in addition to a long solo career that produced over twenty albums. All told, he has worked with Lydia Lunch, Ric Ocasek, Pan Sonic, Genesis P-Orridge, Alex Chilton, Al Jourgenson and his wife Liz Lamere, among others. His music has been cited by Bruce Springsteen, Big Black, Radiohead, Nine Inch Nails, Depeche Mode, Daft Punk, Sonic Youth, Massive Attack and others as major influence. To the surprise of many, he was actually ten years older than people previously thought. Vega on Suicide: “Our philosophy was that the one thing Suicide was never going to do was entertain.”</p>",
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          "title": "Alan Vega / June 23, 1938 - July 16, 2016",
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          "date": "June 23, 2017",
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    "id": "jimmy-castor-june-23-1940-jan-16-2012",
    "data": {
      "title": "Jimmy Castor / June 23, 1940 - Jan 16, 2012",
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    "body": "![](/images/100_4934_large.jpg)\n\nHappy birthday to one of NYC's best, **Jimmy Castor**! He sang doo-wop with Frankie Lymon & the Teenagers and the Teen Chords, as well as playing reeds and percussion. He started playing timbales after hearing Tito Puente and in the early '60s became the bandleader for Dave \"Baby\" Cortez, as well as recording with Bill Doggett.\n\nThe Jimmy Castor Bunch became a hot item on the NYC club scene with their blend of Latin jazz, boogaloo, calypso and funk. They were sharing a lot of bills with Joe Bataan, Pucho & the Latin Soul Brothers and Kool & the Gang while records like \"Hey Leroy\", \"It's Just Begun\" and \"Troglodyte\" moved up the charts. In '73 the band produced and played on Gary Byrd's classic \"Soul Travelin\".\n\nCastor kept cranking out funny and powerful jams throughout the '70s. He started doing a lot of ballads and ended up starting his own label in the '80s. Hip-hop kept on sampling the funky tunes and Castor is remembered fondly by all. His career covered doo-wop, soul, mambo, boogaloo, jazz, Caribbean, funk, disco, rock, ballads, pop and hip-hop, and he was a distinctive talent on sax, timbales, singing, composing and as producer and bandleader.\n\nAnd nobody will ever say \"Bertha Butt Boogie\", \"It's Just Begun\", \"Troglodyte\", \"King Kong\", \"Hey Leroy\", \"Bom Bom\", \"Potential\" and so many others are not still burning dancefloor classics. His music was filled with humor, lots of crazy cover versions and his own burningly heavy original funk heaters.",
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      "html": "<p><img src=\"/images/100_4934_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of NYC’s best, <strong>Jimmy Castor</strong>! He sang doo-wop with Frankie Lymon &#x26; the Teenagers and the Teen Chords, as well as playing reeds and percussion. He started playing timbales after hearing Tito Puente and in the early ’60s became the bandleader for Dave “Baby” Cortez, as well as recording with Bill Doggett.</p>\n<p>The Jimmy Castor Bunch became a hot item on the NYC club scene with their blend of Latin jazz, boogaloo, calypso and funk. They were sharing a lot of bills with Joe Bataan, Pucho &#x26; the Latin Soul Brothers and Kool &#x26; the Gang while records like “Hey Leroy”, “It’s Just Begun” and “Troglodyte” moved up the charts. In ‘73 the band produced and played on Gary Byrd’s classic “Soul Travelin”.</p>\n<p>Castor kept cranking out funny and powerful jams throughout the ’70s. He started doing a lot of ballads and ended up starting his own label in the ’80s. Hip-hop kept on sampling the funky tunes and Castor is remembered fondly by all. His career covered doo-wop, soul, mambo, boogaloo, jazz, Caribbean, funk, disco, rock, ballads, pop and hip-hop, and he was a distinctive talent on sax, timbales, singing, composing and as producer and bandleader.</p>\n<p>And nobody will ever say “Bertha Butt Boogie”, “It’s Just Begun”, “Troglodyte”, “King Kong”, “Hey Leroy”, “Bom Bom”, “Potential” and so many others are not still burning dancefloor classics. His music was filled with humor, lots of crazy cover versions and his own burningly heavy original funk heaters.</p>",
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          "date": "June 23, 2017",
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    "id": "mitar-suba-subotic-june-23-1961-nov-2-1999",
    "data": {
      "title": "Mitar \"Suba\" Subotic / June 23, 1961 - Nov 2, 1999",
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    "body": "![](/images/suba_02_large.jpg)\n\nAnother one gone way, way too young, **Suba** was already one of Brazil's top producers when he died from a studio fire in 1999 at just 38. Serbian-born, he started playing accordion as a child. Later on he was playing keyboards in punk bands in Yugoslavia and was producing new wave, electronic and experimental ambient music before heading to Brazil in the late '80s to study and work with Afro-Brazilian music. He permanently relocated to São Paulo in the early '90s.\n\nHis career in Brazil saw him working on jingles and for fashion shows and dance & theater companies, while also finding himself at the forefront of an emerging Brazilian electronic music scene, mixing Brazilian and Serbian/Balkan folk elements into the music. He worked with better known artists and singers such as War, Mickey Hart, Marisa Monte, Arnaldo Antunes, João Donato and others before embarking on some material for bossa singer Bebel Gilberto.\n\nOn November 2, 1999, the night before his album _São Paulo Confessions_ was released, his studio caught fire. He scrambled to save the nearly-complete album of Bebel's _Tanto Tempo_ album, but died from smoke inhalation. He never lived to see either of his final productions released. Not only did _São Paulo Confessions_ become a classic of electronic music, but Bebel's _Tanto Tempo_ album became the biggest international seller to ever emerge from Brazil.",
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      "html": "<p><img src=\"/images/suba_02_large.jpg\" alt=\"\"></p>\n<p>Another one gone way, way too young, <strong>Suba</strong> was already one of Brazil’s top producers when he died from a studio fire in 1999 at just 38. Serbian-born, he started playing accordion as a child. Later on he was playing keyboards in punk bands in Yugoslavia and was producing new wave, electronic and experimental ambient music before heading to Brazil in the late ’80s to study and work with Afro-Brazilian music. He permanently relocated to São Paulo in the early ’90s.</p>\n<p>His career in Brazil saw him working on jingles and for fashion shows and dance &#x26; theater companies, while also finding himself at the forefront of an emerging Brazilian electronic music scene, mixing Brazilian and Serbian/Balkan folk elements into the music. He worked with better known artists and singers such as War, Mickey Hart, Marisa Monte, Arnaldo Antunes, João Donato and others before embarking on some material for bossa singer Bebel Gilberto.</p>\n<p>On November 2, 1999, the night before his album <em>São Paulo Confessions</em> was released, his studio caught fire. He scrambled to save the nearly-complete album of Bebel’s <em>Tanto Tempo</em> album, but died from smoke inhalation. He never lived to see either of his final productions released. Not only did <em>São Paulo Confessions</em> become a classic of electronic music, but Bebel’s <em>Tanto Tempo</em> album became the biggest international seller to ever emerge from Brazil.</p>",
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          "date": "June 23, 2017",
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    "id": "bobby-vince-paunetto-june-22-1944-aug-10-2010",
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      "title": "Bobby Vince Paunetto / June 22, 1944 - Aug 10, 2010",
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      "date": "2017-06-22T00:00:00.000Z"
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    "body": "![](/images/Bobby-Paunetto_large.jpg)\n\nAn underrated name in Latin jazz, Bronx-raised **Bobby Paunetto** (born to an Italian father and Spanish-speaking mother) only made a few recordings before Multiple Sclerosis disabled him around '79. He was a vibraphonist, heavily influenced by Cal Tjader, who started playing in 1961.\n\nAfter a military stint, he attended Berklee School of Music in Massachusetts, studying with Gary Burton. He played with Clare Fischer, Tito Puente, Buddy Rich, Mongo Santamaria, Armando Peraza, both the Palmieri brothers and his idol Tjader, who wrote \"Paunetto's Point\" in his honor. Bobby made recordings for Seeco, Roulette, Mardi Gras and his own Pathfinder label, just five albums total over his entire career.\n\nDespite his health, he kept composing and made a couple of comeback albums on vibes and synths, showing a more cinematic compositional style, before passing in 2010. His classic albums, _El Sonido Moderno_ from '68 and his '70s Latin-jazz masterpieces _Paunetto's Point_ and _Commit To Memory_ are rare groove treasures, full of tasty playing, esteemed sidemen, burningly creative jazz, funky breaks and innovative ideas that sound fresh to this day.",
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      "html": "<p><img src=\"/images/Bobby-Paunetto_large.jpg\" alt=\"\"></p>\n<p>An underrated name in Latin jazz, Bronx-raised <strong>Bobby Paunetto</strong> (born to an Italian father and Spanish-speaking mother) only made a few recordings before Multiple Sclerosis disabled him around ‘79. He was a vibraphonist, heavily influenced by Cal Tjader, who started playing in 1961.</p>\n<p>After a military stint, he attended Berklee School of Music in Massachusetts, studying with Gary Burton. He played with Clare Fischer, Tito Puente, Buddy Rich, Mongo Santamaria, Armando Peraza, both the Palmieri brothers and his idol Tjader, who wrote “Paunetto’s Point” in his honor. Bobby made recordings for Seeco, Roulette, Mardi Gras and his own Pathfinder label, just five albums total over his entire career.</p>\n<p>Despite his health, he kept composing and made a couple of comeback albums on vibes and synths, showing a more cinematic compositional style, before passing in 2010. His classic albums, <em>El Sonido Moderno</em> from ‘68 and his ’70s Latin-jazz masterpieces <em>Paunetto’s Point</em> and <em>Commit To Memory</em> are rare groove treasures, full of tasty playing, esteemed sidemen, burningly creative jazz, funky breaks and innovative ideas that sound fresh to this day.</p>",
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    "id": "augustus-pablo-june-21-1954-may-18-1999",
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      "title": "Augustus Pablo / June 21, 1954 - May 18, 1999",
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      "date": "2017-06-21T00:00:00.000Z"
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    "body": "![](/images/augustuspablo_01_large.jpg)\n\nDefinitely the world's most famous melodica player, **Augustus Pablo** was a crucial figure on the reggae and dub scene for two-plus decades. Born Horace Swaby in Jamaica, he learned organ and keyboards while in school before becoming addicted to playing the melodica, a free-reed mouth keyboard mostly used as a tool to teach children music.\n\nWhile still a teenager he cut his earliest sides in '71 for Aquarius Records, taking on the name \"Augustus Pablo\", which had previously been used by other musicians for records on the label. He began working with Randy's and other labels and \"East Of The River Nile\" became a minor hit before \"Java\" became a massive one in '72.\n\nHe continued recording for various producers such as Lee Perry, Keith Hudson, John Holt, Gussie Clark, Bunny Lee and Clive & Leonard Chin before starting his own companies. He hooked up with King Tubby and Hugh Mundell on some classic records in the mid-'70s, as well as work with Bob Marley, Fred Locks, Dillinger, Jacob Miller, Horace Andy and scores more.\n\nThe dancehall era found him working with artists like Junior Delgado, Prince Jammy, Dawn Penn, Yami Bolo and others, as well as touring all over the world. He died at 44 of a collapsed lung. If you know the sound of the melodica, it very well may be because of Pablo making it a popular instrument.",
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      "html": "<p><img src=\"/images/augustuspablo_01_large.jpg\" alt=\"\"></p>\n<p>Definitely the world’s most famous melodica player, <strong>Augustus Pablo</strong> was a crucial figure on the reggae and dub scene for two-plus decades. Born Horace Swaby in Jamaica, he learned organ and keyboards while in school before becoming addicted to playing the melodica, a free-reed mouth keyboard mostly used as a tool to teach children music.</p>\n<p>While still a teenager he cut his earliest sides in ‘71 for Aquarius Records, taking on the name “Augustus Pablo”, which had previously been used by other musicians for records on the label. He began working with Randy’s and other labels and “East Of The River Nile” became a minor hit before “Java” became a massive one in ‘72.</p>\n<p>He continued recording for various producers such as Lee Perry, Keith Hudson, John Holt, Gussie Clark, Bunny Lee and Clive &#x26; Leonard Chin before starting his own companies. He hooked up with King Tubby and Hugh Mundell on some classic records in the mid-’70s, as well as work with Bob Marley, Fred Locks, Dillinger, Jacob Miller, Horace Andy and scores more.</p>\n<p>The dancehall era found him working with artists like Junior Delgado, Prince Jammy, Dawn Penn, Yami Bolo and others, as well as touring all over the world. He died at 44 of a collapsed lung. If you know the sound of the melodica, it very well may be because of Pablo making it a popular instrument.</p>",
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          "date": "June 21, 2017",
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    "id": "francisco-kako-bastar-june-21-1936-july-29-1994",
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      "title": "Francisco \"Kako\" Bastar / June 21, 1936 - July 29, 1994",
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    "body": "**![](/images/portrait_large.jpg)**\n\n**Kako** was a well-respected percussionist, dancer and bandleader in the Latin music scene starting in the '50s. A Puerto Rican who moved to NYC, he played timbales, congas, bongos & quinto for Tito Puente, Arsenio Rodriguez, Mon Rivera, Mongo Santamaria, Charlie Palmieri, Patato Valdez and others, as well as working in a multi-capacity role (session musician, composer, talent scout, A&R, executive) for Alegre Records. He recorded as a leader and also helped put together the Alegre All-Stars (the format of which was copied from the old Cuban descarga sessions but became more famous for the Fania All-Stars later on), who released several albums featuring Kako.\n\nIn the late '60s he started recording for other labels like Musicor, Salsa, Tico, Cesta, T.R., Gema and others. Collaborations with Totico, Cortijo, Azuquita and others followed before he found himself in Machito's band in the late '70s. Starting in the '80s he was somewhat more low profile, mostly playing in a band with his son Richie Bastar before Kako's passing in '94, shortly after an Alegre All-Stars 4th of July reunion he was too ill to play.",
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      "html": "<p><strong><img src=\"/images/portrait_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Kako</strong> was a well-respected percussionist, dancer and bandleader in the Latin music scene starting in the ’50s. A Puerto Rican who moved to NYC, he played timbales, congas, bongos &#x26; quinto for Tito Puente, Arsenio Rodriguez, Mon Rivera, Mongo Santamaria, Charlie Palmieri, Patato Valdez and others, as well as working in a multi-capacity role (session musician, composer, talent scout, A&#x26;R, executive) for Alegre Records. He recorded as a leader and also helped put together the Alegre All-Stars (the format of which was copied from the old Cuban descarga sessions but became more famous for the Fania All-Stars later on), who released several albums featuring Kako.</p>\n<p>In the late ’60s he started recording for other labels like Musicor, Salsa, Tico, Cesta, T.R., Gema and others. Collaborations with Totico, Cortijo, Azuquita and others followed before he found himself in Machito’s band in the late ’70s. Starting in the ’80s he was somewhat more low profile, mostly playing in a band with his son Richie Bastar before Kako’s passing in ‘94, shortly after an Alegre All-Stars 4th of July reunion he was too ill to play.</p>",
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          "date": "June 21, 2017",
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    "id": "eric-dolphy-june-20-1928-june-29-1964",
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      "title": "Eric Dolphy / June 20, 1928 - June 29, 1964",
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      "date": "2017-06-20T00:00:00.000Z"
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    "body": "![](/images/f18ab5f58bbae3873521ab7dc89d4c64_large.jpg)\n\nHas anybody ever said a bad thing about **Eric Dolphy**? One of the most respected jazz artists, even if he is not exactly a household name to casual jazz fans, any serious jazz head loves him, as well as every single musician that ever came into contact with him. He was known to give his last dollar to struggling musicians in gestures of kindness and compassion. He even gave so much to the groups he worked in that his own career as a leader was woefully brief. He was an amazing composer, improviser, alto saxophonist, flautist and pioneered the use of bass clarinet as a modern jazz instrument. He mastered all three of the instruments and was an early practitioner of unaccompanied solo improvising.\n\nHe was born to Panamanian parents and grew up in Los Angeles with Charles Mingus. He was a prodigy and early on he played with Clifford Brown, Roy Porter and Gerald Wilson. He joined Chico Hamilton's group in '58 and then moved to NYC. In the early '60s he was a major member of ensembles led by Mingus and John Coltrane, as well as getting in work with Ornette Coleman, Oliver Nelson, Booker Little, Andrew Hill, Max Roach, Abbey Lincoln, Mal Waldron, Gil Evans, George Russell, Ken McIntyre and others.\n\nHe made several classic, forward-thinking albums for Prestige, Blue Note, Douglas and other labels. In '64 he toured as a \"solo\" in Europe, where he had a diabetic seizure. Being a black jazz musician, the hospital assumed he was a junkie and he was not allowed admission. He died, leaving behind a fiancée. His music covered bop, classical, third stream, avant-garde and ethnic musics, and he is considered a major influence on the free jazz movement.",
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      "html": "<p><img src=\"/images/f18ab5f58bbae3873521ab7dc89d4c64_large.jpg\" alt=\"\"></p>\n<p>Has anybody ever said a bad thing about <strong>Eric Dolphy</strong>? One of the most respected jazz artists, even if he is not exactly a household name to casual jazz fans, any serious jazz head loves him, as well as every single musician that ever came into contact with him. He was known to give his last dollar to struggling musicians in gestures of kindness and compassion. He even gave so much to the groups he worked in that his own career as a leader was woefully brief. He was an amazing composer, improviser, alto saxophonist, flautist and pioneered the use of bass clarinet as a modern jazz instrument. He mastered all three of the instruments and was an early practitioner of unaccompanied solo improvising.</p>\n<p>He was born to Panamanian parents and grew up in Los Angeles with Charles Mingus. He was a prodigy and early on he played with Clifford Brown, Roy Porter and Gerald Wilson. He joined Chico Hamilton’s group in ‘58 and then moved to NYC. In the early ’60s he was a major member of ensembles led by Mingus and John Coltrane, as well as getting in work with Ornette Coleman, Oliver Nelson, Booker Little, Andrew Hill, Max Roach, Abbey Lincoln, Mal Waldron, Gil Evans, George Russell, Ken McIntyre and others.</p>\n<p>He made several classic, forward-thinking albums for Prestige, Blue Note, Douglas and other labels. In ‘64 he toured as a “solo” in Europe, where he had a diabetic seizure. Being a black jazz musician, the hospital assumed he was a junkie and he was not allowed admission. He died, leaving behind a fiancée. His music covered bop, classical, third stream, avant-garde and ethnic musics, and he is considered a major influence on the free jazz movement.</p>",
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          "title": "Eric Dolphy / June 20, 1928 - June 29, 1964",
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          "date": "June 20, 2017",
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    "id": "jim-pepper-june-18-1941-feb-10-1992",
    "data": {
      "title": "Jim Pepper / June 18, 1941 - Feb 10, 1992",
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    "body": "![](/images/pepper032_large.jpg)\n\nThe great Kaw/Creek saxophonist **Jim Pepper** was born today in 1941. His career covered jazz, pop, R&B, psychedelic rock and indigenous music and he is best known to '60s pop music fans as the composer of \"Witchi-Tai-To\". He also played clarinet, flute, sang and tap-danced.\n\nPepper grew up in Portland OR and his first band of note was the Free Spirits, a mid-'60s NYC-based group that was one of the very earliest to explicitly fuse rock and jazz. The group also had Larry Coryell, Bob Moses & Chris Hills as members. They made a killer album in 1967 for ABC Records called _Out Of Sight And Sound_. Despite the fact that the album was a memorably insane and fun fusion of pop and horns that pre-dated that Blood, Sweat & Tears dreck (not to mention Miles Davis), the real story is the band's far-out jazz-rock explorations that didn't see the light of day until much later. The band's LP painted them as more of a \"pop\" band but that was because label execs didn't think they could market the long improvisations the band was doing live at the time. (Check out '67 recordings the Free Spirits _Live at the Scene_ and Bob Moses' _Love Animal_ , containing most of the Free Spirits line-up, both released decades later).\n\nHis friends Don Cherry and Ornette Coleman encouraged him to reflect his Native roots in his music and \"Witchi-Tai-To\" became a pop hit and was covered many times (including an unreleased version by The Supremes!). After a stint in the Free Spirits offshoot band Everything Is Everything (and appearances on recordings by Classics IV and The Fugs) he focused on a career as a jazz artist, working with Cherry, Mal Waldron, Dewey Redman, Bill Frissell, Nana Vasconcelos, Coryell, Hamid Drake, Colin Wolcott, Charlie Haden, John Scofield, Paul Motian and many others. He also played at pow-wows, continued to heavily feature Native concepts in his music and was a supporter of the American Indian Movement. He spent his final years in Austria.",
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      "html": "<p><img src=\"/images/pepper032_large.jpg\" alt=\"\"></p>\n<p>The great Kaw/Creek saxophonist <strong>Jim Pepper</strong> was born today in 1941. His career covered jazz, pop, R&#x26;B, psychedelic rock and indigenous music and he is best known to ’60s pop music fans as the composer of “Witchi-Tai-To”. He also played clarinet, flute, sang and tap-danced.</p>\n<p>Pepper grew up in Portland OR and his first band of note was the Free Spirits, a mid-’60s NYC-based group that was one of the very earliest to explicitly fuse rock and jazz. The group also had Larry Coryell, Bob Moses &#x26; Chris Hills as members. They made a killer album in 1967 for ABC Records called <em>Out Of Sight And Sound</em>. Despite the fact that the album was a memorably insane and fun fusion of pop and horns that pre-dated that Blood, Sweat &#x26; Tears dreck (not to mention Miles Davis), the real story is the band’s far-out jazz-rock explorations that didn’t see the light of day until much later. The band’s LP painted them as more of a “pop” band but that was because label execs didn’t think they could market the long improvisations the band was doing live at the time. (Check out ‘67 recordings the Free Spirits <em>Live at the Scene</em> and Bob Moses’ <em>Love Animal</em> , containing most of the Free Spirits line-up, both released decades later).</p>\n<p>His friends Don Cherry and Ornette Coleman encouraged him to reflect his Native roots in his music and “Witchi-Tai-To” became a pop hit and was covered many times (including an unreleased version by The Supremes!). After a stint in the Free Spirits offshoot band Everything Is Everything (and appearances on recordings by Classics IV and The Fugs) he focused on a career as a jazz artist, working with Cherry, Mal Waldron, Dewey Redman, Bill Frissell, Nana Vasconcelos, Coryell, Hamid Drake, Colin Wolcott, Charlie Haden, John Scofield, Paul Motian and many others. He also played at pow-wows, continued to heavily feature Native concepts in his music and was a supporter of the American Indian Movement. He spent his final years in Austria.</p>",
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          "date": "June 18, 2017",
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    "id": "erroll-garner-june-15-1923-jan-2-1977",
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      "title": "Erroll Garner / June 15, 1923 - Jan 2, 1977",
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    "body": "![](/images/errollGarner_large.jpg)\n\nHappy birthday to the revered pianist **Erroll Garner** , who inspired many future players to come and wrote the infamous \"Misty\". From Pittsburgh, he played early on with Charlie Parker and Slam Stewart before finding himself in his own world-renowned career, performing solo concerts of mesmerizing exploration of themes. He also often played in his trio.\n\nHe was a popular attraction, appeared on TV many times. I also love how he had to sit on phone books at the piano, given how short he was. His tune \"Misty\" was one of the obsessions in the disturbingly psychotic Clint Eastwood flick _Play Misty For Me_.",
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      "html": "<p><img src=\"/images/errollGarner_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the revered pianist <strong>Erroll Garner</strong> , who inspired many future players to come and wrote the infamous “Misty”. From Pittsburgh, he played early on with Charlie Parker and Slam Stewart before finding himself in his own world-renowned career, performing solo concerts of mesmerizing exploration of themes. He also often played in his trio.</p>\n<p>He was a popular attraction, appeared on TV many times. I also love how he had to sit on phone books at the piano, given how short he was. His tune “Misty” was one of the obsessions in the disturbingly psychotic Clint Eastwood flick <em>Play Misty For Me</em>.</p>",
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    "id": "jaki-byard-june-15-1922-feb-11-1999",
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      "title": "Jaki Byard / June 15, 1922 - Feb 11, 1999",
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    "body": "![](/images/923694118_large.jpg)\n\nMassachusetts native **Jaki Byard** brought a wide range of styles and a dose of good fun into his piano playing. Also a saxophonist (often at the same time as piano!), he worked with Charles Mingus, Eric Dolphy, Art Blakey, Roland Kirk, Sam Rivers, Charlie Mariano, Quincy Jones (on the groovy _Smackwater Jack_), Booker Ervin, Elvin Jones and others, including a duet record with Earl Hines. He even filled in for Duke Ellington at times when the leader was ill!\n\nHe had been an educator in colleges since the late '60s and continued to record and tour around the world. Disturbingly, he was murdered in his home at the age of 76, by a gunman for reasons still unknown. I had seen one of his final concerts just a few months before. But his music lives on. He always maintained some old school styles but worked them into more modern concepts.",
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      "html": "<p><img src=\"/images/923694118_large.jpg\" alt=\"\"></p>\n<p>Massachusetts native <strong>Jaki Byard</strong> brought a wide range of styles and a dose of good fun into his piano playing. Also a saxophonist (often at the same time as piano!), he worked with Charles Mingus, Eric Dolphy, Art Blakey, Roland Kirk, Sam Rivers, Charlie Mariano, Quincy Jones (on the groovy <em>Smackwater Jack</em>), Booker Ervin, Elvin Jones and others, including a duet record with Earl Hines. He even filled in for Duke Ellington at times when the leader was ill!</p>\n<p>He had been an educator in colleges since the late ’60s and continued to record and tour around the world. Disturbingly, he was murdered in his home at the age of 76, by a gunman for reasons still unknown. I had seen one of his final concerts just a few months before. But his music lives on. He always maintained some old school styles but worked them into more modern concepts.</p>",
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    "id": "miguel-anga-diaz-june-15-1961-aug-9-2006",
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      "title": "Miguel \"Angá\" Diaz / June 15, 1961 - Aug 9, 2006",
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    "body": "![](/images/Anga_large.jpg)\n\nA huge talent lost much too early, **Angá** was an ace Cuban percussionist who employed an army of congas, as well as timbales and other percussion instruments. A lifelong follower of Santería, he was born in Pinar del Rió, Cuba, to a musical family. He played professionally with jazz group Opus 13 while studying college before joining the greatest Cuban group of all time, Irakere, in 1987.\n\nHe's worked with _Buena Vista Social Club_ (and member projects), hiphop group Orishas, trumpeter Roy Hargrove, Afro-Cuban legend Tata Güines, progressive jazz pianist Omar Sosa, Malian jeli musician Baba Sissoko, avant-jazz/M-Base saxophonist Steve Coleman and that GREAT funky Cuban jazz-fusion album by Orlando \"Cachaito\" Lopez. Angá's own album, _Echu Mingua_ , also brought a similar funky/modernist spirit to the game, including Cachaito on this album (in my opinion, these two albums are a pair) and they covered a lot of musical ground, even releasing a 12\" of \"A Love Supreme\".\n\nHe died, unexpetedly, of a heart attack in Spain. At the time, he was working on material fusing Brazilian and Afro-Cuban music. His twin daughters are the new world music sensations Ibeyi.",
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      "html": "<p><img src=\"/images/Anga_large.jpg\" alt=\"\"></p>\n<p>A huge talent lost much too early, <strong>Angá</strong> was an ace Cuban percussionist who employed an army of congas, as well as timbales and other percussion instruments. A lifelong follower of Santería, he was born in Pinar del Rió, Cuba, to a musical family. He played professionally with jazz group Opus 13 while studying college before joining the greatest Cuban group of all time, Irakere, in 1987.</p>\n<p>He’s worked with <em>Buena Vista Social Club</em> (and member projects), hiphop group Orishas, trumpeter Roy Hargrove, Afro-Cuban legend Tata Güines, progressive jazz pianist Omar Sosa, Malian jeli musician Baba Sissoko, avant-jazz/M-Base saxophonist Steve Coleman and that GREAT funky Cuban jazz-fusion album by Orlando “Cachaito” Lopez. Angá’s own album, <em>Echu Mingua</em> , also brought a similar funky/modernist spirit to the game, including Cachaito on this album (in my opinion, these two albums are a pair) and they covered a lot of musical ground, even releasing a 12” of “A Love Supreme”.</p>\n<p>He died, unexpetedly, of a heart attack in Spain. At the time, he was working on material fusing Brazilian and Afro-Cuban music. His twin daughters are the new world music sensations Ibeyi.</p>",
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    "id": "ahmad-zahir-june-14-1946-june-14-1979",
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      "title": "Ahmad Zahir / June 14, 1946 - June 14, 1979",
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      "date": "2017-06-14T00:00:00.000Z"
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    "body": "![](/images/th_6e62424b-5a4e-425e-84d4-70decffbe5ef_large.jpg)\n\nThe west is just recently starting to hear the popular Afghan singer **Ahmad Zahir** , bringing rock influence to Afghanistan. Born in Kabul on Jauza 24, 1325 (according to Jalili calendar) to a Pashtun family, he came from an educated lot and was training to be a teacher before taking the road to music. He recorded Persian poems, set to folk-pop music with heavy reverb and wah-wah guitar (some of which current reviewers are calling \"psychedelic\"), as well as songs deeply critical of the Marxist government in the '70s.\n\nDespite his popularity, many of his recordings were censored or destroyed. His life was taken on his 33rd birthday, officially announced as a car accident but rumors of assassination persist. He remains the country's biggest music icon. The reissues currently available in the West are benefits for women's rights organizations in Afghanistan.\n\n**_Special thanks to Abed in Germany for the video recommendations._**",
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      "html": "<p><img src=\"/images/th_6e62424b-5a4e-425e-84d4-70decffbe5ef_large.jpg\" alt=\"\"></p>\n<p>The west is just recently starting to hear the popular Afghan singer <strong>Ahmad Zahir</strong> , bringing rock influence to Afghanistan. Born in Kabul on Jauza 24, 1325 (according to Jalili calendar) to a Pashtun family, he came from an educated lot and was training to be a teacher before taking the road to music. He recorded Persian poems, set to folk-pop music with heavy reverb and wah-wah guitar (some of which current reviewers are calling “psychedelic”), as well as songs deeply critical of the Marxist government in the ’70s.</p>\n<p>Despite his popularity, many of his recordings were censored or destroyed. His life was taken on his 33rd birthday, officially announced as a car accident but rumors of assassination persist. He remains the country’s biggest music icon. The reissues currently available in the West are benefits for women’s rights organizations in Afghanistan.</p>\n<p><strong><em>Special thanks to Abed in Germany for the video recommendations.</em></strong></p>",
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          "date": "June 14, 2017",
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    "id": "hugh-mundell-june-14-1962-oct-14-1983",
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      "title": "Hugh Mundell / June 14, 1962 - Oct 14, 1983",
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    "body": "![](/images/4605a5caa21f1ac394150032e65b3369_large.jpg)\n\nHappy born day to Jamaican roots singer **Hugh Mundell** , most famous for the classic \"Africa Must Be Free By 1983\". Born in East Kingston, Jamaica, he grew up with Earl Sixteen, Winston McAnuff and Wayne Wade. He cut an unreleased tune for Joe Gibbs, after which Mundell hooked up with Augustus Pablo for a bunch of productions from '75-78, becoming his _Africa Must Be Free_ album. Mundell wrote all the tracks and two of them were recorded at Lee Perry's Black Ark studio.\n\nHe performed just a handful of concerts in the Caribbean, US, UK and France. He also worked the sound systems and recorded under the alias of Jah Levi. He produced several of his own recordings, as well as those of his protege Junior Reid, who was in the backseat of the car when Mundell was shot to death at 21. His first album remains an all-time roots classic.",
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      "html": "<p><img src=\"/images/4605a5caa21f1ac394150032e65b3369_large.jpg\" alt=\"\"></p>\n<p>Happy born day to Jamaican roots singer <strong>Hugh Mundell</strong> , most famous for the classic “Africa Must Be Free By 1983”. Born in East Kingston, Jamaica, he grew up with Earl Sixteen, Winston McAnuff and Wayne Wade. He cut an unreleased tune for Joe Gibbs, after which Mundell hooked up with Augustus Pablo for a bunch of productions from ‘75-78, becoming his <em>Africa Must Be Free</em> album. Mundell wrote all the tracks and two of them were recorded at Lee Perry’s Black Ark studio.</p>\n<p>He performed just a handful of concerts in the Caribbean, US, UK and France. He also worked the sound systems and recorded under the alias of Jah Levi. He produced several of his own recordings, as well as those of his protege Junior Reid, who was in the backseat of the car when Mundell was shot to death at 21. His first album remains an all-time roots classic.</p>",
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