News & Updates

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  {
    "id": "alan-shorter-may-29-1932-1987",
    "data": {
      "title": "Alan Shorter / May 29, 1932 - 1987",
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      "date": "2017-05-29T00:00:00.000Z"
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    "body": "![](/images/AS_large.jpg)\n\nBest known as the older brother of saxophonist Wayne, **Alan Shorter** was a fiercely unique free jazz trumpeter and flugelhorn player in the '60s and early '70s. From Newark NJ, he was playing in a bebop group as a youngster with Wayne, Grachan Moncur III and Walter Davis Jr.\n\nHe spent some time in the Army and joined the fire music scene, cutting sessions with Archie Shepp, Alan Silva, Marion Brown, Francois Tusques, the Full Moon Ensemble and his brother's 1965 album _The All-Seeing Eye_. (In fact, he was composer of \"Mephistopheles\" on said album). He made two underground classics of his own: _Orgasm_ for Verve (a label not really known for free jazz) in '68 and a session recorded for the French label America called _Tes Asat_ (with Johnny Dyani) in '71.\n\nHe lived in Europe for many years before getting a gig teaching briefly at Bennington College. He passed in '87. He was always one of the most far-out artists of US jazz players. For whatever reason, he has been noted to have \"limited technique\" but I find his playing to sound original and his compositions are quite a blast. Here's to the underappreciated artists!",
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      "html": "<p><img src=\"/images/AS_large.jpg\" alt=\"\"></p>\n<p>Best known as the older brother of saxophonist Wayne, <strong>Alan Shorter</strong> was a fiercely unique free jazz trumpeter and flugelhorn player in the ’60s and early ’70s. From Newark NJ, he was playing in a bebop group as a youngster with Wayne, Grachan Moncur III and Walter Davis Jr.</p>\n<p>He spent some time in the Army and joined the fire music scene, cutting sessions with Archie Shepp, Alan Silva, Marion Brown, Francois Tusques, the Full Moon Ensemble and his brother’s 1965 album <em>The All-Seeing Eye</em>. (In fact, he was composer of “Mephistopheles” on said album). He made two underground classics of his own: <em>Orgasm</em> for Verve (a label not really known for free jazz) in ‘68 and a session recorded for the French label America called <em>Tes Asat</em> (with Johnny Dyani) in ‘71.</p>\n<p>He lived in Europe for many years before getting a gig teaching briefly at Bennington College. He passed in ‘87. He was always one of the most far-out artists of US jazz players. For whatever reason, he has been noted to have “limited technique” but I find his playing to sound original and his compositions are quite a blast. Here’s to the underappreciated artists!</p>",
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          "title": "Alan Shorter / May 29, 1932 - 1987",
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          "date": "May 29, 2017",
          "post": "Alan Shorter / May 29, 1932 - 1987",
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    "id": "harry-smith-may-29-1923-nov-27-1991",
    "data": {
      "title": "Harry Smith / May 29, 1923 - Nov 27, 1991",
      "slug": "harry-smith-may-29-1923-nov-27-1991",
      "date": "2017-05-29T00:00:00.000Z"
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    "body": "![](/images/Harry-Smith.003_large.jpg)\n\nHappy birthday to weirdo filmmaker, bohemian, anthropologist and folk song archivist **Harry Everett Smith**! Where would we be without his awesome _Anthology of American Folk Music_ , taken from his personal 78s collection and allowing the world to hear long-forgotten and buried blues, gospel, hillbilly and various folk musics.\n\nFolkways released and marketed this set of records in 1952, well ahead of the Folk & Blues Revival, and many would-be stars cherished these recordings and many of them covering the songs contained. Bob Dylan, Pete Seeger and many others counted this glorious set as a major influence.",
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      "html": "<p><img src=\"/images/Harry-Smith.003_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to weirdo filmmaker, bohemian, anthropologist and folk song archivist <strong>Harry Everett Smith</strong>! Where would we be without his awesome <em>Anthology of American Folk Music</em> , taken from his personal 78s collection and allowing the world to hear long-forgotten and buried blues, gospel, hillbilly and various folk musics.</p>\n<p>Folkways released and marketed this set of records in 1952, well ahead of the Folk &#x26; Blues Revival, and many would-be stars cherished these recordings and many of them covering the songs contained. Bob Dylan, Pete Seeger and many others counted this glorious set as a major influence.</p>",
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          "title": "Harry Smith / May 29, 1923 - Nov 27, 1991",
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          "date": "May 29, 2017",
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  {
    "id": "hilton-ruiz-may-29-1952-june-6-2006",
    "data": {
      "title": "Hilton Ruiz / May 29, 1952 - June 6, 2006",
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      "date": "2017-05-29T00:00:00.000Z"
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    "body": "![](/images/MI0001346244_large.jpg)\n\nAnother underappreciated jazz artist, **Hilton Ruiz** seems to have been lumped into the \"Latin jazz\" ghetto, but make no mistake, his music (and that of many other Latino jazz artists) is worthy of a place in the landscape of JAZZ. It has always irked me how many (usually white) fans of jazz have no problem with including the music of the European avant-garde improvisers in their listening but it's just too much of a stretch to include artists with names like Ruiz, Ray Barretto, Mongo Santamaría, Sabu Martinez, Eddie Palmieri and the like to be considered SERIOUS jazz artists? Fuck, those guys are coming from \"the tradition\" way more than some pale Euro dudes.\n\nRuiz was a Nuyorican piano prodigy, playing Carnegie Hall at age 8 and studying with Mary Lou Williams. He also worked with both Freddie Hubbard and Joe Henderson as a teenager. He held the piano bench in Rahsaan Roland Kirk's band for many years and cut several albums with his own ensembles (often featuring the amazing reedsman Sam Rivers). Some of his sideman gigs included work with Dizzy Gillespie, Tito Puente, David Murray, Abbey Lincoln, Marion Brown, Chico Freeman, George Coleman, Betty Carter, Barretto, Clark Terry, Paquito D'Rivera and Greg Abate.\n\nHe reportedly tripped and fell on Bourbon Street on his way to a benefit for victims of Hurricane Katrina. He died after being in a coma for a couple of weeks. His music covered bebop, Afro-Cuban, out jazz, stride, blues and even some funky New Orleans stuff. He made serious, if underappreciated, contributions as a soloist, bandleader, arranger, composer and author, and he deserves more respect outside the Latino market.",
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      "html": "<p><img src=\"/images/MI0001346244_large.jpg\" alt=\"\"></p>\n<p>Another underappreciated jazz artist, <strong>Hilton Ruiz</strong> seems to have been lumped into the “Latin jazz” ghetto, but make no mistake, his music (and that of many other Latino jazz artists) is worthy of a place in the landscape of JAZZ. It has always irked me how many (usually white) fans of jazz have no problem with including the music of the European avant-garde improvisers in their listening but it’s just too much of a stretch to include artists with names like Ruiz, Ray Barretto, Mongo Santamaría, Sabu Martinez, Eddie Palmieri and the like to be considered SERIOUS jazz artists? Fuck, those guys are coming from “the tradition” way more than some pale Euro dudes.</p>\n<p>Ruiz was a Nuyorican piano prodigy, playing Carnegie Hall at age 8 and studying with Mary Lou Williams. He also worked with both Freddie Hubbard and Joe Henderson as a teenager. He held the piano bench in Rahsaan Roland Kirk’s band for many years and cut several albums with his own ensembles (often featuring the amazing reedsman Sam Rivers). Some of his sideman gigs included work with Dizzy Gillespie, Tito Puente, David Murray, Abbey Lincoln, Marion Brown, Chico Freeman, George Coleman, Betty Carter, Barretto, Clark Terry, Paquito D’Rivera and Greg Abate.</p>\n<p>He reportedly tripped and fell on Bourbon Street on his way to a benefit for victims of Hurricane Katrina. He died after being in a coma for a couple of weeks. His music covered bebop, Afro-Cuban, out jazz, stride, blues and even some funky New Orleans stuff. He made serious, if underappreciated, contributions as a soloist, bandleader, arranger, composer and author, and he deserves more respect outside the Latino market.</p>",
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          "title": "Hilton Ruiz / May 29, 1952 - June 6, 2006",
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          "date": "May 29, 2017",
          "post": "Hilton Ruiz / May 29, 1952 - June 6, 2006",
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  {
    "id": "iannis-xenakis-may-29-1922-feb-4-2001",
    "data": {
      "title": "Iannis Xenakis / May 29, 1922 - Feb 4, 2001",
      "slug": "iannis-xenakis-may-29-1922-feb-4-2001",
      "date": "2017-05-29T00:00:00.000Z"
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    "body": "![](/images/Iannis-Xenakis-008_large.jpg)\n\nHappy birthday to the Greek-French composer **Iannis Xenakis** , he of a million ideas. From chamber ensemble to reeds to percussion to electronics, game theory, computers, orchestral and architectural, he was, in my opinion, one of the most exciting and relevant on the so-called 20th Century composers.\n\nHe took up arms against the British during the Greek civil war and had half his face blown off, losing an eye. After that he was exiled to France, as he was sentenced to death in Greece for his Communist actions. He sought to utilize his expertise in mathematics and architecture in his music and while some of his concepts are totally over-the-head of an uneducated fool like myself, there is no denying the power of his electronic music and his percussion pieces. If you want some European avant-garde sound art of the highest order, check his pieces. Much more interesting than Bach!!",
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      "html": "<p><img src=\"/images/Iannis-Xenakis-008_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the Greek-French composer <strong>Iannis Xenakis</strong> , he of a million ideas. From chamber ensemble to reeds to percussion to electronics, game theory, computers, orchestral and architectural, he was, in my opinion, one of the most exciting and relevant on the so-called 20th Century composers.</p>\n<p>He took up arms against the British during the Greek civil war and had half his face blown off, losing an eye. After that he was exiled to France, as he was sentenced to death in Greece for his Communist actions. He sought to utilize his expertise in mathematics and architecture in his music and while some of his concepts are totally over-the-head of an uneducated fool like myself, there is no denying the power of his electronic music and his percussion pieces. If you want some European avant-garde sound art of the highest order, check his pieces. Much more interesting than Bach!!</p>",
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    "id": "t-bone-walker-may-28-1910-march-16-1975",
    "data": {
      "title": "T-Bone Walker / May 28, 1910 - March 16, 1975",
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      "date": "2017-05-28T00:00:00.000Z"
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    "body": "![](/images/1_a407a1cf-026b-4345-82ca-2ed24c0fd731_large.jpg)\n\nAaron Thibeaux **\"T-Bone\" Walker** was one of the men who brought the electric guitar to the forefront. He played guitar with his teeth during his act and inspired so many (Chuck Berry, Jimi Hendrix, the 3 Kings --BB, Freddy, Albert, Gatemouth Brown, the Allman Bros). He was one of the original \"modern blues\" artists, electrifying the rural blues and making it more sophisticated with jazz, jump and swing. He also is considered one of the founders of rock & roll.\n\nThe Afro-Cherokee blues guitarist got his career going in the '20s around Dallas working for Blind Lemon Jefferson, Charlie Christian and briefly with Cab Calloway. He recorded for Columbia as \"Oak Cliff T-Bone\". In the mid '30s he moved his family to Los Angeles, where he would play guitar and sing in the big band of Les Hite (\"T-Bone Blues\" was a hit for the band in 1940). It was in LA where he first plugged in.\n\nHe recorded in the '40s for Capitol and Black & White Records, having an enduring hit with \"Call It Stormy Monday\" in '47. He became a huge star and toured endlessly. In the '50s he worked with Dave Bartholomew at Imperial and also recorded for Atlantic. He was a star at the American Folk Blues Festival in '62. Further recordings followed for Delmark, Bluesway, Flying Dutchman, Polydor, Brunswick and others. A stroke and car accident in his late years took him off the active scene and bronchial pneumonia took him away for good, but he stands as an important architect of modern music.",
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      "html": "<p><img src=\"/images/1_a407a1cf-026b-4345-82ca-2ed24c0fd731_large.jpg\" alt=\"\"></p>\n<p>Aaron Thibeaux <strong>“T-Bone” Walker</strong> was one of the men who brought the electric guitar to the forefront. He played guitar with his teeth during his act and inspired so many (Chuck Berry, Jimi Hendrix, the 3 Kings —BB, Freddy, Albert, Gatemouth Brown, the Allman Bros). He was one of the original “modern blues” artists, electrifying the rural blues and making it more sophisticated with jazz, jump and swing. He also is considered one of the founders of rock &#x26; roll.</p>\n<p>The Afro-Cherokee blues guitarist got his career going in the ’20s around Dallas working for Blind Lemon Jefferson, Charlie Christian and briefly with Cab Calloway. He recorded for Columbia as “Oak Cliff T-Bone”. In the mid ’30s he moved his family to Los Angeles, where he would play guitar and sing in the big band of Les Hite (“T-Bone Blues” was a hit for the band in 1940). It was in LA where he first plugged in.</p>\n<p>He recorded in the ’40s for Capitol and Black &#x26; White Records, having an enduring hit with “Call It Stormy Monday” in ‘47. He became a huge star and toured endlessly. In the ’50s he worked with Dave Bartholomew at Imperial and also recorded for Atlantic. He was a star at the American Folk Blues Festival in ‘62. Further recordings followed for Delmark, Bluesway, Flying Dutchman, Polydor, Brunswick and others. A stroke and car accident in his late years took him off the active scene and bronchial pneumonia took him away for good, but he stands as an important architect of modern music.</p>",
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          "date": "May 28, 2017",
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    "id": "junior-parker-may-27-1932-nov-18-1971",
    "data": {
      "title": "Junior Parker / May 27, 1932 - Nov 18, 1971",
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      "date": "2017-05-27T00:00:00.000Z"
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    "body": "![](/images/th-1_5e36608d-b5ba-4302-8a2c-ab041ef2bd6c_large.jpg)\n\nA smoothed-voice blues singer with a ton of soul, Little **Junior Parker** was also a deft harmonica-player, tutored by Sonny Boy Williamson. From that fertile blues bastion of Clarksdale, Mississippi, Parker sang gospel as a kid and went on to play with Howlin' Wolf in the late '40s.\n\nHe was part of Memphis' infamous \"Beale Streeters\" (with BB King & Bobby \"Blue\" Bland) before starting his own band, The Blue Flames, in '51 with legendary guitarist Pat Hare. Ike Turner took him to the Modern label (with Ike on piano) but it was with Sun that he broke out. His tune \"Mystery Train\" was covered by Elvis Presley and \"Feelin' Good\" is a boogie-style classic.\n\nParker is considered an influence on both R&B and rockabilly. He recorded for several labels throughout his career (including a notable session as a sideman on a 1966 LP by modern jazz pianist Jaki Byard) but his '50s sides are his biggest legacy.",
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      "html": "<p><img src=\"/images/th-1_5e36608d-b5ba-4302-8a2c-ab041ef2bd6c_large.jpg\" alt=\"\"></p>\n<p>A smoothed-voice blues singer with a ton of soul, Little <strong>Junior Parker</strong> was also a deft harmonica-player, tutored by Sonny Boy Williamson. From that fertile blues bastion of Clarksdale, Mississippi, Parker sang gospel as a kid and went on to play with Howlin’ Wolf in the late ’40s.</p>\n<p>He was part of Memphis’ infamous “Beale Streeters” (with BB King &#x26; Bobby “Blue” Bland) before starting his own band, The Blue Flames, in ‘51 with legendary guitarist Pat Hare. Ike Turner took him to the Modern label (with Ike on piano) but it was with Sun that he broke out. His tune “Mystery Train” was covered by Elvis Presley and “Feelin’ Good” is a boogie-style classic.</p>\n<p>Parker is considered an influence on both R&#x26;B and rockabilly. He recorded for several labels throughout his career (including a notable session as a sideman on a 1966 LP by modern jazz pianist Jaki Byard) but his ’50s sides are his biggest legacy.</p>",
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  {
    "id": "niels-henning-orsted-pedersen-may-27-1946-april-19-2005",
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      "title": "Niels-Henning Ørsted Pedersen / May 27, 1946 - April 19, 2005",
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      "date": "2017-05-27T00:00:00.000Z"
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    "body": "![](/images/th_753b651c-e75c-4091-9825-4254df16b9a2_large.jpg)\n\nGive the bassist some! I always loved **NHØP's** bass playing on so many great jazz records that I felt the need to point out his birthday today and show some respect. From Denmark, he started playing bass at 13 and went pro pretty quickly. At 17 he was offered the bass role in the Count Basie band but was too young to legally travel to the US for work.\n\nHe supported many visiting jazz artists at the Jazzhus Montmarte in Copenhagen, including playing with Sonny Rollins, Roland Kirk, Dexter Gordon, Bud Powell, Stan Getz, Albert Ayler, Archie Shepp and others. He toured with Bill Evans, Oscar Peterson, Dizzy Gillespie, Ella Fitzgerald, Ben Webster, Jean-Luc Ponty, Tania Maria and many, many more. He and pianist Kenny Drew held a longtime duo project, recording dozens of albums. As a composer he combined American jazz improv with Danish folk music. He could play bop, swing, Latin or avant-improv styles. And he really only needs to be known as NHØP. How cool is that?",
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      "html": "<p><img src=\"/images/th_753b651c-e75c-4091-9825-4254df16b9a2_large.jpg\" alt=\"\"></p>\n<p>Give the bassist some! I always loved <strong>NHØP’s</strong> bass playing on so many great jazz records that I felt the need to point out his birthday today and show some respect. From Denmark, he started playing bass at 13 and went pro pretty quickly. At 17 he was offered the bass role in the Count Basie band but was too young to legally travel to the US for work.</p>\n<p>He supported many visiting jazz artists at the Jazzhus Montmarte in Copenhagen, including playing with Sonny Rollins, Roland Kirk, Dexter Gordon, Bud Powell, Stan Getz, Albert Ayler, Archie Shepp and others. He toured with Bill Evans, Oscar Peterson, Dizzy Gillespie, Ella Fitzgerald, Ben Webster, Jean-Luc Ponty, Tania Maria and many, many more. He and pianist Kenny Drew held a longtime duo project, recording dozens of albums. As a composer he combined American jazz improv with Danish folk music. He could play bop, swing, Latin or avant-improv styles. And he really only needs to be known as NHØP. How cool is that?</p>",
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    "id": "jaki-liebezeit-may-26-1938-jan-22-2017",
    "data": {
      "title": "Jaki Liebezeit / May 26, 1938 - Jan 22, 2017",
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      "date": "2017-05-26T00:00:00.000Z"
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    "body": "![](/images/can-drummer_large.jpg)\n\nHere's a salute to the recently deceased **Jaki Liebezeit** , the human metronome for Can, among other projects. After playing free-jazz in Germany in the mid-to-late '60s, including an ensemble led by Manfred Schoof, as well as with Globe Unity Orchestra (with a young Peter Brotzmann on sax!) he decided to go with a decidedly more disciplined \"motorik\" beat as a founding member of Can, a band of Stockausen's students that were really into the Velvet Underground and \"world music\" and forged a whole new template for out-rock. Indeed, Can are synonymous with the \"Krautrock\" history.\n\nBrian Eno called Krautrock's \"motorik\" groove, James Brown funk and afrobeat the \"three great beats in the ’70s\". (One could also argue for reggae and punk, both of which Jaki appreciated). Jaki, along with Klaus Dinger, was as influential on all sorts of post-rock and electronic music to come as Tony Allen was to afrobeat and afro-funk. Together or separately, they could all be considered architects of many modern styles we hear today.\n\nJaki also drummed with his longtime Can rhythm section partner Holger Czukay on his solo records, as well as with Michael Rother, Eno, Jah Wobble, PhantomBand, Depeche Mode and others. He has worked with electronic producers, played reggae & other world musics, and has been the source of hip-hop breakbeats. He also produced records for other artists.",
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      "html": "<p><img src=\"/images/can-drummer_large.jpg\" alt=\"\"></p>\n<p>Here’s a salute to the recently deceased <strong>Jaki Liebezeit</strong> , the human metronome for Can, among other projects. After playing free-jazz in Germany in the mid-to-late ’60s, including an ensemble led by Manfred Schoof, as well as with Globe Unity Orchestra (with a young Peter Brotzmann on sax!) he decided to go with a decidedly more disciplined “motorik” beat as a founding member of Can, a band of Stockausen’s students that were really into the Velvet Underground and “world music” and forged a whole new template for out-rock. Indeed, Can are synonymous with the “Krautrock” history.</p>\n<p>Brian Eno called Krautrock’s “motorik” groove, James Brown funk and afrobeat the “three great beats in the ’70s”. (One could also argue for reggae and punk, both of which Jaki appreciated). Jaki, along with Klaus Dinger, was as influential on all sorts of post-rock and electronic music to come as Tony Allen was to afrobeat and afro-funk. Together or separately, they could all be considered architects of many modern styles we hear today.</p>\n<p>Jaki also drummed with his longtime Can rhythm section partner Holger Czukay on his solo records, as well as with Michael Rother, Eno, Jah Wobble, PhantomBand, Depeche Mode and others. He has worked with electronic producers, played reggae &#x26; other world musics, and has been the source of hip-hop breakbeats. He also produced records for other artists.</p>",
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          "title": "Jaki Liebezeit / May 26, 1938 - Jan 22, 2017",
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          "date": "May 26, 2017",
          "post": "Jaki Liebezeit / May 26, 1938 - Jan 22, 2017",
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    "id": "levon-helm-may-26-1940-april-19-2012",
    "data": {
      "title": "Levon Helm / May 26, 1940 - April 19, 2012",
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      "date": "2017-05-26T00:00:00.000Z"
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    "body": "![](/images/Levon-Helm-The-Band_large.jpg)\n\nHappy birthday to **Levon Helm** , drummer and vocalist for The Band, bringing classic American roots, country, blues, gospel, R&B, rockabilly and rock into a popular mixture. From Arkansas, he started playing music at a young age, with Bill Monroe as a first major influence. Another early influence was James \"Peck\" Curtis, drummer for Sonny Boy Williamson II.\n\nHe started his first band in the mid '50s and was inspired after witnessing early performances by Elvis Presley, Bo Diddley and other greats. In the late '50s he joined Ronnie Hawkins' band. Several members of that band became known as Levon & The Hawks and they did a lot of touring in the South, East Coast, Canada and Texas. They hooked up with Bob Dylan but shortly after Helm took a break from the band but returned after awhile. They continued working with Dylan and changed their name to The Band in time for their 1968 debut album _Music From Big Pink_. Helm contributed drums, lead & harmony vocals, bass, string instruments and songwriting to The Band.\n\nHe left The Band in '76 and continued with a solo career (and some screen acting as well), working in formations with Ringo Starr, Dr John, Booker T & the MG's, some Band reunions and others. The Band performed at the concert commemorating the fall of the Berlin Wall. The later years found him hosting young musicians at jam sessions (often with big-name guests as well) around Woodstock NY while he battled some health problems. After going through throat cancer in '98 he couldn't sing for several years but eventually made a strong comeback. Cancer did get him again at the age of 71.",
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      "html": "<p><img src=\"/images/Levon-Helm-The-Band_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to <strong>Levon Helm</strong> , drummer and vocalist for The Band, bringing classic American roots, country, blues, gospel, R&#x26;B, rockabilly and rock into a popular mixture. From Arkansas, he started playing music at a young age, with Bill Monroe as a first major influence. Another early influence was James “Peck” Curtis, drummer for Sonny Boy Williamson II.</p>\n<p>He started his first band in the mid ’50s and was inspired after witnessing early performances by Elvis Presley, Bo Diddley and other greats. In the late ’50s he joined Ronnie Hawkins’ band. Several members of that band became known as Levon &#x26; The Hawks and they did a lot of touring in the South, East Coast, Canada and Texas. They hooked up with Bob Dylan but shortly after Helm took a break from the band but returned after awhile. They continued working with Dylan and changed their name to The Band in time for their 1968 debut album <em>Music From Big Pink</em>. Helm contributed drums, lead &#x26; harmony vocals, bass, string instruments and songwriting to The Band.</p>\n<p>He left The Band in ‘76 and continued with a solo career (and some screen acting as well), working in formations with Ringo Starr, Dr John, Booker T &#x26; the MG’s, some Band reunions and others. The Band performed at the concert commemorating the fall of the Berlin Wall. The later years found him hosting young musicians at jam sessions (often with big-name guests as well) around Woodstock NY while he battled some health problems. After going through throat cancer in ‘98 he couldn’t sing for several years but eventually made a strong comeback. Cancer did get him again at the age of 71.</p>",
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          "title": "Levon Helm / May 26, 1940 - April 19, 2012",
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          "date": "May 26, 2017",
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    "id": "mamie-smith-may-26-1883-sept-16-1946",
    "data": {
      "title": "Mamie Smith / May 26, 1883 - Sept 16, 1946",
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      "date": "2017-05-26T00:00:00.000Z"
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    "body": "![](/images/Mamie_Smith_opener_large.jpg)\n\nOn February 14, 1920, **Mamie Smith** recorded two songs for Okeh Records and history was made as she was the first black blues singer to make an appearance on record. The label was threatened with a boycott if they recorded a black singer but they did so anyway and the Smith-Okeh partnership went on to sell MILLIONS of records, bringing a huge jump in sales to what was called at the time \"race records\".\n\nShe came from the Midwest and started touring at 10 with a vaudeville act before moving to NYC in 1913. She became a big star of her day and toured the US and Europe with her Jazz Band. She appeared in some newfangled \"talkie\" films before she retired to her home in Staten Island. By that point, she had made a lot of money. Simply put, she was the first of the classic female blues singers on record.",
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      "html": "<p><img src=\"/images/Mamie_Smith_opener_large.jpg\" alt=\"\"></p>\n<p>On February 14, 1920, <strong>Mamie Smith</strong> recorded two songs for Okeh Records and history was made as she was the first black blues singer to make an appearance on record. The label was threatened with a boycott if they recorded a black singer but they did so anyway and the Smith-Okeh partnership went on to sell MILLIONS of records, bringing a huge jump in sales to what was called at the time “race records”.</p>\n<p>She came from the Midwest and started touring at 10 with a vaudeville act before moving to NYC in 1913. She became a big star of her day and toured the US and Europe with her Jazz Band. She appeared in some newfangled “talkie” films before she retired to her home in Staten Island. By that point, she had made a lot of money. Simply put, she was the first of the classic female blues singers on record.</p>",
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          "post": "Mamie Smith / May 26, 1883 - Sept 16, 1946",
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    "id": "miles-davis-may-26-1926-sept-28-1991",
    "data": {
      "title": "Miles Davis / May 26, 1926 - Sept 28, 1991",
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    "body": "![](/images/th_3bb84b2f-4ea8-47f8-8729-dc49695d938b_large.jpg)\n\nHappy birthday to that bitter bastard genius, the incomparable **Miles Davis**!! From bebop to cool jazz to modal to out-funk/fusion to pop, Miles played it all and never cared what the critics thought of him! My personal favorite era was his '70s hard-avant-funk, some of which sounds so brutal that it borders on proto-death metal!",
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      "html": "<p><img src=\"/images/th_3bb84b2f-4ea8-47f8-8729-dc49695d938b_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to that bitter bastard genius, the incomparable <strong>Miles Davis</strong>!! From bebop to cool jazz to modal to out-funk/fusion to pop, Miles played it all and never cared what the critics thought of him! My personal favorite era was his ’70s hard-avant-funk, some of which sounds so brutal that it borders on proto-death metal!</p>",
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          "title": "Miles Davis / May 26, 1926 - Sept 28, 1991",
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          "date": "May 26, 2017",
          "post": "Miles Davis / May 26, 1926 - Sept 28, 1991",
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    "id": "moondog-may-26-1916-spet-8-1999",
    "data": {
      "title": "Moondog / May 26, 1916 - Sept 8, 1999",
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    "body": "![](/images/moondog_2_large.jpg)\n\n\"The Viking of 6th Avenue\", Lewis Hardin was better known as **\"Moondog\"** , composer, instrument-builder, philosopher and mystical NYC street character. He was from a Kansas farm and was blinded at 16 by dynamite. He attended music school for the blind and lived briefly in the South during the late '30s/early '40s before moving to NYC in '43. There he quickly befriended Charlie Parker, Toscanini, Benny Goodman, Leonard Bernstein and other musical luminaries.\n\nHe was a busking musician and earned money selling his poems. He spent 25 years on the streets of NY, often along 6th ave, between 52nd & 55th Streets. Bearded and with long-hair, he would wear a cloak with viking helmet & sandals and often just stand still holding his hand-made spear. His music combines elements of classical, indigenous, bebop, modal, minimalism and urban noise. He made rounds, recorded jazz-influenced tunes, children's music (with Julie Andrews!), wrote for wind instruments and invented various percussion and stringed instruments. Of course, his score sheets were in Braille. He also composed for commercials and his tunes have been used in film soundtracks.\n\nHis songs often took a tone against capitalism, government and religion. He has been covered or paid tribute by a number of notable acts, such as Big Brother & Holding Company, Kronos Quartet, Jimmy McGriff, The Pentangle, Mr Scruff, Daniel Lanois, John Fahey and several others. He was also a major influence on Philip Glass and Steve Reich. Finally moving on from 6th Ave, he spent his last 25 years in Germany, conducting symphony orchestras and still performing in the streets. \"I'm not gonna die in 4/4 time.\"",
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      "html": "<p><img src=\"/images/moondog_2_large.jpg\" alt=\"\"></p>\n<p>“The Viking of 6th Avenue”, Lewis Hardin was better known as <strong>“Moondog”</strong> , composer, instrument-builder, philosopher and mystical NYC street character. He was from a Kansas farm and was blinded at 16 by dynamite. He attended music school for the blind and lived briefly in the South during the late ’30s/early ’40s before moving to NYC in ‘43. There he quickly befriended Charlie Parker, Toscanini, Benny Goodman, Leonard Bernstein and other musical luminaries.</p>\n<p>He was a busking musician and earned money selling his poems. He spent 25 years on the streets of NY, often along 6th ave, between 52nd &#x26; 55th Streets. Bearded and with long-hair, he would wear a cloak with viking helmet &#x26; sandals and often just stand still holding his hand-made spear. His music combines elements of classical, indigenous, bebop, modal, minimalism and urban noise. He made rounds, recorded jazz-influenced tunes, children’s music (with Julie Andrews!), wrote for wind instruments and invented various percussion and stringed instruments. Of course, his score sheets were in Braille. He also composed for commercials and his tunes have been used in film soundtracks.</p>\n<p>His songs often took a tone against capitalism, government and religion. He has been covered or paid tribute by a number of notable acts, such as Big Brother &#x26; Holding Company, Kronos Quartet, Jimmy McGriff, The Pentangle, Mr Scruff, Daniel Lanois, John Fahey and several others. He was also a major influence on Philip Glass and Steve Reich. Finally moving on from 6th Ave, he spent his last 25 years in Germany, conducting symphony orchestras and still performing in the streets. “I’m not gonna die in 4/4 time.”</p>",
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          "date": "May 26, 2017",
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    "id": "sugar-minott-may-25-1956-july-10-2010",
    "data": {
      "title": "Sugar Minott / May 25, 1956 - July 10, 2010",
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      "date": "2017-05-25T00:00:00.000Z"
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    "body": "![](/images/1c5e6836f485fd3c646a06e3e0d34de5_large.jpg)\n\nAmong the greatest and most influential of Jamaican singers, Lincoln **\"Sugar\" Minott** was already a known entity on the Kingston scene by 13. After working as a selector on various sound systems he started The African Brothers (with Tony Tuff & Derrick Howard) in 1969. They were a successful unit through the early '70s, especially with their rasta perspective.\n\nAt 18 Sugar started working as a session musician at the famed Studio 1, becoming a recording artist under his own name shortly thereafter. His '70s & '80s recordings for Studio 1, Channel One, Wackie's, Taxi, Trojan and his own Black Roots label, among others, are ripe with classics of roots reggae, early dancehall and lovers rock. He has also served as mentor, producer and advocate for several younger up-and-coming artists. He is a lamented presence on the international music scene. His confident voice, compassionate stance and killer tunes are much missed!",
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      "html": "<p><img src=\"/images/1c5e6836f485fd3c646a06e3e0d34de5_large.jpg\" alt=\"\"></p>\n<p>Among the greatest and most influential of Jamaican singers, Lincoln <strong>“Sugar” Minott</strong> was already a known entity on the Kingston scene by 13. After working as a selector on various sound systems he started The African Brothers (with Tony Tuff &#x26; Derrick Howard) in 1969. They were a successful unit through the early ’70s, especially with their rasta perspective.</p>\n<p>At 18 Sugar started working as a session musician at the famed Studio 1, becoming a recording artist under his own name shortly thereafter. His ’70s &#x26; ’80s recordings for Studio 1, Channel One, Wackie’s, Taxi, Trojan and his own Black Roots label, among others, are ripe with classics of roots reggae, early dancehall and lovers rock. He has also served as mentor, producer and advocate for several younger up-and-coming artists. He is a lamented presence on the international music scene. His confident voice, compassionate stance and killer tunes are much missed!</p>",
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          "date": "May 25, 2017",
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    "id": "terry-callier-may-24-1945-oct-27-2012",
    "data": {
      "title": "Terry Callier / May 24, 1945 - Oct 27, 2012",
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      "date": "2017-05-24T00:00:00.000Z"
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    "body": "![](/images/Terry_Callier_large.jpg)\n\nHappy birthday to one of Chicago's greatest! **Terry Callier** was an amazing singer/songwriter and guitarist, his sound & style were equal parts folkie, soul and jazz. Callier grew up with Curtis Mayfield, Major Lance and Jerry Butler and sang in doo-wop groups and played piano.\n\nIn '62 he signed to Chess and released his first record while still in high school. While in college he got heavily into John Coltrane and took his songs to the folk coffeehouses. He recorded the classic _The New Folk Sound of Terry Callier_ for Prestige Records and had his songs covered by others from the '60s onward.\n\nBefore his retirement in the early '80s he made several excellent LPs (some of which were produced by Charles Stepney) and had his tunes recorded by The Dells, H.P. Lovecraft and others. He had a US R&B hit with \"Sign of the Times\" in '78 and did some touring with Gil Scott-Heron and George Benson.\n\nThe UK Acid Jazz scene revived interest in his music and he came out of retirement to tour and record successfully, including being part of the Verve label's '90s mass-marketing program of new releases by classic artists. He also released some good stuff on the Mr Bongo label. He worked with Urban Species, Paul Weller, Beth Orton, Massive Attack, 4Hero, Kyoto Jazz Massive and many others, making new fans with a new generation. He was particularly popular in the UK.\n\nHe passed away in 2012. Several of his records have been reissued and a great place to start would be the classic Stepney-produced LPs for Cadet. Check out \"You Goin' Miss Your Candyman\" on _What Color Is Love_ for a psychedelic soul masterpiece!",
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      "html": "<p><img src=\"/images/Terry_Callier_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of Chicago’s greatest! <strong>Terry Callier</strong> was an amazing singer/songwriter and guitarist, his sound &#x26; style were equal parts folkie, soul and jazz. Callier grew up with Curtis Mayfield, Major Lance and Jerry Butler and sang in doo-wop groups and played piano.</p>\n<p>In ‘62 he signed to Chess and released his first record while still in high school. While in college he got heavily into John Coltrane and took his songs to the folk coffeehouses. He recorded the classic <em>The New Folk Sound of Terry Callier</em> for Prestige Records and had his songs covered by others from the ’60s onward.</p>\n<p>Before his retirement in the early ’80s he made several excellent LPs (some of which were produced by Charles Stepney) and had his tunes recorded by The Dells, H.P. Lovecraft and others. He had a US R&#x26;B hit with “Sign of the Times” in ‘78 and did some touring with Gil Scott-Heron and George Benson.</p>\n<p>The UK Acid Jazz scene revived interest in his music and he came out of retirement to tour and record successfully, including being part of the Verve label’s ’90s mass-marketing program of new releases by classic artists. He also released some good stuff on the Mr Bongo label. He worked with Urban Species, Paul Weller, Beth Orton, Massive Attack, 4Hero, Kyoto Jazz Massive and many others, making new fans with a new generation. He was particularly popular in the UK.</p>\n<p>He passed away in 2012. Several of his records have been reissued and a great place to start would be the classic Stepney-produced LPs for Cadet. Check out “You Goin’ Miss Your Candyman” on <em>What Color Is Love</em> for a psychedelic soul masterpiece!</p>",
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          "date": "May 24, 2017",
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    "id": "barry-rogers-may-22-1935-april-18-1991",
    "data": {
      "title": "Barry Rogers / May 22, 1935 - April 18, 1991",
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      "date": "2017-05-22T00:00:00.000Z"
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    "body": "![](/images/Barry_Rogers_large.jpg)\n\nOne of the many Jews to contribute immensely to the classic NYC salsa scene, **Barry Rogers** was a Bronx-bred trombonist who was a first call of many Latin bandleaders, as well as a founding member of the excellent '70s fusion group Dreams (along with Billy Cobham, The Brecker Brothers, John Abercrombie and others).\n\nNeighborhood-wise, he came up in mambo & jazz territory. A jazzer at his core, Rogers started playing in Latin bands in the mid '50s. He led the Hugo Dickens group, of which many of the best players of the day (Marty Sheller, Hubert Laws, Bobby Porcelli, Pete LaRoca Simms and others) graduated from. He partnered with Eddie Palmieri in La Perfecta, the most innovative band in Latin music in the early '60s, with its pioneering multi-trombone attack. He participated in many charanga & descarga jams of the period, including with Johnny Pacheca and Alegre All-Stars. A dizzying array of sessions with a who's who of great salsa bandleaders left a huge mark, not the least of which affected Willie Colón, who cites Rogers as a major influence.\n\nHe would dance around as he played and brought his jazz chops to a wide range of projects. Through the years he has also worked with Tito Puente, Manny Oquendo, Cachao, Machito, Celia Cruz, Henri Guedon (who also has a birthday today), Orquesta Broadway, Fania All Stars, Pucho & his Latin Soul Brothers and everybody else. His other work included Dreams and appearances with several popular artists such as Aretha Franklin, Elton John, David Byrne, James Taylor, Todd Rundgren, George Benson, Chaka Khan, Herbie Mann and many, many more. He also played tuba and alto horn.\n\nLaid down in '64, this one was a big international hit, and has been covered by Congolese rumba star Franco to the delight of African music fans. Here's the OG:\n\nIn the early '70s he co-founded Dreams, in my opinion one of the highlights of the era's many jazz-rock-funk fusion bands. He composed and arranged for the band and worked the front line with The Brecker Brothers:\n\nBarry came back to Palmieri from time to time, including the Grammy-winning The Sun of Latin Music ('74). Check out this progressive tune, arranged by Rogers:\n\nAnd, well, this is quite fun:",
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      "html": "<p><img src=\"/images/Barry_Rogers_large.jpg\" alt=\"\"></p>\n<p>One of the many Jews to contribute immensely to the classic NYC salsa scene, <strong>Barry Rogers</strong> was a Bronx-bred trombonist who was a first call of many Latin bandleaders, as well as a founding member of the excellent ’70s fusion group Dreams (along with Billy Cobham, The Brecker Brothers, John Abercrombie and others).</p>\n<p>Neighborhood-wise, he came up in mambo &#x26; jazz territory. A jazzer at his core, Rogers started playing in Latin bands in the mid ’50s. He led the Hugo Dickens group, of which many of the best players of the day (Marty Sheller, Hubert Laws, Bobby Porcelli, Pete LaRoca Simms and others) graduated from. He partnered with Eddie Palmieri in La Perfecta, the most innovative band in Latin music in the early ’60s, with its pioneering multi-trombone attack. He participated in many charanga &#x26; descarga jams of the period, including with Johnny Pacheca and Alegre All-Stars. A dizzying array of sessions with a who’s who of great salsa bandleaders left a huge mark, not the least of which affected Willie Colón, who cites Rogers as a major influence.</p>\n<p>He would dance around as he played and brought his jazz chops to a wide range of projects. Through the years he has also worked with Tito Puente, Manny Oquendo, Cachao, Machito, Celia Cruz, Henri Guedon (who also has a birthday today), Orquesta Broadway, Fania All Stars, Pucho &#x26; his Latin Soul Brothers and everybody else. His other work included Dreams and appearances with several popular artists such as Aretha Franklin, Elton John, David Byrne, James Taylor, Todd Rundgren, George Benson, Chaka Khan, Herbie Mann and many, many more. He also played tuba and alto horn.</p>\n<p>Laid down in ‘64, this one was a big international hit, and has been covered by Congolese rumba star Franco to the delight of African music fans. Here’s the OG:</p>\n<p>In the early ’70s he co-founded Dreams, in my opinion one of the highlights of the era’s many jazz-rock-funk fusion bands. He composed and arranged for the band and worked the front line with The Brecker Brothers:</p>\n<p>Barry came back to Palmieri from time to time, including the Grammy-winning The Sun of Latin Music (‘74). Check out this progressive tune, arranged by Rogers:</p>\n<p>And, well, this is quite fun:</p>",
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          "title": "Barry Rogers / May 22, 1935 - April 18, 1991",
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          "date": "May 22, 2017",
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    "id": "happy-earth-arrival-day",
    "data": {
      "title": "Happy Earth Arrival Day!",
      "slug": "happy-earth-arrival-day",
      "date": "2017-05-22T00:00:00.000Z"
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    "body": "![](/images/Sun-Ra-05_large.jpg)",
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          "title": "Happy Earth Arrival Day!",
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          "date": "May 22, 2017",
          "post": "Happy Earth Arrival Day!",
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    "id": "henri-guedon-may-22-1944-feb-12-2006",
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      "title": "Henri Guédon / May 22, 1944 - Feb 12, 2006",
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    "body": "![](/images/henri-guedon-20140112144936_large.jpg)\n\nOne of my favorite Caribbean-born artists was master percussionist & composer **Henri \"Kiké\" Guédon**. Born in Martinique, he got his career going in the mid '60s with his band La Contesta. He played every style of Latin music, with strong funk & jazz undercurrents, to go with his Antillan and Caribbean musics (zouk, bomba, merengue, beguine, Cuban, etc) and even classical and avant-garde.\n\nHe was a major Latin music star in France and enlisted world class musicians in his bands. He performed with the percussion front-of-the-stage like his idol Ray Barretto. There are some good collections and reissues of some of his classic stuff. It must also be noted that he was a judo champion, as well as a fine artist (painting, sculpting, pottery, etc).",
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      "html": "<p><img src=\"/images/henri-guedon-20140112144936_large.jpg\" alt=\"\"></p>\n<p>One of my favorite Caribbean-born artists was master percussionist &#x26; composer <strong>Henri “Kiké” Guédon</strong>. Born in Martinique, he got his career going in the mid ’60s with his band La Contesta. He played every style of Latin music, with strong funk &#x26; jazz undercurrents, to go with his Antillan and Caribbean musics (zouk, bomba, merengue, beguine, Cuban, etc) and even classical and avant-garde.</p>\n<p>He was a major Latin music star in France and enlisted world class musicians in his bands. He performed with the percussion front-of-the-stage like his idol Ray Barretto. There are some good collections and reissues of some of his classic stuff. It must also be noted that he was a judo champion, as well as a fine artist (painting, sculpting, pottery, etc).</p>",
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          "date": "May 22, 2017",
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    "id": "arthur-russell-may-21-1951-april-4-1992",
    "data": {
      "title": "Arthur Russell / May 21, 1951 - April 4, 1992",
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      "date": "2017-05-21T00:00:00.000Z"
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    "body": "![](/images/arthur_russell_large.jpg)\n\nLong a cult figure, the legend and appreciation of **Arthur Russell** only increases with time as more of his music gets issued and reissued and re-examined. His ability to cross from disco to minimalism to orchestral to hiphop to singer/songwriter material of unique personality is testament to his creativity. A lot of his worked was unfinished at the time of his passing but clearly brilliant and much of it sees release in a seemingly never-ending stream of fascinating documents.\n\nFrom Iowa, he was a hick with serious artistic aspirations, taking up piano and cello at an early age. He studied Indian classical at Ali Akbar Khan's school, and modern composition & electronic music in NYC. He played keyboards in the rock band The Flying Hearts and a power pop group The Necessaries before taking over booking at the minimalist/avant-garde venue The Kitchen. He caused controversy when he booked Boston rockers The Modern Lovers, avant-country composer Henry Flynt and the Talking Heads.\n\nA gay man, he and his lovers would frequent disco dances starting around '76 and he found himself producing several disco records that were popular in clubs, released under various handles. He had club cred with \"Kiss Me Again\" by Dinosaur L ('77), three amazing 1980 classics as Loose Joints and great shit under the moniker Indian Ocean. In '81 he and Will Socolov started Sleeping Bag Records, which would produce several classic dance, rap and freestyle records. His lone full-length album to be completed and released in his lifetime was the all-solo album _World Of Echo_ , from 1986.\n\nHe battled health problems for the rest of his short life but he stands as a pioneer of dubby productions that bridged disco and house music. In his lifetime he collaborated with David Byrne, Peter Zummo, Philip Glass, Allen Ginsberg, Steve Reich and others, including noted choreographers. He died poor, of AIDS. His brilliant music keeps trickling out and selling better than ever as his impact grows to new generations. Thanks for the music!",
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      "html": "<p><img src=\"/images/arthur_russell_large.jpg\" alt=\"\"></p>\n<p>Long a cult figure, the legend and appreciation of <strong>Arthur Russell</strong> only increases with time as more of his music gets issued and reissued and re-examined. His ability to cross from disco to minimalism to orchestral to hiphop to singer/songwriter material of unique personality is testament to his creativity. A lot of his worked was unfinished at the time of his passing but clearly brilliant and much of it sees release in a seemingly never-ending stream of fascinating documents.</p>\n<p>From Iowa, he was a hick with serious artistic aspirations, taking up piano and cello at an early age. He studied Indian classical at Ali Akbar Khan’s school, and modern composition &#x26; electronic music in NYC. He played keyboards in the rock band The Flying Hearts and a power pop group The Necessaries before taking over booking at the minimalist/avant-garde venue The Kitchen. He caused controversy when he booked Boston rockers The Modern Lovers, avant-country composer Henry Flynt and the Talking Heads.</p>\n<p>A gay man, he and his lovers would frequent disco dances starting around ‘76 and he found himself producing several disco records that were popular in clubs, released under various handles. He had club cred with “Kiss Me Again” by Dinosaur L (‘77), three amazing 1980 classics as Loose Joints and great shit under the moniker Indian Ocean. In ‘81 he and Will Socolov started Sleeping Bag Records, which would produce several classic dance, rap and freestyle records. His lone full-length album to be completed and released in his lifetime was the all-solo album <em>World Of Echo</em> , from 1986.</p>\n<p>He battled health problems for the rest of his short life but he stands as a pioneer of dubby productions that bridged disco and house music. In his lifetime he collaborated with David Byrne, Peter Zummo, Philip Glass, Allen Ginsberg, Steve Reich and others, including noted choreographers. He died poor, of AIDS. His brilliant music keeps trickling out and selling better than ever as his impact grows to new generations. Thanks for the music!</p>",
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      "title": "Fats Waller / May 21, 1904 - Dec 15, 1943",
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    "body": "![](/images/picture2-l-1050x797_large.jpg)\n\nThe Harlem-born entertainer, composer, vocalist and percussive stride pianist Thomas **Fats Waller** was the writer of great tunes like \"Aint Misbehavin\", \"Honeysuckle Rose\", \"Squeeze Me\", \"Jitterbug Waltz\", \"What Did I Do (To Be So Black & Blue\" and about four hundred others. He played piano, pipe organ and Hammond organ, and studied with James P. Johnson. He was a composer by 12 and cut his first records in '22 at the age of 18 after working early on in Vaudeville.\n\nHe was a notable comic storyteller and composer of novelty tunes & piano rolls, and a playful presence on the scene. A big star in his day, he was reputedly easy to work with. He toured Europe often in the '30s (including recording some sessions) and did some work for/on screen & stage (including _Stormy Weather_).\n\nCrazy story: after a 1926 performance in Chicago he was kidnapped by Al Capone's gang who forced him at gunpoint to be guest entertainer at Capone's birthday party. He was a big influence on bebop & modern jazz pianists (Art Tatum, Thelonious Monk, Dave Brubeck and of course his student Count Basie) and also slipped some Bach into his music (he studied classical as a kid). He died of pneumonia  in winter 1943.",
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      "html": "<p><img src=\"/images/picture2-l-1050x797_large.jpg\" alt=\"\"></p>\n<p>The Harlem-born entertainer, composer, vocalist and percussive stride pianist Thomas <strong>Fats Waller</strong> was the writer of great tunes like “Aint Misbehavin”, “Honeysuckle Rose”, “Squeeze Me”, “Jitterbug Waltz”, “What Did I Do (To Be So Black &#x26; Blue” and about four hundred others. He played piano, pipe organ and Hammond organ, and studied with James P. Johnson. He was a composer by 12 and cut his first records in ‘22 at the age of 18 after working early on in Vaudeville.</p>\n<p>He was a notable comic storyteller and composer of novelty tunes &#x26; piano rolls, and a playful presence on the scene. A big star in his day, he was reputedly easy to work with. He toured Europe often in the ’30s (including recording some sessions) and did some work for/on screen &#x26; stage (including <em>Stormy Weather</em>).</p>\n<p>Crazy story: after a 1926 performance in Chicago he was kidnapped by Al Capone’s gang who forced him at gunpoint to be guest entertainer at Capone’s birthday party. He was a big influence on bebop &#x26; modern jazz pianists (Art Tatum, Thelonious Monk, Dave Brubeck and of course his student Count Basie) and also slipped some Bach into his music (he studied classical as a kid). He died of pneumonia  in winter 1943.</p>",
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      "title": "Rufus Harley / May 20, 1936 - Aug 1, 2006",
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    "body": "![](/images/A-45007-1451415280-5963_jpeg_large.jpg)\n\nThe cult jazz artist **Rufus Harley** started out like any other Philly kid, taking lessons from Dennis Sandole, playing saxophone and other reeds, jamming with Philly scenesters like John Coltrane and Philly Joe Jones and gigging as a professional tenor player in his teens.\n\nBut hearing the Scottish bagpipes during JFK's funeral procession got him really obsessed and he became the first bagpiper of jazz. After months of practicing the instrument (he even held them \"wrong\") to the dismay of his neighbors who would call the pigs (to which he would say \"Officer, do I look Scottish to you?\"--Harley was in fact African-American and Cherokee) he debuted in Philly with them in 1964.\n\nHe got signed to Atlantic and released several great albums playing bagpipe, tenor sax, electric soprano and flute, adapting his 'pipes to jazz, blues, funk, pop hits and standards. He also played on records by Herbie Mann, Sonny Rollins and Sonny Stitt.\n\nHis masterpiece was the crazy 1972 self-released gem _Re-Creation of the Gods_. He performed in Scottish kilt and a viking hat. After 1972 he worked mostly for the Philly Housing Authority but also did some acting and played on classic albums by Laurie Anderson (\"Big Science\") and The Roots. He made a comeback late in life.\n\nCheck out Rufus on _I've Got A Secret_!:",
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      "html": "<p><img src=\"/images/A-45007-1451415280-5963_jpeg_large.jpg\" alt=\"\"></p>\n<p>The cult jazz artist <strong>Rufus Harley</strong> started out like any other Philly kid, taking lessons from Dennis Sandole, playing saxophone and other reeds, jamming with Philly scenesters like John Coltrane and Philly Joe Jones and gigging as a professional tenor player in his teens.</p>\n<p>But hearing the Scottish bagpipes during JFK’s funeral procession got him really obsessed and he became the first bagpiper of jazz. After months of practicing the instrument (he even held them “wrong”) to the dismay of his neighbors who would call the pigs (to which he would say “Officer, do I look Scottish to you?”—Harley was in fact African-American and Cherokee) he debuted in Philly with them in 1964.</p>\n<p>He got signed to Atlantic and released several great albums playing bagpipe, tenor sax, electric soprano and flute, adapting his ‘pipes to jazz, blues, funk, pop hits and standards. He also played on records by Herbie Mann, Sonny Rollins and Sonny Stitt.</p>\n<p>His masterpiece was the crazy 1972 self-released gem <em>Re-Creation of the Gods</em>. He performed in Scottish kilt and a viking hat. After 1972 he worked mostly for the Philly Housing Authority but also did some acting and played on classic albums by Laurie Anderson (“Big Science”) and The Roots. He made a comeback late in life.</p>\n<p>Check out Rufus on <em>I’ve Got A Secret</em>!:</p>",
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