News & Updates

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  {
    "id": "junior-walker-june-14-1931-nov-23-1995",
    "data": {
      "title": "Junior Walker / June 14, 1931 - Nov 23, 1995",
      "slug": "junior-walker-june-14-1931-nov-23-1995",
      "date": "2017-06-14T00:00:00.000Z"
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    "body": "![](/images/MI0001340986_large.jpg)\n\nWhile he was much more than a two-trick pony, **Junior Walker** nevertheless can be immediately recognizable as a distinct saxophonist for the tunes \"Shotgun\" by his Jr Walker & the All-Stars and his guest appearance with his iconic solo on Foreigner's \"Urgent\".\n\nHe got his professional start playing jazz & R&B in his hometown of South Bend, IN before moving onto to Battle Creek, MI. His group signed with Harvey Fuqua as a producer in '61, with the group now being called Junior Walker & the All-Stars, before being bought out by Motown in '64. With members of the Funk Brothers now in the fold, the group hit big in '65 with \"Shotgun\", a #1 R&B hit. Another lasting hit, \"What Does It Take (To Win Your Love)\", came in '69 as DJs picked up a song originally rejected by label brass for a single.\n\nHe worked with Brian Holland during the disco years and by '79 Walker had broken up the All-Stars and signed to Norman Whitfield's label Whitfield Records, achieving minimal success, before bringing back the All-Stars in the '80s. The collaboration with Foreigner happened when someone in the studio during the recording of \"Urgent\" suggested they add a sax, a \"Junior Walker-type guy\". As fate would have it, a member of Foreigner noted that Walker was playing in a club down the block. So they went and made him an offer he couldn't refuse and the rest is history. The '80s found Walker back on Motown, appearing in Madonna flicks and guesting on _Saturday Night Live_.",
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      "html": "<p><img src=\"/images/MI0001340986_large.jpg\" alt=\"\"></p>\n<p>While he was much more than a two-trick pony, <strong>Junior Walker</strong> nevertheless can be immediately recognizable as a distinct saxophonist for the tunes “Shotgun” by his Jr Walker &#x26; the All-Stars and his guest appearance with his iconic solo on Foreigner’s “Urgent”.</p>\n<p>He got his professional start playing jazz &#x26; R&#x26;B in his hometown of South Bend, IN before moving onto to Battle Creek, MI. His group signed with Harvey Fuqua as a producer in ‘61, with the group now being called Junior Walker &#x26; the All-Stars, before being bought out by Motown in ‘64. With members of the Funk Brothers now in the fold, the group hit big in ‘65 with “Shotgun”, a #1 R&#x26;B hit. Another lasting hit, “What Does It Take (To Win Your Love)”, came in ‘69 as DJs picked up a song originally rejected by label brass for a single.</p>\n<p>He worked with Brian Holland during the disco years and by ‘79 Walker had broken up the All-Stars and signed to Norman Whitfield’s label Whitfield Records, achieving minimal success, before bringing back the All-Stars in the ’80s. The collaboration with Foreigner happened when someone in the studio during the recording of “Urgent” suggested they add a sax, a “Junior Walker-type guy”. As fate would have it, a member of Foreigner noted that Walker was playing in a club down the block. So they went and made him an offer he couldn’t refuse and the rest is history. The ’80s found Walker back on Motown, appearing in Madonna flicks and guesting on <em>Saturday Night Live</em>.</p>",
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          "title": "Junior Walker / June 14, 1931 - Nov 23, 1995",
          "pagination": "https://www.peaceandrhythm.com/?page=45",
          "date": "June 14, 2017",
          "post": "Junior Walker / June 14, 1931 - Nov 23, 1995",
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  {
    "id": "papa-wemba-june-14-1949-april-24-2016",
    "data": {
      "title": "Papa Wemba / June 14, 1949 - April 24, 2016",
      "slug": "papa-wemba-june-14-1949-april-24-2016",
      "date": "2017-06-14T00:00:00.000Z"
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    "body": "![](/images/Papa-Wemba_cr-Douglas-Kirkland-004-MF-734x606_large.jpg)\n\nCongolese rumba/soukous superstar **Papa Wemba** (Shungu Wembadio before 1975) was \"the King of Rumba Rock\". A singer, musician, bandleader (indeed his entourage of hundreds ultimately got him into trouble--look it up for yourself) and fashion icon, he had a long and successful international career. He had several ensembles in his early career that blended Congolese folk sounds with Caribbean and pop music. He blew up worldwide in the early '80s with his afro-pop group Viva La Musica (a named inspired by seeing the Fania All-Stars in Kinshasa), which had young Koffi Olomide as a composer.\n\nIn '77 he started the Molokai commune and declared himself the chief. His music with Viva La Musica brought electronics into the sound, to go with the soukous, rumba, ndombolo, soul and Latin/Caribbean flavors. In '83 he toured with Peter Gabriel and continued to be a champion of both traditional African music and fusion forms. Papa did a couple of jail stints, one of which was for screwing the General's daughter. He did some acting to go along with a music career. He remained an extremely popular African artist til the day he died performing onstage in the Ivory Coast in 2016.",
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      "html": "<p><img src=\"/images/Papa-Wemba_cr-Douglas-Kirkland-004-MF-734x606_large.jpg\" alt=\"\"></p>\n<p>Congolese rumba/soukous superstar <strong>Papa Wemba</strong> (Shungu Wembadio before 1975) was “the King of Rumba Rock”. A singer, musician, bandleader (indeed his entourage of hundreds ultimately got him into trouble—look it up for yourself) and fashion icon, he had a long and successful international career. He had several ensembles in his early career that blended Congolese folk sounds with Caribbean and pop music. He blew up worldwide in the early ’80s with his afro-pop group Viva La Musica (a named inspired by seeing the Fania All-Stars in Kinshasa), which had young Koffi Olomide as a composer.</p>\n<p>In ‘77 he started the Molokai commune and declared himself the chief. His music with Viva La Musica brought electronics into the sound, to go with the soukous, rumba, ndombolo, soul and Latin/Caribbean flavors. In ‘83 he toured with Peter Gabriel and continued to be a champion of both traditional African music and fusion forms. Papa did a couple of jail stints, one of which was for screwing the General’s daughter. He did some acting to go along with a music career. He remained an extremely popular African artist til the day he died performing onstage in the Ivory Coast in 2016.</p>",
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          "title": "Papa Wemba / June 14, 1949 - April 24, 2016",
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          "date": "June 14, 2017",
          "post": "Papa Wemba / June 14, 1949 - April 24, 2016",
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  {
    "id": "arlester-dyke-christian-6-13-43-3-13-71",
    "data": {
      "title": "Arlester \"Dyke\" Christian 6/13/43-3/13/71",
      "slug": "arlester-dyke-christian-6-13-43-3-13-71",
      "date": "2017-06-13T00:00:00.000Z"
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    "body": "![](/images/Dyke-Christian_large.jpg)\n\nOne of my very favorite bands, Dyke & the Blazers, were founded by Buffalo native **Arlester \"Dyke\" Christian** in 1965. One of the only bands that James Brown was worried about as competitors, these guys had a raw, hard, street funk sound.\n\nDyke played bass in Carl LaRue & His Crew, gigging around the rust belt and releasing a couple of 45s on the Buffalo-based KKC label in the early '60s. The Crew went to Phoenix to back the O'Jays but found the gig to be a dud and three members of the band (Dyke included) were stranded in the Southwest. They hooked up with a group called The Three Blazers and thus they became Dyke & The Blazers.\n\nDyke and his band wrote and cut the original version of \"Funky Broadway\" (every town has one!) and in '66 the record hit the streets and became a crossover pop hit. Reputedly the first song with \"funky\" in the title, the song was banned on some stations for that severe offense alone. The band started touring heavily and burned out. Dyke found himself in L.A., recording joints under the Dyke & the Blazers name, using musicians like Charles Wright and future Earth, Wind & Fire members. The band jammed on long funk improvisations and edited the tunes down to 45 length (longer versions became available in the 2000s). \"Let A Woman Be A Woman\" (a huge hiphop sample to be) and \"We Got More Soul\" were big hits.\n\nStunningly, Dyke was shot to death in a Phoenix street at the age of 27. As JB became the standard-bearer and hundreds of generic funk 45s have started fetching high collector prices and grabbing attention from millennials who no longer have a solid understanding of foundational artists, it could seem easy to forget that Dyke & the Blazers were right there at the start of the revolution, challenging the king right out of the gate and leaving recordings of the NASTIEST funk this side of JB. A true musical revolutionary who's life & career (and violent end) is a story deserving of a biopic or book.",
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      "html": "<p><img src=\"/images/Dyke-Christian_large.jpg\" alt=\"\"></p>\n<p>One of my very favorite bands, Dyke &#x26; the Blazers, were founded by Buffalo native <strong>Arlester “Dyke” Christian</strong> in 1965. One of the only bands that James Brown was worried about as competitors, these guys had a raw, hard, street funk sound.</p>\n<p>Dyke played bass in Carl LaRue &#x26; His Crew, gigging around the rust belt and releasing a couple of 45s on the Buffalo-based KKC label in the early ’60s. The Crew went to Phoenix to back the O’Jays but found the gig to be a dud and three members of the band (Dyke included) were stranded in the Southwest. They hooked up with a group called The Three Blazers and thus they became Dyke &#x26; The Blazers.</p>\n<p>Dyke and his band wrote and cut the original version of “Funky Broadway” (every town has one!) and in ‘66 the record hit the streets and became a crossover pop hit. Reputedly the first song with “funky” in the title, the song was banned on some stations for that severe offense alone. The band started touring heavily and burned out. Dyke found himself in L.A., recording joints under the Dyke &#x26; the Blazers name, using musicians like Charles Wright and future Earth, Wind &#x26; Fire members. The band jammed on long funk improvisations and edited the tunes down to 45 length (longer versions became available in the 2000s). “Let A Woman Be A Woman” (a huge hiphop sample to be) and “We Got More Soul” were big hits.</p>\n<p>Stunningly, Dyke was shot to death in a Phoenix street at the age of 27. As JB became the standard-bearer and hundreds of generic funk 45s have started fetching high collector prices and grabbing attention from millennials who no longer have a solid understanding of foundational artists, it could seem easy to forget that Dyke &#x26; the Blazers were right there at the start of the revolution, challenging the king right out of the gate and leaving recordings of the NASTIEST funk this side of JB. A true musical revolutionary who’s life &#x26; career (and violent end) is a story deserving of a biopic or book.</p>",
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          "title": "Arlester \"Dyke\" Christian 6/13/43-3/13/71",
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          "date": "June 13, 2017",
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  {
    "id": "attila-zoller-june-13-1927-jan-25-1998",
    "data": {
      "title": "Attila Zoller / June 13, 1927 - Jan 25, 1998",
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      "date": "2017-06-13T00:00:00.000Z"
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    "body": "![](/images/bc8ce6235027bf7bb792f6b1831920e3_large.jpg)\n\nAn underrated jazz guitarist (and a custom instrument-builder), **Attila Zoller** was from Hungary. He started playing jazz in Budapest after WW2. After picking up his chops he went to Austria in '48 and then Germany in '54, where he played with notables Jutta Hipp and Albert Mangelsdorff. He backed several visiting American jazz musicians and in '59 won a scholarship to the Lenox School of Jazz in Western Massachusetts.\n\nWhile at Lenox he was roommates with iconoclasts Ornette Coleman and Don Cherry. He worked with Benny Goodman, Herbie Mann and Chico Hamilton, as well as cutting music for films before forming his own avant-garde group in '65. He put himself together a nice international career playing with Oscar Pettiford, Jimi Hendrix, Herbie Hancock, Cal Tjader, Lee Konitz and others. In 1985 he founded the Vermont Jazz Center, an institution in New England jazz and a place I have been to many, many times. Indeed, the Center has continued to thrive long after Zoller's passing.",
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      "html": "<p><img src=\"/images/bc8ce6235027bf7bb792f6b1831920e3_large.jpg\" alt=\"\"></p>\n<p>An underrated jazz guitarist (and a custom instrument-builder), <strong>Attila Zoller</strong> was from Hungary. He started playing jazz in Budapest after WW2. After picking up his chops he went to Austria in ‘48 and then Germany in ‘54, where he played with notables Jutta Hipp and Albert Mangelsdorff. He backed several visiting American jazz musicians and in ‘59 won a scholarship to the Lenox School of Jazz in Western Massachusetts.</p>\n<p>While at Lenox he was roommates with iconoclasts Ornette Coleman and Don Cherry. He worked with Benny Goodman, Herbie Mann and Chico Hamilton, as well as cutting music for films before forming his own avant-garde group in ‘65. He put himself together a nice international career playing with Oscar Pettiford, Jimi Hendrix, Herbie Hancock, Cal Tjader, Lee Konitz and others. In 1985 he founded the Vermont Jazz Center, an institution in New England jazz and a place I have been to many, many times. Indeed, the Center has continued to thrive long after Zoller’s passing.</p>",
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          "title": "Attila Zoller / June 13, 1927 - Jan 25, 1998",
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  {
    "id": "lyn-collins-june-12-1948-march-13-2005",
    "data": {
      "title": "Lyn Collins / June 12, 1948 - March 13, 2005",
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      "date": "2017-06-12T00:00:00.000Z"
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    "body": "![](/images/p01bqp3d_large.jpg)\n\nBig time funky birthday shout-out to the Female Preacher, goddess of funk, **Lyn Collins**. One of the James Brown divas and the voice responsible for \"Think (About It)\", one of the greatest tunes in the JB canon and a HEAVILY sampled tune, most famously in \"It Takes Two\" by Rob Base.\n\nTexas-born, she made her local recording debut at 14 and came into Brown's gang in the early '70s, replacing Marva Whitney. She recorded several great singles and a couple of albums with Brown as producer before working as a session vocalist (including for the TV show _Fame_). She cut some house/dance records in the late '80s/early '90s (and even contributed to Patra's dancehall remake of her big hit) and saw her records reissued. She continued touring the international festival circuit until her death at 56.",
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      "html": "<p><img src=\"/images/p01bqp3d_large.jpg\" alt=\"\"></p>\n<p>Big time funky birthday shout-out to the Female Preacher, goddess of funk, <strong>Lyn Collins</strong>. One of the James Brown divas and the voice responsible for “Think (About It)”, one of the greatest tunes in the JB canon and a HEAVILY sampled tune, most famously in “It Takes Two” by Rob Base.</p>\n<p>Texas-born, she made her local recording debut at 14 and came into Brown’s gang in the early ’70s, replacing Marva Whitney. She recorded several great singles and a couple of albums with Brown as producer before working as a session vocalist (including for the TV show <em>Fame</em>). She cut some house/dance records in the late ’80s/early ’90s (and even contributed to Patra’s dancehall remake of her big hit) and saw her records reissued. She continued touring the international festival circuit until her death at 56.</p>",
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          "title": "Lyn Collins / June 12, 1948 - March 13, 2005",
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          "date": "June 12, 2017",
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  {
    "id": "howlin-wolf-june-10-1910-jan-10-1976",
    "data": {
      "title": "Howlin' Wolf / June 10, 1910 - Jan 10, 1976",
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      "date": "2017-06-10T00:00:00.000Z"
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    "body": "![](/images/howlin-wolf-2_large.jpg)\n\nAn OG proto-punk, Chester Burnett aka **\"Howlin' Wolf\"** was born on this day in 1910. In my opinion, one of the meanest sounds to ever grace records was his distinctively nasty growling voice and his raging tunes. \"Smokestack Lightnin\", \"Moanin' At Midnight\", \"Evil\", \"Spoonful\", \"Killin Floor\"...dosn't get any sicker!\n\nHe came from Mississippi and learned guitar from Charley Patton, learned harmonica from Sonny Boy Williamson II and his vocal style was influenced by Jimmie Rodgers. In '51 he recorded for Sam Phillips in Memphis and moved to Chicago the next year to record for Chess. In the '50s he learned to read and got his GED. Wolf developed a reputation of fair pay for his musicians, including contributions into his sidemen's retirement funds. Thus, he was able to attract the best talent, including a decades-long employment of Hubert Sumlin.\n\nHe found an audience with young rockers and toured Europe for the first time in '64 and continued to be successful for the remainder of his playing days. A 1970 car accident damaged his kidneys, which limited his ability to tour. He died in '76, from complications from kidney surgery.\n\nAs well as his vicious music, he was much-respected as a businessman and was a dedicated family man. His music helped lay the foundation for rock, metal and even punk and his tunes have been covered (or stolen) by just about every '60s British rocker.",
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      "html": "<p><img src=\"/images/howlin-wolf-2_large.jpg\" alt=\"\"></p>\n<p>An OG proto-punk, Chester Burnett aka <strong>“Howlin’ Wolf”</strong> was born on this day in 1910. In my opinion, one of the meanest sounds to ever grace records was his distinctively nasty growling voice and his raging tunes. “Smokestack Lightnin”, “Moanin’ At Midnight”, “Evil”, “Spoonful”, “Killin Floor”…dosn’t get any sicker!</p>\n<p>He came from Mississippi and learned guitar from Charley Patton, learned harmonica from Sonny Boy Williamson II and his vocal style was influenced by Jimmie Rodgers. In ‘51 he recorded for Sam Phillips in Memphis and moved to Chicago the next year to record for Chess. In the ’50s he learned to read and got his GED. Wolf developed a reputation of fair pay for his musicians, including contributions into his sidemen’s retirement funds. Thus, he was able to attract the best talent, including a decades-long employment of Hubert Sumlin.</p>\n<p>He found an audience with young rockers and toured Europe for the first time in ‘64 and continued to be successful for the remainder of his playing days. A 1970 car accident damaged his kidneys, which limited his ability to tour. He died in ‘76, from complications from kidney surgery.</p>\n<p>As well as his vicious music, he was much-respected as a businessman and was a dedicated family man. His music helped lay the foundation for rock, metal and even punk and his tunes have been covered (or stolen) by just about every ’60s British rocker.</p>",
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          "date": "June 10, 2017",
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  {
    "id": "jackie-wilson-june-9-1934-jan-21-1984",
    "data": {
      "title": "Jackie Wilson / June 9, 1934 - Jan 21, 1984",
      "slug": "jackie-wilson-june-9-1934-jan-21-1984",
      "date": "2017-06-09T00:00:00.000Z"
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    "body": "![](/images/image_large.jpg)\n\nAn exciting singer and entertainer, **Jackie Wilson** was a huge star in his day. He was one of the greatest singers the new genre of \"soul music\" offered in the late '50s/60s. He grew up in the mean streets of Detroit, involved in gangs and drinking at 9. He dropped out of school at 15 to be a boxer and fathered about ten kids before he was married at 17. He quit boxing to be a singer.\n\nHis cousins, whom he collaborated with early on, ended up in The Contours and The Four Tops. His talent caught the ear of producer Johnny Otis and Wilson recorded as \"Sonny Wilson\" for Dizzy Gillespie's Dee-Gee label before joining Billy Ward & His Dominoes (he auditioned as \"Shit Wilson\"!!), of which he stayed with until '57. He then started collaborating with Berry Gordy, who ended up using the money he earned working with Wilson to start Motown.\n\nWilson became an icon of killer stage shows, of which James Brown and Michael Jackson were inspired by. Acrobatics, splits, dancing and those pipes! Elvis Presley took note and the two became good friends. In '61 he survived a gunshot to the stomach by a jealous woman. After cutting records with LaVern Baker and the Count Basie orchestra he made his biggest record yet, the still-popular \"Your Love Keeps Lifting Me (Higher And Higher)\" in '66. However, the murder of his teenage son in '70 sent Wilson into depression. In '75 he collapsed onstage from a heart attack and was in and out of comatose state for nearly ten years before his death at 49. He is remembered as one of the fathers of soul music.",
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      "html": "<p><img src=\"/images/image_large.jpg\" alt=\"\"></p>\n<p>An exciting singer and entertainer, <strong>Jackie Wilson</strong> was a huge star in his day. He was one of the greatest singers the new genre of “soul music” offered in the late ’50s/60s. He grew up in the mean streets of Detroit, involved in gangs and drinking at 9. He dropped out of school at 15 to be a boxer and fathered about ten kids before he was married at 17. He quit boxing to be a singer.</p>\n<p>His cousins, whom he collaborated with early on, ended up in The Contours and The Four Tops. His talent caught the ear of producer Johnny Otis and Wilson recorded as “Sonny Wilson” for Dizzy Gillespie’s Dee-Gee label before joining Billy Ward &#x26; His Dominoes (he auditioned as “Shit Wilson”!!), of which he stayed with until ‘57. He then started collaborating with Berry Gordy, who ended up using the money he earned working with Wilson to start Motown.</p>\n<p>Wilson became an icon of killer stage shows, of which James Brown and Michael Jackson were inspired by. Acrobatics, splits, dancing and those pipes! Elvis Presley took note and the two became good friends. In ‘61 he survived a gunshot to the stomach by a jealous woman. After cutting records with LaVern Baker and the Count Basie orchestra he made his biggest record yet, the still-popular “Your Love Keeps Lifting Me (Higher And Higher)” in ‘66. However, the murder of his teenage son in ‘70 sent Wilson into depression. In ‘75 he collapsed onstage from a heart attack and was in and out of comatose state for nearly ten years before his death at 49. He is remembered as one of the fathers of soul music.</p>",
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          "title": "Jackie Wilson / June 9, 1934 - Jan 21, 1984",
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          "date": "June 09, 2017",
          "post": "Jackie Wilson / June 9, 1934 - Jan 21, 1984",
          "post-href": "https://www.peaceandrhythm.com/blogs/news/jackie-wilson-june-9-1934-jan-21-1984",
          "slug": "jackie-wilson-june-9-1934-jan-21-1984"
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    "id": "johnny-ace-june-9-1929-dec-25-1954",
    "data": {
      "title": "Johnny Ace / June 9, 1929 - Dec 25, 1954",
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      "date": "2017-06-09T00:00:00.000Z"
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    "body": "![](/images/johnny-ace1_large.jpg)\n\nI first heard **Johnny Ace** in key scenes in flicks by Abel Ferrara and Martin Scorsese, that lamenting ballad \"Pledging My Love\" that underscores the wastes of life depicted for Harvey Keitel's character in _Bad Lieutenant_. It was the Memphis singer's biggest hit AFTER a game of Russian Roulette found a victim before his Christmas day show, dead at 25.\n\nHe was a Beale Streeter with BB King and Bobby \"Blue\" Bland and signed to Duke in '52. By 1954 he was one of the best-selling artists in the country, with a string of hits like \"The Clock\", \"My Song\", \"Saving My Love For You, \"Cross My Heart\" and others, touring a year straight with Big Mama Thornton. Apparently, he bought himself a Christmas gift of a brand new '55 Oldsmobile just hours before his death. The Johnny Otis-produced \"Pledging My Love\" attained immortality out of mortality. But we're here to remember the man and his smooth voice, his ballads and his story.",
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      "html": "<p><img src=\"/images/johnny-ace1_large.jpg\" alt=\"\"></p>\n<p>I first heard <strong>Johnny Ace</strong> in key scenes in flicks by Abel Ferrara and Martin Scorsese, that lamenting ballad “Pledging My Love” that underscores the wastes of life depicted for Harvey Keitel’s character in <em>Bad Lieutenant</em>. It was the Memphis singer’s biggest hit AFTER a game of Russian Roulette found a victim before his Christmas day show, dead at 25.</p>\n<p>He was a Beale Streeter with BB King and Bobby “Blue” Bland and signed to Duke in ‘52. By 1954 he was one of the best-selling artists in the country, with a string of hits like “The Clock”, “My Song”, “Saving My Love For You, “Cross My Heart” and others, touring a year straight with Big Mama Thornton. Apparently, he bought himself a Christmas gift of a brand new ‘55 Oldsmobile just hours before his death. The Johnny Otis-produced “Pledging My Love” attained immortality out of mortality. But we’re here to remember the man and his smooth voice, his ballads and his story.</p>",
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          "title": "Johnny Ace / June 9, 1929 - Dec 25, 1954",
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          "date": "June 09, 2017",
          "post": "Johnny Ace / June 9, 1929 - Dec 25, 1954",
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    "id": "skip-james-june-9-1902-oct-3-1969",
    "data": {
      "title": "Skip James / June 9, 1902 - Oct 3, 1969",
      "slug": "skip-james-june-9-1902-oct-3-1969",
      "date": "2017-06-09T00:00:00.000Z"
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    "body": "![](/images/skip_james1_large.jpg)\n\nOne of the great icons, **Skip James** was one of the dark princes of the blues and his songs and guitar style was a huge influence on Robert Johnson. He came from the Mississippi Delta and recorded several sides for Paramount in '31 but they sold poorly during the Depression, yet upon discovery by a newer generation of blues fans leading up to the early '60s he became a legend.\n\nJohn Fahey, Henry Vestine and Bill Barth found James in a Mississippi hospital in '64. That same year he played the Newport Folk Festival which helped kick off the blues revival. Still in good form, he recorded for Fahey's Takoma label, Vanguard and others. His songs ended up being recorded by dozens of some of the biggest names in blues, rock and pop. Not bad for a dude who was largely inactive for thirty years. He died in '69.",
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      "html": "<p><img src=\"/images/skip_james1_large.jpg\" alt=\"\"></p>\n<p>One of the great icons, <strong>Skip James</strong> was one of the dark princes of the blues and his songs and guitar style was a huge influence on Robert Johnson. He came from the Mississippi Delta and recorded several sides for Paramount in ‘31 but they sold poorly during the Depression, yet upon discovery by a newer generation of blues fans leading up to the early ’60s he became a legend.</p>\n<p>John Fahey, Henry Vestine and Bill Barth found James in a Mississippi hospital in ‘64. That same year he played the Newport Folk Festival which helped kick off the blues revival. Still in good form, he recorded for Fahey’s Takoma label, Vanguard and others. His songs ended up being recorded by dozens of some of the biggest names in blues, rock and pop. Not bad for a dude who was largely inactive for thirty years. He died in ‘69.</p>",
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          "title": "Skip James / June 9, 1902 - Oct 3, 1969",
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    "id": "edgar-froese-june-6-1944-jan-20-2015",
    "data": {
      "title": "Edgar Froese / June 6, 1944 - Jan 20, 2015",
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      "date": "2017-06-06T00:00:00.000Z"
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    "body": "![](/images/7a3ee4f0_large.jpg)\n\nThe influential ambient/electronic/new age composer **Edgar Froese** , the figurehead for experimental krautrock band Tangerine Dream, was born on this day (D-Day in '44). He lost his father to the Nazis, but his mother and he ended up in West Berlin after the war.\n\nWhen Froese started Tangerine Dream in '67, he was interested in surrealism, dada, old poetry and free-form rock. Over the course of several decades (and line-up changes) the band would help to define krautrock, new age, ambient, electronica, going from Jimi Hendrix & Pink Floyd-inspired psychedelia to environmental music, classical passages to space rock, soundtracks for film & text to digital sampling. His work with Tangerine Dream has greatly influenced The Orb, Radiohead, Porcupine Tree, DJ Shadow, Rammstein, Pete Namlook and others.",
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      "html": "<p><img src=\"/images/7a3ee4f0_large.jpg\" alt=\"\"></p>\n<p>The influential ambient/electronic/new age composer <strong>Edgar Froese</strong> , the figurehead for experimental krautrock band Tangerine Dream, was born on this day (D-Day in ‘44). He lost his father to the Nazis, but his mother and he ended up in West Berlin after the war.</p>\n<p>When Froese started Tangerine Dream in ‘67, he was interested in surrealism, dada, old poetry and free-form rock. Over the course of several decades (and line-up changes) the band would help to define krautrock, new age, ambient, electronica, going from Jimi Hendrix &#x26; Pink Floyd-inspired psychedelia to environmental music, classical passages to space rock, soundtracks for film &#x26; text to digital sampling. His work with Tangerine Dream has greatly influenced The Orb, Radiohead, Porcupine Tree, DJ Shadow, Rammstein, Pete Namlook and others.</p>",
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          "date": "June 06, 2017",
          "post": "Edgar Froese / June 6, 1944 - Jan 20, 2015",
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    "id": "grant-green-june-6-1935-jan-31-1979",
    "data": {
      "title": "Grant Green / June 6, 1935 - Jan 31, 1979",
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      "date": "2017-06-06T00:00:00.000Z"
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    "body": "![](/images/maxresdefault_b6f2c5e2-913f-454f-a169-c4b0f0e88a5c_large.jpg)\n\nGroovy Guitarist **Grant Green** was a regular presence on Blue Note Records and with funky organ combos. He was rooted in bop, blues and R&B and adapted his sound and approach to many different styles. He was inspired mostly by horn players, although he rarely worked with them. He effortlessly laid down lots of fluid single-note runs, and the only guitarists he seems to have cited as influence were Charlie Christian and Jimmy Raney.\n\nFrom St Louis, was playing in gospel bands by 12, before getting into rock & roll and R&B. He first recorded in '59 with Jimmy Forrest (Elvin Jones was the drummer). Lou Donaldson discovered Green while visiting St Louis and hired him for his band, bringing Grant to NYC and Blue Note Records. He recorded immediately as a leader, yet did contribute greatly as a sideman on several bop sessions for the label.\n\nAs the label grew in popularity and ambition Blue Note placed him in many commercially-oriented contexts: funk, gospel, ballads, country, Latin, Beatles tunes, blaxploitation soundtrack...and he always emerged as a cleanly tasteful player on such gimmicky themes. He even did \"My Favorite Things\" with McCoy Tyner & Elvin on a '64 session (released in Japan in '79).\n\nThe late '60s were a troubling time for Green as his drug addiction took him off the scene, save for a few sessions with Verve and Savoy. He rejoined Blue Note in the '70s, going for a more James Brown/funk direction. And while that was sacrilege to snotty jazz assholes it did create some funky jams that would excite the acid jazz generation and come to be sampled by jazz-loving hiphop producers. He died at 43, having been ravaged by heroin.",
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      "html": "<p><img src=\"/images/maxresdefault_b6f2c5e2-913f-454f-a169-c4b0f0e88a5c_large.jpg\" alt=\"\"></p>\n<p>Groovy Guitarist <strong>Grant Green</strong> was a regular presence on Blue Note Records and with funky organ combos. He was rooted in bop, blues and R&#x26;B and adapted his sound and approach to many different styles. He was inspired mostly by horn players, although he rarely worked with them. He effortlessly laid down lots of fluid single-note runs, and the only guitarists he seems to have cited as influence were Charlie Christian and Jimmy Raney.</p>\n<p>From St Louis, was playing in gospel bands by 12, before getting into rock &#x26; roll and R&#x26;B. He first recorded in ‘59 with Jimmy Forrest (Elvin Jones was the drummer). Lou Donaldson discovered Green while visiting St Louis and hired him for his band, bringing Grant to NYC and Blue Note Records. He recorded immediately as a leader, yet did contribute greatly as a sideman on several bop sessions for the label.</p>\n<p>As the label grew in popularity and ambition Blue Note placed him in many commercially-oriented contexts: funk, gospel, ballads, country, Latin, Beatles tunes, blaxploitation soundtrack…and he always emerged as a cleanly tasteful player on such gimmicky themes. He even did “My Favorite Things” with McCoy Tyner &#x26; Elvin on a ‘64 session (released in Japan in ‘79).</p>\n<p>The late ’60s were a troubling time for Green as his drug addiction took him off the scene, save for a few sessions with Verve and Savoy. He rejoined Blue Note in the ’70s, going for a more James Brown/funk direction. And while that was sacrilege to snotty jazz assholes it did create some funky jams that would excite the acid jazz generation and come to be sampled by jazz-loving hiphop producers. He died at 43, having been ravaged by heroin.</p>",
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    "id": "richard-popcorn-wylie-june-6-1939-spet-7-2008",
    "data": {
      "title": "Richard \"Popcorn\" Wylie / June 6, 1939 - Sept 7, 2008",
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      "date": "2017-06-06T00:00:00.000Z"
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    "body": "![](/images/up-Richard__Popcorn__Wylie_large.jpg)\n\nA Northern Soul legend, **Popcorn Wylie** was one of the earliest contributors to the Motown hit-making machine as an instrumentalist, composer, producer, A&R man and artist. A pianist from Detroit, he grew up with bassist James Jamerson and the two were in a band together as teenagers. That band, Popcorn & the Mohawks, would cut a few singles for Motown in the early '60s before both the future stars got absorbed into the house band, The Funk Brothers.\n\nWylie played on several big hits such as \"Shop Around\" (the Miracles), \"Please Mr Postman\" (Marvellettes), as well as tunes by Marvin Gaye, The Supremes, The Contours, Mary Wells, Vandellas and more. He led the Motown Revue in '62 before he walked out, disappointed with Barry Gordy (what's new?).\n\nIn the mid '60s he cut a few singles for Epic, allegedly featuring members of Sun Ra's Arkestra. He worked with Edwin Starr at Ric-Tic, produced several singles for Golden World, co-composed \"I Spy For The FBI\" and founded a couple of his own labels. He freelanced for several indie soul labels (some of these records would eventually go for big cash), even returning to Motown briefly for his successful '71 hit \"Funky Rubber Band\".\n\nHe cut his _Extrasensory Perception_ album for ABC in '74, an album which would attain a cult appreciation. It was the Northern Soul revivalists in the UK during the '80s that would help shine some light on his various singles, a situation that Wylie fully appreciated and worked with, including more touring, recording and even working as a general historian of the Northern Soul phenomenon.",
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      "html": "<p><img src=\"/images/up-Richard__Popcorn__Wylie_large.jpg\" alt=\"\"></p>\n<p>A Northern Soul legend, <strong>Popcorn Wylie</strong> was one of the earliest contributors to the Motown hit-making machine as an instrumentalist, composer, producer, A&#x26;R man and artist. A pianist from Detroit, he grew up with bassist James Jamerson and the two were in a band together as teenagers. That band, Popcorn &#x26; the Mohawks, would cut a few singles for Motown in the early ’60s before both the future stars got absorbed into the house band, The Funk Brothers.</p>\n<p>Wylie played on several big hits such as “Shop Around” (the Miracles), “Please Mr Postman” (Marvellettes), as well as tunes by Marvin Gaye, The Supremes, The Contours, Mary Wells, Vandellas and more. He led the Motown Revue in ‘62 before he walked out, disappointed with Barry Gordy (what’s new?).</p>\n<p>In the mid ’60s he cut a few singles for Epic, allegedly featuring members of Sun Ra’s Arkestra. He worked with Edwin Starr at Ric-Tic, produced several singles for Golden World, co-composed “I Spy For The FBI” and founded a couple of his own labels. He freelanced for several indie soul labels (some of these records would eventually go for big cash), even returning to Motown briefly for his successful ‘71 hit “Funky Rubber Band”.</p>\n<p>He cut his <em>Extrasensory Perception</em> album for ABC in ‘74, an album which would attain a cult appreciation. It was the Northern Soul revivalists in the UK during the ’80s that would help shine some light on his various singles, a situation that Wylie fully appreciated and worked with, including more touring, recording and even working as a general historian of the Northern Soul phenomenon.</p>",
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    "id": "mikey-dread-june-4-1954-june-15-2008",
    "data": {
      "title": "Mikey Dread / June 4, 1954 - June 15, 2008",
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      "date": "2017-06-04T00:00:00.000Z"
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    "body": "![](/images/mikey2copy_large.jpg)\n\nBorn day shout-out to Michael Campbell aka **Mikey Dread**! He operated sound systems, hosted the massively popular Jamaican radio show _Dread At The Controls_ , worked on TV, cut sides with Lee Perry, Sonia Pottinger, Carlton Patterson and Joe Gibbs and performed with the Socialist Roots Sound System.\n\nHe started his Dread At The Controls label, producing Edi Fitzroy, Sugar Minott, Earl Sixteen, Althea & Donna and Junior Murvin. He also produced music for and toured with The Clash. His contribution can be heard all over _Sandinista!_ and \"Bank Robber\". In the '80s he worked with Adrian Sherwood and UB40, also cutting some lover's rock. Later he worked with Izzy Stradlin of Guns N' Roses and Seal before a brain tumor took him out.",
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      "html": "<p><img src=\"/images/mikey2copy_large.jpg\" alt=\"\"></p>\n<p>Born day shout-out to Michael Campbell aka <strong>Mikey Dread</strong>! He operated sound systems, hosted the massively popular Jamaican radio show <em>Dread At The Controls</em> , worked on TV, cut sides with Lee Perry, Sonia Pottinger, Carlton Patterson and Joe Gibbs and performed with the Socialist Roots Sound System.</p>\n<p>He started his Dread At The Controls label, producing Edi Fitzroy, Sugar Minott, Earl Sixteen, Althea &#x26; Donna and Junior Murvin. He also produced music for and toured with The Clash. His contribution can be heard all over <em>Sandinista!</em> and “Bank Robber”. In the ’80s he worked with Adrian Sherwood and UB40, also cutting some lover’s rock. Later he worked with Izzy Stradlin of Guns N’ Roses and Seal before a brain tumor took him out.</p>",
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          "date": "June 04, 2017",
          "post": "Mikey Dread / June 4, 1954 - June 15, 2008",
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  {
    "id": "curtis-mayfield-june-3-1942-dec-26-1999",
    "data": {
      "title": "Curtis Mayfield / June 3, 1942 - Dec 26, 1999",
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      "date": "2017-06-03T00:00:00.000Z"
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    "body": "![](/images/CURTISM-Nice3_large.jpg)\n\nHappy birthday to one of the greats, **Curtis Mayfield**! Singer, composer, guitarist, record label owner, businessman, civil rights hero, movie musician, talent scout, psych-soul songwriter, Black Power icon, Chicago legend and so much more.",
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      "html": "<p><img src=\"/images/CURTISM-Nice3_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of the greats, <strong>Curtis Mayfield</strong>! Singer, composer, guitarist, record label owner, businessman, civil rights hero, movie musician, talent scout, psych-soul songwriter, Black Power icon, Chicago legend and so much more.</p>",
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          "date": "June 03, 2017",
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    "id": "memphis-minnie-june-3-1897-aug-6-1973",
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      "title": "Memphis Minnie / June 3, 1897 - Aug 6, 1973",
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      "date": "2017-06-03T00:00:00.000Z"
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    "body": "![](/images/48d9a9667445ce63eeae7ce32baa4805_large.jpg)\n\nA birthday shout-out to one of the early female blues stars, **Memphis Minnie**. Guitarist, banjo player, singer, composer and a tobacco-chewing lady, she was born in Louisiana and spent her early years outside of Memphis. At 13 she was busking and turning tricks on Beale Street and for a while she joined the circus.\n\nStarting around '29 she recorded for a host of labels, including Columbia, Vocalion, Decca, Bluebird, Okeh and Checker, having a hit with \"Bumble Bee\". She found herself in Chicago by the mid '30s, winning cutting contests and working as a session musician. She often recorded with her various husbands.\n\nAfter switching to electric guitar she had her biggest hit in '41 with \"Me And My Chauffeur Blues\". She retired after a series of strokes in the late '50s. Jefferson Airplane and Led Zeppelin covered her tunes. A tough customer, she was an independent spirit, a proto-feminist and a general all around badass.",
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      "html": "<p><img src=\"/images/48d9a9667445ce63eeae7ce32baa4805_large.jpg\" alt=\"\"></p>\n<p>A birthday shout-out to one of the early female blues stars, <strong>Memphis Minnie</strong>. Guitarist, banjo player, singer, composer and a tobacco-chewing lady, she was born in Louisiana and spent her early years outside of Memphis. At 13 she was busking and turning tricks on Beale Street and for a while she joined the circus.</p>\n<p>Starting around ‘29 she recorded for a host of labels, including Columbia, Vocalion, Decca, Bluebird, Okeh and Checker, having a hit with “Bumble Bee”. She found herself in Chicago by the mid ’30s, winning cutting contests and working as a session musician. She often recorded with her various husbands.</p>\n<p>After switching to electric guitar she had her biggest hit in ‘41 with “Me And My Chauffeur Blues”. She retired after a series of strokes in the late ’50s. Jefferson Airplane and Led Zeppelin covered her tunes. A tough customer, she was an independent spirit, a proto-feminist and a general all around badass.</p>",
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    "id": "otha-turner-june-2-1907-feb-27-2003",
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      "title": "Otha Turner / June 2, 1907 - Feb 27, 2003",
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      "date": "2017-06-02T00:00:00.000Z"
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    "body": "**![](/images/17.preview_large.jpg)**\n\n**Otha Turner** upheld the fife & drum tradition in North Mississippi, the last surviving master, in one of the last regions for the style. A sharecropping Mississippi native who started playing around 1923, Turner made his fife out of rivercane (American bamboo) and taught himself several instruments, including guitar and percussion.\n\nHe led some bands, including one with Jesse Mae Hemphill, and became a sought-out figure in documentation of the tradition. Indeed, several field recordings were made and a few articles were written about Turner and his regional traditional style. His group even appeared on an episode of _Mr Rogers Neighborhood_ in 1982. His first appearance on a proper album came with the Como Drum Band, for an Arhoolie compilation of Mississippi blues, released in '69.\n\nHe played the Chicago Blues Festival several times and recorded a few albums in the '90s for Fat Possum, Birdman and a few others (including _From Senegal To Senatobia_ , which included kora and slide guitar). He was championed by Martin Scorsese, who used his music in films. He had signed on to contribute to Corey Harris' _Mississippi To Mali_ album but died before the sessions could take place. His daughter happened to die the very same day as Otha and the joint funeral service included, of course, his band leading the procession.",
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      "html": "<p><strong><img src=\"/images/17.preview_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Otha Turner</strong> upheld the fife &#x26; drum tradition in North Mississippi, the last surviving master, in one of the last regions for the style. A sharecropping Mississippi native who started playing around 1923, Turner made his fife out of rivercane (American bamboo) and taught himself several instruments, including guitar and percussion.</p>\n<p>He led some bands, including one with Jesse Mae Hemphill, and became a sought-out figure in documentation of the tradition. Indeed, several field recordings were made and a few articles were written about Turner and his regional traditional style. His group even appeared on an episode of <em>Mr Rogers Neighborhood</em> in 1982. His first appearance on a proper album came with the Como Drum Band, for an Arhoolie compilation of Mississippi blues, released in ‘69.</p>\n<p>He played the Chicago Blues Festival several times and recorded a few albums in the ’90s for Fat Possum, Birdman and a few others (including <em>From Senegal To Senatobia</em> , which included kora and slide guitar). He was championed by Martin Scorsese, who used his music in films. He had signed on to contribute to Corey Harris’ <em>Mississippi To Mali</em> album but died before the sessions could take place. His daughter happened to die the very same day as Otha and the joint funeral service included, of course, his band leading the procession.</p>",
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          "date": "June 02, 2017",
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      "title": "Lydia Mendoza / May 31, 1916 - Dec 20, 2007",
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      "date": "2017-05-31T00:00:00.000Z"
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    "body": "![](/images/278e1c19be8bdacbc0d93f48918f7b07_large.jpg)\n\nLa Alondra de la Frontera, **Lydia Mendoza** was the beloved queen of Tejano music. A Houston-born singer and guitarist, she started out making music with her family's band. They cut sides in '28 for Okeh and made enough money for the whole family to move to Detroit for a time. Upon returning in the early '30s to Texas the family signed to RCA's Bluebird imprint, including Lydia as a solo artist. She was also a radio star around this time. She hit big with \"Mal Hombre\".\n\nWW2 put a halt on recordings but afterward she continued to tour and record for several Texas labels into her 70s. She was author of the favorite \"Amor Bonito\". She lived to be 91. She was the subject of a US postage stamp.",
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      "html": "<p><img src=\"/images/278e1c19be8bdacbc0d93f48918f7b07_large.jpg\" alt=\"\"></p>\n<p>La Alondra de la Frontera, <strong>Lydia Mendoza</strong> was the beloved queen of Tejano music. A Houston-born singer and guitarist, she started out making music with her family’s band. They cut sides in ‘28 for Okeh and made enough money for the whole family to move to Detroit for a time. Upon returning in the early ’30s to Texas the family signed to RCA’s Bluebird imprint, including Lydia as a solo artist. She was also a radio star around this time. She hit big with “Mal Hombre”.</p>\n<p>WW2 put a halt on recordings but afterward she continued to tour and record for several Texas labels into her 70s. She was author of the favorite “Amor Bonito”. She lived to be 91. She was the subject of a US postage stamp.</p>",
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          "date": "May 31, 2017",
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    "id": "martin-hannett-may-31-1948-april-18-1991",
    "data": {
      "title": "Martin Hannett / May 31, 1948 - April 18, 1991",
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      "date": "2017-05-31T00:00:00.000Z"
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    "body": "![](/images/hannett2_large.jpg)\n\nOne of the great figures of post-punk, **Martin Hannett** virtually shaped the Joy Division sound at Strawberry Studios. A famed producer of many great UK groups of the era, he was also co-founder of Factory Records. He utilized loops, echos, delays, synths with a meticulous obsession for getting the drum sounds exactly as he heard them in his head. He would put the young groups through torture to get what he needed artistically.\n\nFrom about '77 til his early death he produced Joy Division, The Durutti Column, Basement 5, Magazine, Buzzcocks, Psychedelic Furs, A Certain Ratio, New Order, Section 25, Stone Roses, Happy Mondays, OMD, ESG, Crispy Ambulance, U2 and many others. A history of British rock could not possibly be considered without a mention of this maverick visionary.",
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      "html": "<p><img src=\"/images/hannett2_large.jpg\" alt=\"\"></p>\n<p>One of the great figures of post-punk, <strong>Martin Hannett</strong> virtually shaped the Joy Division sound at Strawberry Studios. A famed producer of many great UK groups of the era, he was also co-founder of Factory Records. He utilized loops, echos, delays, synths with a meticulous obsession for getting the drum sounds exactly as he heard them in his head. He would put the young groups through torture to get what he needed artistically.</p>\n<p>From about ‘77 til his early death he produced Joy Division, The Durutti Column, Basement 5, Magazine, Buzzcocks, Psychedelic Furs, A Certain Ratio, New Order, Section 25, Stone Roses, Happy Mondays, OMD, ESG, Crispy Ambulance, U2 and many others. A history of British rock could not possibly be considered without a mention of this maverick visionary.</p>",
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          "date": "May 31, 2017",
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    "id": "armando-peraza-may-30-1924-april-14-2014",
    "data": {
      "title": "Armando Peraza / May 30, 1924 - April 14, 2014",
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      "date": "2017-05-30T00:00:00.000Z"
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    "body": "![](/images/th_f33c6a14-3464-437a-bf3c-c0c3d90d3748_large.jpg)\n\nThe Cuban-born, West Coast-based hard-hitting percussionist **Armando Peraza** is best known for his work with the Santana band, George Shearing and Cal Tjader. He played congas, bongos and timbales, was a songwriter and dancer and made a killer album under his own name for Skye Records.\n\nBorn in Havana, he was orphaned and took to boxing and baseball. After some time as a boxing coach he became a musician at 17, joining the band of Albert Ruiz and other Cuban groups. It may have been just another hustle at first, but it set him off onto a globe-trotting career! He took off to Mexico in '48 and found himself in NYC in '49. He quickly found work with Charlie Parker, Machito, Buddy Rich and Slim Gaillard, with whom he toured to San Francisco with.\n\nHe went to Mexico to play with Perez Prado and cut film soundtracks. A return to San Francisco became a permanent home for him. He did some coastal touring, playing for farm workers and also toured with Charles Mingus, Dizzy Gillespie, Dexter Gordon and others. He ran a popular night at the Cable Car Village club, which attracted many celebrities, including that freak for Cuban music, Marlon Brando.\n\nDuring the mambo era he started a longtime gig with George Shearing, including composing much of the band's book. In 1959 he teamed up with his good friends Mongo Santamaría and Francisco Aguabella to record some heavy Afro-Cuban roots records, specifically the album _Mongo_ and the tune \"Afro-Blue\", which became a jazz standard. He joined Cal Tjader's group in the late '50s/early '60s. During this time he also played with Stan Kenton and worked on Judy Garland's TV show.\n\nIn '68 he recorded his sole classic album as a leader, _Wild Thing_ , featuring Johnny Pacheco, Chick Corea, Sadao Watanabe, Tjader and others. In '72 he joined Santana and stayed twenty years, composing 16 tunes, including one of my personal favorites, \"Gitano\". He also recorded with Eric Clapton, Harvey Mandel, Randy Weston, Wes Montgomery, Peggy Lee, Gato Barbieri, John Santos and Rebecca Mauleon. He had been in semi-retirement for the last twenty years, occasionally making appearances. He also had returned to Cuba after many decades.",
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      "html": "<p><img src=\"/images/th_f33c6a14-3464-437a-bf3c-c0c3d90d3748_large.jpg\" alt=\"\"></p>\n<p>The Cuban-born, West Coast-based hard-hitting percussionist <strong>Armando Peraza</strong> is best known for his work with the Santana band, George Shearing and Cal Tjader. He played congas, bongos and timbales, was a songwriter and dancer and made a killer album under his own name for Skye Records.</p>\n<p>Born in Havana, he was orphaned and took to boxing and baseball. After some time as a boxing coach he became a musician at 17, joining the band of Albert Ruiz and other Cuban groups. It may have been just another hustle at first, but it set him off onto a globe-trotting career! He took off to Mexico in ‘48 and found himself in NYC in ‘49. He quickly found work with Charlie Parker, Machito, Buddy Rich and Slim Gaillard, with whom he toured to San Francisco with.</p>\n<p>He went to Mexico to play with Perez Prado and cut film soundtracks. A return to San Francisco became a permanent home for him. He did some coastal touring, playing for farm workers and also toured with Charles Mingus, Dizzy Gillespie, Dexter Gordon and others. He ran a popular night at the Cable Car Village club, which attracted many celebrities, including that freak for Cuban music, Marlon Brando.</p>\n<p>During the mambo era he started a longtime gig with George Shearing, including composing much of the band’s book. In 1959 he teamed up with his good friends Mongo Santamaría and Francisco Aguabella to record some heavy Afro-Cuban roots records, specifically the album <em>Mongo</em> and the tune “Afro-Blue”, which became a jazz standard. He joined Cal Tjader’s group in the late ’50s/early ’60s. During this time he also played with Stan Kenton and worked on Judy Garland’s TV show.</p>\n<p>In ‘68 he recorded his sole classic album as a leader, <em>Wild Thing</em> , featuring Johnny Pacheco, Chick Corea, Sadao Watanabe, Tjader and others. In ‘72 he joined Santana and stayed twenty years, composing 16 tunes, including one of my personal favorites, “Gitano”. He also recorded with Eric Clapton, Harvey Mandel, Randy Weston, Wes Montgomery, Peggy Lee, Gato Barbieri, John Santos and Rebecca Mauleon. He had been in semi-retirement for the last twenty years, occasionally making appearances. He also had returned to Cuba after many decades.</p>",
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    "id": "pauline-oliveros-may-30-1932-nov-24-2016",
    "data": {
      "title": "Pauline Oliveros / May 30, 1932 - Nov 24, 2016",
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    "body": "![](/images/4012936-3x2-700x467_large.jpg)\n\nWe recently lost **Pauline Oliveros** , pioneering electronic and meditative music composer, educator and accordionist. She was a founding member of the San Francisco Tape Music Center, founded in 1962 alongside Morton Subotnick, Steve Reich, Terry Riley and others.\n\nA native of Houston, she started playing accordion as a young child, deciding pretty quickly that music would be her life. She played French horn and tuba as well and started working with _musique-concréte_ in the mid-'50s. She later re-tuned her accordion and added digital electronics to her set up. Her early electronic works from the late '60s, _Alien Bog_ and _Beautful Soop,_ made on a Buchla tape delay system, are classics of the genre.\n\nShe developed the concept of \"deep listening\", which involved improvisation, meditation, electronics and ritual, relevant for all levels of musician. The Deep Listening Band included Oliveros, Stuart Dempster and David Gamper. They went on to make several recordings and concerts in caves, underground chambers and cathedrals. They have also collaborated with Ellen Fullman and her 70-foot Long Stringed Instrument of just intonation.\n\nShe was domestic partner with performance artist Linda Montano (aka Rose Mountain) since 1975. She has also collaborated with Randy Raine-Reusch, Joe McPhee, Roscoe Mitchell, Nels Cline, Chris Brown, Connie Crothers and many others. She was a black belt in karate.",
    "filePath": "content/posts/pauline-oliveros-may-30-1932-nov-24-2016.md",
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      "html": "<p><img src=\"/images/4012936-3x2-700x467_large.jpg\" alt=\"\"></p>\n<p>We recently lost <strong>Pauline Oliveros</strong> , pioneering electronic and meditative music composer, educator and accordionist. She was a founding member of the San Francisco Tape Music Center, founded in 1962 alongside Morton Subotnick, Steve Reich, Terry Riley and others.</p>\n<p>A native of Houston, she started playing accordion as a young child, deciding pretty quickly that music would be her life. She played French horn and tuba as well and started working with <em>musique-concréte</em> in the mid-’50s. She later re-tuned her accordion and added digital electronics to her set up. Her early electronic works from the late ’60s, <em>Alien Bog</em> and <em>Beautful Soop,</em> made on a Buchla tape delay system, are classics of the genre.</p>\n<p>She developed the concept of “deep listening”, which involved improvisation, meditation, electronics and ritual, relevant for all levels of musician. The Deep Listening Band included Oliveros, Stuart Dempster and David Gamper. They went on to make several recordings and concerts in caves, underground chambers and cathedrals. They have also collaborated with Ellen Fullman and her 70-foot Long Stringed Instrument of just intonation.</p>\n<p>She was domestic partner with performance artist Linda Montano (aka Rose Mountain) since 1975. She has also collaborated with Randy Raine-Reusch, Joe McPhee, Roscoe Mitchell, Nels Cline, Chris Brown, Connie Crothers and many others. She was a black belt in karate.</p>",
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