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"id": "bessie-smith-april-15-1894-sept-26-1937",
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"title": "Bessie Smith / April 15, 1894 - Sept 26, 1937",
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"body": "\n\nOne of the greatest singers of her time, **Bessie Smith** and her powerful voice was a major attraction of the 1920s and stood to influence many jazz & blues vocalists, most notably Billie Holiday and Janis Joplin.\n\nBessie came from Chattanooga TN. She had lost both her parents by the age of 9 and her & her siblings busked in the streets for a living. At 18 she found work as a dancer in a traveling company that her brother worked for. Ma Rainey was also in the troupe and helped Bessie learn to handle a stage, as well as being a companion of the openly (as much as possible for the time) bisexual Smith.\n\nMoving onto professional singing she was signed to Columbia and they released her first record in '23. She went on to be a huge star, in fact she became the biggest-earning black entertainer of her era, even owning her own railroad car for easier travel.\n\nShe recorded with Louis Armstrong, Coleman Hawkins, Fletcher Henderson and others and did some work on both Broadway & Hollywood in '29. As the trends moved she was placed into the swing orchestra format in the '30s for her last recordings. She died from a car accident at 43. In 1970 Janis Joplin paid for a tombstone for Bessie. Queen Latifah played her in a movie in 2015. She will be forever known as \"the Empress of the Blues\".\n\nThis fascinating all-black casted 1929 film short (an early \"talkie\") could very well be the first \"music video\", starring Bessie as a woman who catches her man unfaithful, finding herself drinking and singing the blues. Of course W.C. Handy wrote the song but also had a major hand in the movie, as co-writer, musical director and casting of Bessie:\n\nAnd here's Bessie's 1925 hit version of \"St Louis Blues\", with Louie Armstrong on cornet:",
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"html": "<p><img src=\"/images/bessie-smith-3_large.jpg\" alt=\"\"></p>\n<p>One of the greatest singers of her time, <strong>Bessie Smith</strong> and her powerful voice was a major attraction of the 1920s and stood to influence many jazz & blues vocalists, most notably Billie Holiday and Janis Joplin.</p>\n<p>Bessie came from Chattanooga TN. She had lost both her parents by the age of 9 and her & her siblings busked in the streets for a living. At 18 she found work as a dancer in a traveling company that her brother worked for. Ma Rainey was also in the troupe and helped Bessie learn to handle a stage, as well as being a companion of the openly (as much as possible for the time) bisexual Smith.</p>\n<p>Moving onto professional singing she was signed to Columbia and they released her first record in ‘23. She went on to be a huge star, in fact she became the biggest-earning black entertainer of her era, even owning her own railroad car for easier travel.</p>\n<p>She recorded with Louis Armstrong, Coleman Hawkins, Fletcher Henderson and others and did some work on both Broadway & Hollywood in ‘29. As the trends moved she was placed into the swing orchestra format in the ’30s for her last recordings. She died from a car accident at 43. In 1970 Janis Joplin paid for a tombstone for Bessie. Queen Latifah played her in a movie in 2015. She will be forever known as “the Empress of the Blues”.</p>\n<p>This fascinating all-black casted 1929 film short (an early “talkie”) could very well be the first “music video”, starring Bessie as a woman who catches her man unfaithful, finding herself drinking and singing the blues. Of course W.C. Handy wrote the song but also had a major hand in the movie, as co-writer, musical director and casting of Bessie:</p>\n<p>And here’s Bessie’s 1925 hit version of “St Louis Blues”, with Louie Armstrong on cornet:</p>",
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"title": "Bessie Smith / April 15, 1894 - Sept 26, 1937",
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"date": "April 15, 2017",
"post": "Bessie Smith / April 15, 1894 - Sept 26, 1937",
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"id": "eden-ahbez-april-15-1908-march-4-1995",
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"title": "eden ahbez / April 15, 1908 - March 4, 1995",
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"body": "\n\nThe original hippy, the mystical **eden ahbez** wrote a tune called \"Nature Boy\" and by chance was able to hand it to Nat King Cole who turned it into a mega-hit in 1948. He looked like a hippy long before it was a thing and lived outdoors in Los Angeles. He lived under the \"L\" of the Hollywood sign and held a job as a piano player in a raw foods store. He was a vegetarian, straight edge and an anti-vaxer and wore a white robe. This lifestyle inspired \"Nature Boy\", and after the hit by Cole, ahbez became an overnight celebrity.\n\n\"Nature Boy\" has subsequently been covered by singers, jazz players, rock bands, house producers, reggae singers, doo-woppers, Afro-Cuban jazzers, flamenco musicians, calypsonians and any other style. Frank Sinatra, David Bowie, John Coltrane, Miles Davis, James Brown, Ray Barretto, George Benson, Sarah Vaughan, Lady Gaga, Joe Beck, Bobby Darin, Ahmad Jamal, Aaron Neville, Peggy Lee, The Great Society, Marvin Gaye, Big Star and countless others have recorded it. My personal favorites are the great underground versions by saxophone improviser Arthur Doyle and a dark psych-rock version by Gandalf.\n\nHe worked on further tunes with Cole and other singers (including hanging out in-studio with Brian Wilson), and made a few of his own albums with beatnik poetry and exotica sounds. In sick irony, this walking hippy died in a car accident at the age of 86.\n\nHere is the OG recorded version of \"Nature Boy\":\n\nHere's the entire Eden's Island album by our subject, (recently reissued):",
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"html": "<p><img src=\"/images/th_172bad52-1e89-4a96-aae8-5e077a82ee2e_large.jpg\" alt=\"\"></p>\n<p>The original hippy, the mystical <strong>eden ahbez</strong> wrote a tune called “Nature Boy” and by chance was able to hand it to Nat King Cole who turned it into a mega-hit in 1948. He looked like a hippy long before it was a thing and lived outdoors in Los Angeles. He lived under the “L” of the Hollywood sign and held a job as a piano player in a raw foods store. He was a vegetarian, straight edge and an anti-vaxer and wore a white robe. This lifestyle inspired “Nature Boy”, and after the hit by Cole, ahbez became an overnight celebrity.</p>\n<p>“Nature Boy” has subsequently been covered by singers, jazz players, rock bands, house producers, reggae singers, doo-woppers, Afro-Cuban jazzers, flamenco musicians, calypsonians and any other style. Frank Sinatra, David Bowie, John Coltrane, Miles Davis, James Brown, Ray Barretto, George Benson, Sarah Vaughan, Lady Gaga, Joe Beck, Bobby Darin, Ahmad Jamal, Aaron Neville, Peggy Lee, The Great Society, Marvin Gaye, Big Star and countless others have recorded it. My personal favorites are the great underground versions by saxophone improviser Arthur Doyle and a dark psych-rock version by Gandalf.</p>\n<p>He worked on further tunes with Cole and other singers (including hanging out in-studio with Brian Wilson), and made a few of his own albums with beatnik poetry and exotica sounds. In sick irony, this walking hippy died in a car accident at the age of 86.</p>\n<p>Here is the OG recorded version of “Nature Boy”:</p>\n<p>Here’s the entire Eden’s Island album by our subject, (recently reissued):</p>",
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"title": "eden ahbez / April 15, 1908 - March 4, 1995",
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"title": "TWISTED: Nature Boy Special!",
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"date": "2017-04-15T00:00:00.000Z"
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"body": "\n\nThe original hippy, the mystical **eden ahbez** wrote a tune called \"Nature Boy\" and by chance was able to hand it to Nat King Cole who turned it into a mega-hit in 1948. He looked like a hippy long before it was a thing and lived outdoors in Los Angeles. He lived under the \"L\" of the Hollywood sign and held a job as a piano player in a raw foods store. He was a vegetarian, straight edge and an anti-vaxer and wore a white robe. This lifestyle inspired \"Nature Boy\", and after the hit by Cole, ahbez became an overnight celebrity. In honor of his [born day,](https://www.peaceandrhythm.com/blogs/news/eden-ahbez-april-15-1908-march-4-1995) let's check some favorite versions of \"Nature Boy\"! This is, possibly TOO MUCH NATURE, haha!\n\nHere is one of my favorite versions, by the out-jazz saxophonist Arthur Doyle, who also puts his own distinct vocalizing on it. Recorded into a cassette boombox, it seems:\n\nAnother favorite of mine, a 1969 dark psych rock version by NYC band Gandalf, from their only LP:\n\nAs anything that John Coltrane touched, his 1965 version from _The John Coltrane Quartet Plays_ is amazing: \n\nRay Barretto did this exotic charanga-jazz version on his 1964 Tico album Guajira y Guaguanco:\n\nJoe Beck's groovy 1969 psych version, from an album of the same name:\n\nMiles Davis and Charles Mingus were feuding in the studio during the sessions for Miles' 1955 _Blue Moods_ album, but that didn't stop them from laying down this gorgeous one:\n\nTo my knowledge, this is the only recording of it made by Sun Ra:\n\nA collection of European all-stars, featuring vocalist Karin Krog, John Surman and Albert Magelsdorff, did this one on the 1969 _Open Space_ album:\n\nAnother interesting one here from French electronic music project DOP, from 2008:\n\nItalian avant-garde looping artist Lili Refrain has one of the more unique covers of it on her 2013 _Kawax_ album:\n\nThe Impressions:\n\nSarah Vaughan recorded an earlier version:\n\nBrit-disco, early '80s by Central Line. This one is the 7\" edit:\n\nAnother version I like is this loungy electronica one by Fila Brazilia:\n\nUK Latin jazz pianist/producer Alex Wilson is known for his ambitious fusions of styles and experimental approach to other people's material (lead vocalist Lauren Dalrymple):\n\nAnother good one is this 1963 version on the Prestige label, by Etta Jones:\n\nThe Godfather of Soul got in on it:\n\nJB sideman Pee Wee Ellis here with a light jazz-funk version from '77:\n\nHere's an interesting rendition with Robert Maxwell's harp:\n\nPanflute backed by cheesy '80s jazz:\n\nThe master, Esquivel, of course also had to get into it:\n\nJamaica's Studio 1 was in on the action as well:\n\n...even into the dancehall era:\n\nLovers of soulful house music may like this one:\n\nMarvin did a pretty faithful version:\n\nGrace Slick singin' it in '67:\n\nWest Coast doo-wop:\n\nBobby Darin's charming 1961 version:\n\nAnother cool little vocal 45 version, this time from 1959:\n\nSome prog-folk-rock-fusion action from '69/'70 by UK band Accolade:\n\nFrankie trying his hand in '48, for better or worse:\n\nThere are lots of cool jazz versions. Check out the gorgeous tenor sax of Ike Quebec:\n\n'60s Australian mod version:\n\nAnother house version:\n\nHow about David Bowie's version?:\n\nThere's been a few bossa nova versions, which of course is a natural fit. I particularly like this modern take on it by Joyce Moreno, from her recent recording, _Cool_ , on Far Out:\n\nBauhaus' David J:\n\nWe can't get out of this exercise without hearing Spock's version:\n\nDavid Grisman on mandolin:\n\nHere's a smooth afro-jazz version by Camerounian saxophonist Manu Dibango:\n\nAnd of course, this huge version:\n\n**_TWISTED features left-field cover versions of popular songs._**",
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"html": "<p><img src=\"//cdn.shopify.com/s/files/1/1521/8838/files/NAture_Boy_-_Nat_Cole_-_Eden_Ahbez_large.JPG?v=1492281110\" alt=\"\"></p>\n<p>The original hippy, the mystical <strong>eden ahbez</strong> wrote a tune called “Nature Boy” and by chance was able to hand it to Nat King Cole who turned it into a mega-hit in 1948. He looked like a hippy long before it was a thing and lived outdoors in Los Angeles. He lived under the “L” of the Hollywood sign and held a job as a piano player in a raw foods store. He was a vegetarian, straight edge and an anti-vaxer and wore a white robe. This lifestyle inspired “Nature Boy”, and after the hit by Cole, ahbez became an overnight celebrity. In honor of his <a href=\"https://www.peaceandrhythm.com/blogs/news/eden-ahbez-april-15-1908-march-4-1995\">born day,</a> let’s check some favorite versions of “Nature Boy”! This is, possibly TOO MUCH NATURE, haha!</p>\n<p>Here is one of my favorite versions, by the out-jazz saxophonist Arthur Doyle, who also puts his own distinct vocalizing on it. Recorded into a cassette boombox, it seems:</p>\n<p>Another favorite of mine, a 1969 dark psych rock version by NYC band Gandalf, from their only LP:</p>\n<p>As anything that John Coltrane touched, his 1965 version from <em>The John Coltrane Quartet Plays</em> is amazing:</p>\n<p>Ray Barretto did this exotic charanga-jazz version on his 1964 Tico album Guajira y Guaguanco:</p>\n<p>Joe Beck’s groovy 1969 psych version, from an album of the same name:</p>\n<p>Miles Davis and Charles Mingus were feuding in the studio during the sessions for Miles’ 1955 <em>Blue Moods</em> album, but that didn’t stop them from laying down this gorgeous one:</p>\n<p>To my knowledge, this is the only recording of it made by Sun Ra:</p>\n<p>A collection of European all-stars, featuring vocalist Karin Krog, John Surman and Albert Magelsdorff, did this one on the 1969 <em>Open Space</em> album:</p>\n<p>Another interesting one here from French electronic music project DOP, from 2008:</p>\n<p>Italian avant-garde looping artist Lili Refrain has one of the more unique covers of it on her 2013 <em>Kawax</em> album:</p>\n<p>The Impressions:</p>\n<p>Sarah Vaughan recorded an earlier version:</p>\n<p>Brit-disco, early ’80s by Central Line. This one is the 7” edit:</p>\n<p>Another version I like is this loungy electronica one by Fila Brazilia:</p>\n<p>UK Latin jazz pianist/producer Alex Wilson is known for his ambitious fusions of styles and experimental approach to other people’s material (lead vocalist Lauren Dalrymple):</p>\n<p>Another good one is this 1963 version on the Prestige label, by Etta Jones:</p>\n<p>The Godfather of Soul got in on it:</p>\n<p>JB sideman Pee Wee Ellis here with a light jazz-funk version from ‘77:</p>\n<p>Here’s an interesting rendition with Robert Maxwell’s harp:</p>\n<p>Panflute backed by cheesy ’80s jazz:</p>\n<p>The master, Esquivel, of course also had to get into it:</p>\n<p>Jamaica’s Studio 1 was in on the action as well:</p>\n<p>…even into the dancehall era:</p>\n<p>Lovers of soulful house music may like this one:</p>\n<p>Marvin did a pretty faithful version:</p>\n<p>Grace Slick singin’ it in ‘67:</p>\n<p>West Coast doo-wop:</p>\n<p>Bobby Darin’s charming 1961 version:</p>\n<p>Another cool little vocal 45 version, this time from 1959:</p>\n<p>Some prog-folk-rock-fusion action from ‘69/’70 by UK band Accolade:</p>\n<p>Frankie trying his hand in ‘48, for better or worse:</p>\n<p>There are lots of cool jazz versions. Check out the gorgeous tenor sax of Ike Quebec:</p>\n<p>’60s Australian mod version:</p>\n<p>Another house version:</p>\n<p>How about David Bowie’s version?:</p>\n<p>There’s been a few bossa nova versions, which of course is a natural fit. I particularly like this modern take on it by Joyce Moreno, from her recent recording, <em>Cool</em> , on Far Out:</p>\n<p>Bauhaus’ David J:</p>\n<p>We can’t get out of this exercise without hearing Spock’s version:</p>\n<p>David Grisman on mandolin:</p>\n<p>Here’s a smooth afro-jazz version by Camerounian saxophonist Manu Dibango:</p>\n<p>And of course, this huge version:</p>\n<p><strong><em>TWISTED features left-field cover versions of popular songs.</em></strong></p>",
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"id": "gene-ammons-april-14-1925-july-23-1974",
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"title": "Gene Ammons / April 14, 1925 - July 23, 1974",
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"body": "\n\nHere's a birthday nod to the soulful tenor man **Gene Ammons**. \"Jug\" was one of the fathers of the soul-jazz genre and was a popular and prolific recording artist before spending most of his last fifteen years incarcerated on drug charges.\n\nHe was the son of pianist Albert Ammons and he studied with the infamous Captain Walter Dyett in Chicago and joined the Billy Eckstein band in '44, blowing in that group with Charlie Parker and Dexter Gordon. From '47 onward he led his own groups and sessions, which would employ future greats such as John Coltrane, Miles Davis, Donald Byrd, Sonny Stitt, Kenny Burrell, Jackie McLean and others.\n\nHe had a big hit in '50 with \"My Foolish Heart\". He also played with Woody Herman and Charles Mingus. The Santana band used to cover (live and on their 3rd album) his tune \"Jungle Strut\". He blew bebop, ballads, and funky R&B and played in a variety of settings from big bands to organ combos to jam sessions. He spent a good ten years as one of the top names in jazz before the problems got the best of him. He died of cancer in '74.\n\nTitle cut to _Funky_ , '57 (Prestige):\n\nFrom _Blue Gene_ , '58 (Prestige):\n\nAnd here's the OG \"Jungle Strut\", from _Brother Jug_ ('70-Prestige):",
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"html": "<p><img src=\"/images/7.27_Ammons_large.jpg\" alt=\"\"></p>\n<p>Here’s a birthday nod to the soulful tenor man <strong>Gene Ammons</strong>. “Jug” was one of the fathers of the soul-jazz genre and was a popular and prolific recording artist before spending most of his last fifteen years incarcerated on drug charges.</p>\n<p>He was the son of pianist Albert Ammons and he studied with the infamous Captain Walter Dyett in Chicago and joined the Billy Eckstein band in ‘44, blowing in that group with Charlie Parker and Dexter Gordon. From ‘47 onward he led his own groups and sessions, which would employ future greats such as John Coltrane, Miles Davis, Donald Byrd, Sonny Stitt, Kenny Burrell, Jackie McLean and others.</p>\n<p>He had a big hit in ‘50 with “My Foolish Heart”. He also played with Woody Herman and Charles Mingus. The Santana band used to cover (live and on their 3rd album) his tune “Jungle Strut”. He blew bebop, ballads, and funky R&B and played in a variety of settings from big bands to organ combos to jam sessions. He spent a good ten years as one of the top names in jazz before the problems got the best of him. He died of cancer in ‘74.</p>\n<p>Title cut to <em>Funky</em> , ‘57 (Prestige):</p>\n<p>From <em>Blue Gene</em> , ‘58 (Prestige):</p>\n<p>And here’s the OG “Jungle Strut”, from <em>Brother Jug</em> (‘70-Prestige):</p>",
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"id": "cosimo-matassa-april-13-1926-sept-11-2014",
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"title": "Cosimo Matassa / April 13, 1926 - Sept 11, 2014",
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"body": "****\n\n**Cosimo Matassa's** J&M Recording studio in New Orleans was the home of some of the biggest hits of the early rock & roll era and he helped shape the NOLA sound. A Sicilian-American who was born and raised in NOLA, he was a funky grocer, record & appliance shop owner and a jukebox servicer before he opened the studio in '45, a time when there were few studios in that musical city. Teenaged Allen Toussaint used to hang out there and practice piano, later on often working directly with Matassa.\n\nIn the '60s he started his label Dover Records to produce and promote NOLA talent. In addition to his work as sound engineer, he sometimes functioned as a composer, arranger and producer. He also owned a pressing plant, set up distribution, and served as manager for Jimmy Clanton.\n\nBut it was his low-maintenance approach to bringing out the city's natural talent on tape that resulted in well over a hundred classic recordings. Here is just a sample of his clients and the hits he engineered: nearly all of Fats Domino's tunes, Little Richard (\"Tutti Frutti\" and \"Good Golly Miss Molly\"), Lloyd Price (\"Lawdy Miss Clawdy\"), Ernie K-Doe (\"Mother In-Law\"), Roy Brown (\"Good Rockin' Tonight\"), Big Joe Turner (\"Shake, Rattle & Roll\"), Smiley Lewis (\"I Hear You Knockin\"), Guitar Slim (\"The Things I Used To Do\"), Professor Longhair (\"Mardi Gras In New Orleans\" and \"Tipitina\"), Chris Kenner (\"Land of 1000 Dances\" and \"I Like It Like That\"), Clarence Frogman Henry (\"Ain't Got No Home\"), Irma Thomas, Jerry Lee Lewis, Aaron Neville (\"Tell It Like It Is\"), Dr John, Sam Cooke, Lee Dorsey (\"Workin' In The Coalmine\" and \"Ya Ya\"), Robert Parker (\"Barefootin\"), Bobby Marchan, Eddie Bo, Dave Bartholomew, Joe Tex, Earl King, Johnny Adams, T-Bone Walker, Lowell Fulson, Etta James, Ellis Marsalis, Elmore James, Nat Adderley, Bosephus (aka Hank Williams Jr), Albert King, Roger & the Gypsies, Ray Charles and hundreds more!",
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"html": "<p><strong><img src=\"/images/cosimo_matassa_music_rising-1338846504_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Cosimo Matassa’s</strong> J&M Recording studio in New Orleans was the home of some of the biggest hits of the early rock & roll era and he helped shape the NOLA sound. A Sicilian-American who was born and raised in NOLA, he was a funky grocer, record & appliance shop owner and a jukebox servicer before he opened the studio in ‘45, a time when there were few studios in that musical city. Teenaged Allen Toussaint used to hang out there and practice piano, later on often working directly with Matassa.</p>\n<p>In the ’60s he started his label Dover Records to produce and promote NOLA talent. In addition to his work as sound engineer, he sometimes functioned as a composer, arranger and producer. He also owned a pressing plant, set up distribution, and served as manager for Jimmy Clanton.</p>\n<p>But it was his low-maintenance approach to bringing out the city’s natural talent on tape that resulted in well over a hundred classic recordings. Here is just a sample of his clients and the hits he engineered: nearly all of Fats Domino’s tunes, Little Richard (“Tutti Frutti” and “Good Golly Miss Molly”), Lloyd Price (“Lawdy Miss Clawdy”), Ernie K-Doe (“Mother In-Law”), Roy Brown (“Good Rockin’ Tonight”), Big Joe Turner (“Shake, Rattle & Roll”), Smiley Lewis (“I Hear You Knockin”), Guitar Slim (“The Things I Used To Do”), Professor Longhair (“Mardi Gras In New Orleans” and “Tipitina”), Chris Kenner (“Land of 1000 Dances” and “I Like It Like That”), Clarence Frogman Henry (“Ain’t Got No Home”), Irma Thomas, Jerry Lee Lewis, Aaron Neville (“Tell It Like It Is”), Dr John, Sam Cooke, Lee Dorsey (“Workin’ In The Coalmine” and “Ya Ya”), Robert Parker (“Barefootin”), Bobby Marchan, Eddie Bo, Dave Bartholomew, Joe Tex, Earl King, Johnny Adams, T-Bone Walker, Lowell Fulson, Etta James, Ellis Marsalis, Elmore James, Nat Adderley, Bosephus (aka Hank Williams Jr), Albert King, Roger & the Gypsies, Ray Charles and hundreds more!</p>",
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"title": "Bobby Benson / April 11, 1922 - May 14, 1983",
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"body": "\n\nHappy birthday to one of the greats of West African highlife music! The composer of one of the biggest African songs ever, \"Taxi Driver\", the Nigerian entertainer and businessman **Bobby Benson** was leader of an 11-piece band, comedian, magician and hotel/nightclub owner. His band played calypso, jazz, jive, samba and highlife and he played the guitar and saxophone.\n\nFrom Ikorodu in Lagos State, he started his career in '44 in London, playing with a touring ballet, traveling throughout Europe, before returning to Nigeria where he founded a dance & theater company in '47 with his wife Cassandra. His band became popular in Nigeria. He also had a comedy act and was a presence on television in the '70s. He also owned the Caban Bamboo nightclub, which became the Hotel Bobby.\n\nBenson helped popularize big band jazz and Caribbean music in Nigeria, modernizing highlife. He was composer of \"Niger Mambo\", a tune which has become a US jazz standard as [played by Randy Weston](https://www.youtube.com/watch?v=KY1K9Y4bC5A) and many others. \"Freedom, Yes Sir\" was another big hit. He has collaborated at times with his friend Eddy Grant. Benson was a longtime musician's union leader and activist. His son [Tony Benson](https://www.youtube.com/watch?v=ZglTeIfnkSI) is also a well-known musician.",
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"html": "<p><img src=\"/images/R-6699550-1425026448-3000_jpeg_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of the greats of West African highlife music! The composer of one of the biggest African songs ever, “Taxi Driver”, the Nigerian entertainer and businessman <strong>Bobby Benson</strong> was leader of an 11-piece band, comedian, magician and hotel/nightclub owner. His band played calypso, jazz, jive, samba and highlife and he played the guitar and saxophone.</p>\n<p>From Ikorodu in Lagos State, he started his career in ‘44 in London, playing with a touring ballet, traveling throughout Europe, before returning to Nigeria where he founded a dance & theater company in ‘47 with his wife Cassandra. His band became popular in Nigeria. He also had a comedy act and was a presence on television in the ’70s. He also owned the Caban Bamboo nightclub, which became the Hotel Bobby.</p>\n<p>Benson helped popularize big band jazz and Caribbean music in Nigeria, modernizing highlife. He was composer of “Niger Mambo”, a tune which has become a US jazz standard as <a href=\"https://www.youtube.com/watch?v=KY1K9Y4bC5A\">played by Randy Weston</a> and many others. “Freedom, Yes Sir” was another big hit. He has collaborated at times with his friend Eddy Grant. Benson was a longtime musician’s union leader and activist. His son <a href=\"https://www.youtube.com/watch?v=ZglTeIfnkSI\">Tony Benson</a> is also a well-known musician.</p>",
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"body": "****\n\n**Jimmy Sabater** , the velvet-voiced Nuyorican singer & timbalista with the Joe Cuba Sextet, was the smooth English-tongued half of his lead vocal duo with Cheo Feliciano. Check out such great tunes as the smash hit \"Bang, Bang\", and \"To Be With You\" (a classic bolero, which Jimmy also cut a good disco version in '76).\n\nA native of El Barrio, he met Joe Cuba while playing stickball and the two joined Joe Panama's band. Eventually Joe Cuba took it over and transformed it into the popular Joe Cuba Sextette. They started making records in the late '50s but it was their '62 album _Steppin' Out_ that broke them big, with Jimmy singing \"To Be With You\" and wrote and sang \"Salsa y Bembé\" (the first usage of the word \"salsa\" in a song). After the success of \"Bang Bang\", they found themselves the biggest group on the Latin scene. He continued with the Sextet until '77.\n\nHe cut several excellent LPs of his own with groovy cuts such as the soulful \"Times Are Changin\" and the awesome \"Que Sabroso\". He worked with Charlie Palmieri and Jose Mangual Jr., and later on in his career with Jimmy Bosch and Spanish Harlem Orchestra. His son Jimmy Jr. is a trumpeter and bandleader.\n\nHis big breakout ballad:\n\nJimmy in Black Power mode:\n\nHere he is on the Silvestre Méndez classic \"Druma Kuyi\":\n\nHere's his disco revamp of \"To Be With You\":\n\nA fine timbalero, you can hear him on this one:\n\nA favorite of mine:\n\nFrom the same classic album, _Gusto_ , 1980:\n\nAnd here's some late career glory:",
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"html": "<p><strong><img src=\"/images/jimmy-sabato_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Jimmy Sabater</strong> , the velvet-voiced Nuyorican singer & timbalista with the Joe Cuba Sextet, was the smooth English-tongued half of his lead vocal duo with Cheo Feliciano. Check out such great tunes as the smash hit “Bang, Bang”, and “To Be With You” (a classic bolero, which Jimmy also cut a good disco version in ‘76).</p>\n<p>A native of El Barrio, he met Joe Cuba while playing stickball and the two joined Joe Panama’s band. Eventually Joe Cuba took it over and transformed it into the popular Joe Cuba Sextette. They started making records in the late ’50s but it was their ‘62 album <em>Steppin’ Out</em> that broke them big, with Jimmy singing “To Be With You” and wrote and sang “Salsa y Bembé” (the first usage of the word “salsa” in a song). After the success of “Bang Bang”, they found themselves the biggest group on the Latin scene. He continued with the Sextet until ‘77.</p>\n<p>He cut several excellent LPs of his own with groovy cuts such as the soulful “Times Are Changin” and the awesome “Que Sabroso”. He worked with Charlie Palmieri and Jose Mangual Jr., and later on in his career with Jimmy Bosch and Spanish Harlem Orchestra. His son Jimmy Jr. is a trumpeter and bandleader.</p>\n<p>His big breakout ballad:</p>\n<p>Jimmy in Black Power mode:</p>\n<p>Here he is on the Silvestre Méndez classic “Druma Kuyi”:</p>\n<p>Here’s his disco revamp of “To Be With You”:</p>\n<p>A fine timbalero, you can hear him on this one:</p>\n<p>A favorite of mine:</p>\n<p>From the same classic album, <em>Gusto</em> , 1980:</p>\n<p>And here’s some late career glory:</p>",
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"body": "****\n\n**Richard Berry** was the composer and original 1957 performer of the iconic song \"Louie Louie\", a ballad which was actually based on [\"El Loco Cha Cha\"](https://www.youtube.com/watch?v=iApNzdSnJw4) by Cuban composer René Touzet that would eventually become a rocking standard after a mega-hit by the Kingsmen in '63. It could make a claim as THE most recorded rock song. Unfortunately, Berry had traded the song's publishing rights for $750 two years after his record came out, thus losing the rewards to come.\n\nHe came up in Los Angeles, singing doo-wop. He sang in a version of The Penguins, plus you can hear him with The Flairs and on some Etta James records and with Arthur Lee Maye, as well as lead vocal on \"Riot In Cell Block #9\" by The Robins (who later became The Coasters). He wrote the lyrics to \"Louie Louie\" on toilet paper, cut the disk, and some touring in the Pacific Northwest led to a cult following and subsequent versions re-interpreted, including the Kingsmen hit that opened the floodgates to thousands of versions.\n\nA few notable covers to seek out of the iconic tune: Otis Redding, the Sonics, Beach Boys, Motorhead, Toots & the Maytalls, John Belushi, Patti Smith, George Duke, Black Flag, Barry White, Sherman Hemsley and tons more!\n\nIn the '80s Berry finally earned some long-overdue financial rewards, with a legal settlement making him an overnight millionaire.\n\nCheck him out on lead vocal in this pre-Coasters group in '54:\n\nThe awesome \"Crazy Lover\" from '55, later covered by the Rollins Band:\n\nHe's uncredited here with Etta James:\n\nHere's the '57 OG of \"Louie Louie\":",
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"html": "<p><strong><img src=\"/images/louie_richard_berry_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Richard Berry</strong> was the composer and original 1957 performer of the iconic song “Louie Louie”, a ballad which was actually based on <a href=\"https://www.youtube.com/watch?v=iApNzdSnJw4\">“El Loco Cha Cha”</a> by Cuban composer René Touzet that would eventually become a rocking standard after a mega-hit by the Kingsmen in ‘63. It could make a claim as THE most recorded rock song. Unfortunately, Berry had traded the song’s publishing rights for $750 two years after his record came out, thus losing the rewards to come.</p>\n<p>He came up in Los Angeles, singing doo-wop. He sang in a version of The Penguins, plus you can hear him with The Flairs and on some Etta James records and with Arthur Lee Maye, as well as lead vocal on “Riot In Cell Block #9” by The Robins (who later became The Coasters). He wrote the lyrics to “Louie Louie” on toilet paper, cut the disk, and some touring in the Pacific Northwest led to a cult following and subsequent versions re-interpreted, including the Kingsmen hit that opened the floodgates to thousands of versions.</p>\n<p>A few notable covers to seek out of the iconic tune: Otis Redding, the Sonics, Beach Boys, Motorhead, Toots & the Maytalls, John Belushi, Patti Smith, George Duke, Black Flag, Barry White, Sherman Hemsley and tons more!</p>\n<p>In the ’80s Berry finally earned some long-overdue financial rewards, with a legal settlement making him an overnight millionaire.</p>\n<p>Check him out on lead vocal in this pre-Coasters group in ‘54:</p>\n<p>The awesome “Crazy Lover” from ‘55, later covered by the Rollins Band:</p>\n<p>He’s uncredited here with Etta James:</p>\n<p>Here’s the ‘57 OG of “Louie Louie”:</p>",
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"body": "\n\nHappy birthday to the one-and-only \"Maggot Brain\", the funk-rock guitar god for Funkadelic, **Eddie Hazel**! Brooklyn-born, he grew up in Plainfield NJ, learning guitar as a kid and singing in church with future P-Funk bandmate Billy \"Bass\" Nelson. As teenagers the pair were working on the local Jersey scene.\n\nIn '67 Nelson hooked up with the still-local group The Parliaments, led by George Clinton, for a tour, with Hazel joining soonafter. After securing drummer Tiki Fullwood from the Philadelphia scene, the group relocated to Detroit and became Parliament. Parliament's classic first album, _Osmium_ , came out in '70 with the Funkadelic band backing. The album's mix of funk, psych-rock and country was revolutionary and Hazel can be heard singing lead on \"Little Ole Country Boy\", co-wroting \"There Is Nothing Before Me But Thang\" and featured as lead guitarist.\n\nAround the same time, Funkadelic was born, largely from Hazel's vision of having an acid rock-meets-funk group, as well as a crafty idea by Clinton to sign with another record label with largely the same band with a different name -- Funkadelic. Prominently featured on the first three Funkadelic albums, _Funkadelic_ , _Free Your Mind...And Your Ass Will Follow_ and _Maggot Brain_ , his lengthy searing solo on \"Maggot Brain's title cut is stuff of legend, with one critic calling it the band's _A Love Supreme_. He also appeared, with the rest of the Funkadelics, on Ruth Copeland's first two albums.\n\nSome drug problems dimmed his star a little bit, contributing a bit less on P-Funk albums until his major involvement in one of my favorites, _Standing On The Verge Of Getting It On_ ('74). He also contributed to a couple of psychedelic Temptations albums around this time. Hazel's solo album, _Games, Dames and Guitar Thangs_ , featured the P-Funk posse backing him. Other outtakes and jams have been issued under his name through the years as well. In '78 he played several instruments on Bonnie Pointer's debut album. He continued to work sporadically with Clinton and his P-Funk associates (including on _Computer Games_), as well as appearing on some Bill Laswell projects.\n\nThe man took the Jimi Hendrix thing into new territory and helped birth (for better or worse) \"funk-metal\". Aside from the dozens of soul/funk/disco artists who have covered his P-Funk tunes like \"Super Stoopid\" and \"Shakey Ground\", \"Maggot Brain\" itself has been covered in a number of interesting versions. Check out [this link](https://www.peaceandrhythm.com/blogs/news/twisted-maggot-brain-special) for some of them.\n\nHere are some Eddie jamz from his heart:\n\nHere's the OG of \"Maggot Brain\":\n\nEssential E and essential P:\n\nEddie on vocals on this one:\n\n\"Red Hot Mama\", the OG, one of the nastiest songs ever:\n\nEddie in action, '79:\n\nMy favorite cover version of \"California Dreaming\":\n\nFrom the Bill Laswell-produced P-Funk offshoot Axiom Funk, featuring contributions by Eddie. The project was completed and released after he passed away.",
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"html": "<p><img src=\"/images/photo-EddieHazel_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the one-and-only “Maggot Brain”, the funk-rock guitar god for Funkadelic, <strong>Eddie Hazel</strong>! Brooklyn-born, he grew up in Plainfield NJ, learning guitar as a kid and singing in church with future P-Funk bandmate Billy “Bass” Nelson. As teenagers the pair were working on the local Jersey scene.</p>\n<p>In ‘67 Nelson hooked up with the still-local group The Parliaments, led by George Clinton, for a tour, with Hazel joining soonafter. After securing drummer Tiki Fullwood from the Philadelphia scene, the group relocated to Detroit and became Parliament. Parliament’s classic first album, <em>Osmium</em> , came out in ‘70 with the Funkadelic band backing. The album’s mix of funk, psych-rock and country was revolutionary and Hazel can be heard singing lead on “Little Ole Country Boy”, co-wroting “There Is Nothing Before Me But Thang” and featured as lead guitarist.</p>\n<p>Around the same time, Funkadelic was born, largely from Hazel’s vision of having an acid rock-meets-funk group, as well as a crafty idea by Clinton to sign with another record label with largely the same band with a different name — Funkadelic. Prominently featured on the first three Funkadelic albums, <em>Funkadelic</em> , <em>Free Your Mind…And Your Ass Will Follow</em> and <em>Maggot Brain</em> , his lengthy searing solo on “Maggot Brain’s title cut is stuff of legend, with one critic calling it the band’s <em>A Love Supreme</em>. He also appeared, with the rest of the Funkadelics, on Ruth Copeland’s first two albums.</p>\n<p>Some drug problems dimmed his star a little bit, contributing a bit less on P-Funk albums until his major involvement in one of my favorites, <em>Standing On The Verge Of Getting It On</em> (‘74). He also contributed to a couple of psychedelic Temptations albums around this time. Hazel’s solo album, <em>Games, Dames and Guitar Thangs</em> , featured the P-Funk posse backing him. Other outtakes and jams have been issued under his name through the years as well. In ‘78 he played several instruments on Bonnie Pointer’s debut album. He continued to work sporadically with Clinton and his P-Funk associates (including on <em>Computer Games</em>), as well as appearing on some Bill Laswell projects.</p>\n<p>The man took the Jimi Hendrix thing into new territory and helped birth (for better or worse) “funk-metal”. Aside from the dozens of soul/funk/disco artists who have covered his P-Funk tunes like “Super Stoopid” and “Shakey Ground”, “Maggot Brain” itself has been covered in a number of interesting versions. Check out <a href=\"https://www.peaceandrhythm.com/blogs/news/twisted-maggot-brain-special\">this link</a> for some of them.</p>\n<p>Here are some Eddie jamz from his heart:</p>\n<p>Here’s the OG of “Maggot Brain”:</p>\n<p>Essential E and essential P:</p>\n<p>Eddie on vocals on this one:</p>\n<p>“Red Hot Mama”, the OG, one of the nastiest songs ever:</p>\n<p>Eddie in action, ‘79:</p>\n<p>My favorite cover version of “California Dreaming”:</p>\n<p>From the Bill Laswell-produced P-Funk offshoot Axiom Funk, featuring contributions by Eddie. The project was completed and released after he passed away.</p>",
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"body": "\n\nIn honor of the [birthday](https://www.peaceandrhythm.com/blogs/news/eddie-hazel-april-10-1950-dec-23-1992) of the great psych-funk guitarist Eddie Hazel, he of Funkadelic fame, here's a few assorted renditions of his signature emo-metal tune. It's astounding how many versions there are. While they are all pretty faithful, the range of different types of artists covering it is amazing. As such, I have included everyone from blues icon Buddy Guy to new age piano, famous rock stars to underground psych bands, alt-country to P-Funk related projects. You can decide for yourself which ones are worthy.\n\nThis one, from the often boring French band AIR, possibly my fave cover of \"Maggot Brain\":\n\nFrom Canadian violinist Lili Haydn:\n\nAlt-country:\n\nA nice one from UK psych band Sendelica:\n\nHere's a version by Bill Laswell's P-Funk related band Praxis, featuring Bernie Worrell and Buckethead and again the violinist Lili Haydn:\n\nBuddy Guy & Santana:\n\n'90s freak underground/psych faves Bardo Pond:\n\nHere's an new agey version by Ukrainian pianist Viktoriya \"Vika\" Yermolyeva:\n\nPsychic TV:\n\nRed Hot Chili Pepper's guitarist John Frusciante:\n\nHere's a poetic one from Nico Vega:\n\nHere's Stephen Perkins's band Banyan, with Nels Cline, Mike Watt and others:\n\nJ Mascis and company:\n\nHere's a smooth and clean jazzy version by the Cincinnati-based Chuck Land Band. It's debatable if they all actually fully grasp the spirit of Eddie here but it's a different style version nonetheless:\n\nMike Watt:\n\nHere's the ONLY time you will ever see me post a song by Pearl Jam:\n\nWeen:\n\nTeenage guitar prodigy from Ohio, Michael Weber:\n\nHere's a version by P-Funk's later guitarist Blackbyrd McKnight:\n\nJamband favorites Govt. Mule:\n\n**_TWISTED features left-field cover versions of popular songs._**",
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"html": "<p><img src=\"/images/maggot_brain_large.jpg\" alt=\"\"></p>\n<p>In honor of the <a href=\"https://www.peaceandrhythm.com/blogs/news/eddie-hazel-april-10-1950-dec-23-1992\">birthday</a> of the great psych-funk guitarist Eddie Hazel, he of Funkadelic fame, here’s a few assorted renditions of his signature emo-metal tune. It’s astounding how many versions there are. While they are all pretty faithful, the range of different types of artists covering it is amazing. As such, I have included everyone from blues icon Buddy Guy to new age piano, famous rock stars to underground psych bands, alt-country to P-Funk related projects. You can decide for yourself which ones are worthy.</p>\n<p>This one, from the often boring French band AIR, possibly my fave cover of “Maggot Brain”:</p>\n<p>From Canadian violinist Lili Haydn:</p>\n<p>Alt-country:</p>\n<p>A nice one from UK psych band Sendelica:</p>\n<p>Here’s a version by Bill Laswell’s P-Funk related band Praxis, featuring Bernie Worrell and Buckethead and again the violinist Lili Haydn:</p>\n<p>Buddy Guy & Santana:</p>\n<p>’90s freak underground/psych faves Bardo Pond:</p>\n<p>Here’s an new agey version by Ukrainian pianist Viktoriya “Vika” Yermolyeva:</p>\n<p>Psychic TV:</p>\n<p>Red Hot Chili Pepper’s guitarist John Frusciante:</p>\n<p>Here’s a poetic one from Nico Vega:</p>\n<p>Here’s Stephen Perkins’s band Banyan, with Nels Cline, Mike Watt and others:</p>\n<p>J Mascis and company:</p>\n<p>Here’s a smooth and clean jazzy version by the Cincinnati-based Chuck Land Band. It’s debatable if they all actually fully grasp the spirit of Eddie here but it’s a different style version nonetheless:</p>\n<p>Mike Watt:</p>\n<p>Here’s the ONLY time you will ever see me post a song by Pearl Jam:</p>\n<p>Ween:</p>\n<p>Teenage guitar prodigy from Ohio, Michael Weber:</p>\n<p>Here’s a version by P-Funk’s later guitarist Blackbyrd McKnight:</p>\n<p>Jamband favorites Govt. Mule:</p>\n<p><strong><em>TWISTED features left-field cover versions of popular songs.</em></strong></p>",
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"title": "Carl Perkins / April 9, 1932 - Jan 19, 1998",
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"body": "\n\nThe King of Rockabilly, **Carl Perkins** came from a poor sharecropper family in Tennessee. He formed a band with his brothers and played all over the region before Carl got signed to Sun Records. His tune \"Blue Suede Shoes\" was his huge hit and also became a hit for his friend Elvis Presley.\n\nPerkins cut a bunch of rockabilly and country tunes for Sun and Columbia and did some touring with Chuck Berry. He cut some impromptu recordings with Presley, Johnny Cash and Jerry Lee Lewis which would be released and sold as The Million Dollar Quartet. He and Cash would remain very close friends and they would write songs for each other. He was part of Cash's touring band and played at San Quentin with them.\n\nPerkins, hero to many, has collaborated with Bob Dylan, Paul McCartney, Patsy Cline, Roy Orbison, NRBQ, Stray Cats and more. His guitar style and songs were a huge influence on British rock (particularly the Beatles), as well as its influence on country music. He remains the gold standard of rockabilly guitar.",
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"html": "<p><img src=\"/images/dd9105b66395c461573501b2f6349b87_large.jpg\" alt=\"\"></p>\n<p>The King of Rockabilly, <strong>Carl Perkins</strong> came from a poor sharecropper family in Tennessee. He formed a band with his brothers and played all over the region before Carl got signed to Sun Records. His tune “Blue Suede Shoes” was his huge hit and also became a hit for his friend Elvis Presley.</p>\n<p>Perkins cut a bunch of rockabilly and country tunes for Sun and Columbia and did some touring with Chuck Berry. He cut some impromptu recordings with Presley, Johnny Cash and Jerry Lee Lewis which would be released and sold as The Million Dollar Quartet. He and Cash would remain very close friends and they would write songs for each other. He was part of Cash’s touring band and played at San Quentin with them.</p>\n<p>Perkins, hero to many, has collaborated with Bob Dylan, Paul McCartney, Patsy Cline, Roy Orbison, NRBQ, Stray Cats and more. His guitar style and songs were a huge influence on British rock (particularly the Beatles), as well as its influence on country music. He remains the gold standard of rockabilly guitar.</p>",
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"title": "Carl Perkins / April 9, 1932 - Jan 19, 1998",
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"body": "\n\nThe Nigerian percussionist, teacher and activist **Babatunde Olatunji** helped bring African rhythms to the greater music world. His 1959 album for Columbia, _Drums Of Passion_ , became a staple on hi-fis all over the world. His bands included amazing jazz musicians like Yusef Lateef, Ahmed Abdul-Malik, Pat Patrick, Marshall Allen, Horace Silver, Charles Lloyd, Airto and others. He played with the Grateful Dead and made all kinds of music from huge ensembles of drummers and folkloric musicians to jazz and soul.\n\nAs a guest or sideman he played on records by Cannonball Adderley, Stevie Wonder, Max Roach, Mickey Hart, Richie Havens and others. Santana had a hit covering \"Jingo\". He toured with Martin Luther King, Jr and played with Bob Marley. He also produced music for film and Broadway.\n\nIn 1967 he opened the Olatunji Center for African Culture in Harlem, aided by his friends Sun Ra and John Coltrane. In fact, Coltrane's last ever performance was there and captured on an intense recording released by Impulse! Records.\n\nCheck out Olatunji's heavy funk record from 1973 called _Soul Makossa_ where he covers the Manu Dibango classic with Joe Henderson and members of Miles Davis' band. The whole LP is insane! He remains one of the household names of African music.",
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"html": "<p><img src=\"/images/olatunji_bw_02_large.jpg\" alt=\"\"></p>\n<p>The Nigerian percussionist, teacher and activist <strong>Babatunde Olatunji</strong> helped bring African rhythms to the greater music world. His 1959 album for Columbia, <em>Drums Of Passion</em> , became a staple on hi-fis all over the world. His bands included amazing jazz musicians like Yusef Lateef, Ahmed Abdul-Malik, Pat Patrick, Marshall Allen, Horace Silver, Charles Lloyd, Airto and others. He played with the Grateful Dead and made all kinds of music from huge ensembles of drummers and folkloric musicians to jazz and soul.</p>\n<p>As a guest or sideman he played on records by Cannonball Adderley, Stevie Wonder, Max Roach, Mickey Hart, Richie Havens and others. Santana had a hit covering “Jingo”. He toured with Martin Luther King, Jr and played with Bob Marley. He also produced music for film and Broadway.</p>\n<p>In 1967 he opened the Olatunji Center for African Culture in Harlem, aided by his friends Sun Ra and John Coltrane. In fact, Coltrane’s last ever performance was there and captured on an intense recording released by Impulse! Records.</p>\n<p>Check out Olatunji’s heavy funk record from 1973 called <em>Soul Makossa</em> where he covers the Manu Dibango classic with Joe Henderson and members of Miles Davis’ band. The whole LP is insane! He remains one of the household names of African music.</p>",
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"body": "\n\nHappy birthday to Lady Day, the most impactful American singer that ever lived. The most emotional and distinguishable voice in music, **Billie Holiday** was immensely popular. She was also a screaming example of how fucked up America is and exposed its mistreatment of those who come from the poorest sect of society.\n\nWhile she achieved wealth and fame due to her talent, the system failed her in so many ways. A victim of assault, racism, child poverty, prostitution, domestic abuse, jail time, theft, drugs and systematic legal bullshit (such as the revoking of her ability to perform in NYC), she was still a creative force through it all...at least until the very end when the drugs and booze helped destroy her to finality.\n\nShe was a commanding performer, a songwriter, an actress. Her rendition of \"Strange Fruit\" (a song about a lynching) stands as one of the most haunting and affecting tunes to ever come from the American songbook. She wrote (or co-wrote) many tunes, including \"God Bless The Child\", \"You're My Thrill\", \"Don't Explain\" and \"Lady Sings The Blues\", and her performances of \"Lover Man\", \"Crazy He Calls Me\" and others are quite moving.\n\nShe met her end, in police custody in critical condition in a hospital room, most likely with drugs planted on her by authorities. Because that's how America treats black talent when the show is over.",
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"html": "<p><img src=\"/images/BILLIE-HOLIDAY_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to Lady Day, the most impactful American singer that ever lived. The most emotional and distinguishable voice in music, <strong>Billie Holiday</strong> was immensely popular. She was also a screaming example of how fucked up America is and exposed its mistreatment of those who come from the poorest sect of society.</p>\n<p>While she achieved wealth and fame due to her talent, the system failed her in so many ways. A victim of assault, racism, child poverty, prostitution, domestic abuse, jail time, theft, drugs and systematic legal bullshit (such as the revoking of her ability to perform in NYC), she was still a creative force through it all…at least until the very end when the drugs and booze helped destroy her to finality.</p>\n<p>She was a commanding performer, a songwriter, an actress. Her rendition of “Strange Fruit” (a song about a lynching) stands as one of the most haunting and affecting tunes to ever come from the American songbook. She wrote (or co-wrote) many tunes, including “God Bless The Child”, “You’re My Thrill”, “Don’t Explain” and “Lady Sings The Blues”, and her performances of “Lover Man”, “Crazy He Calls Me” and others are quite moving.</p>\n<p>She met her end, in police custody in critical condition in a hospital room, most likely with drugs planted on her by authorities. Because that’s how America treats black talent when the show is over.</p>",
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"body": "\n\nI want to give a shout-out to jazz trumpeter **Freddie Hubbard** on his date of birth. He may not have been an iconoclast himself but there he was on some of the most ground-breaking and important jazz records made in the '50s and '60s, such as Ornette Coleman's _Free Jazz _and John Coltrane's _Ascension_.\n\nYou want more classics? How about this list of awesome LPs: Eric Dolphy _Outward Bound_ , Max Roach _Drums Unlimited_ , Wayne Shorter _Speak No Evil_ , Oliver Nelson _The Blues And The Abstract Truth_ , Art Blakey _Ugetsu_ , Herbie Hancock _Maiden Voyage_ , Tina Brooks _True Blue_ , Sonny Rollins _East Broadway Run Down_ , Ilhan Mimaroglu _Sing Me A Song Of Songmy_ , along with his own classic run on Blue Note, Impulse! and Atlantic.\n\nHe headed over to CTI in the '70s and cut the groovy _Red Clay_ , a staple of funk-jazz heads everywhere. After that he got a little boring, appearing with Billy Joel and the like. But you can't deny the ubiquitous presence of his horn in the world of jazz. His Blue Note recordings of the early '60s are a hard bop fan's dream.\n\nFrom _Open Sesame_ , Blue Note, 1960:\n\nFrom _Ready For Freddie_ , Blue Note, 1961, with the Coltrane rhythm section:\n\nFrom _Breaking Point_ , Blue Note, 1964:\n\nHis best work for CTI is right here, _Red Clay_ :\n\nAnd a personal favorite album of mine, his bizarre collaboration with Ilhan Mimaroğlu, _Sing Me A Song Of Songmy_ , Atlantic, 1971:",
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"html": "<p><img src=\"/images/freddie-hubbard-122913_large.jpg\" alt=\"\"></p>\n<p>I want to give a shout-out to jazz trumpeter <strong>Freddie Hubbard</strong> on his date of birth. He may not have been an iconoclast himself but there he was on some of the most ground-breaking and important jazz records made in the ’50s and ’60s, such as Ornette Coleman’s _Free Jazz _and John Coltrane’s <em>Ascension</em>.</p>\n<p>You want more classics? How about this list of awesome LPs: Eric Dolphy <em>Outward Bound</em> , Max Roach <em>Drums Unlimited</em> , Wayne Shorter <em>Speak No Evil</em> , Oliver Nelson <em>The Blues And The Abstract Truth</em> , Art Blakey <em>Ugetsu</em> , Herbie Hancock <em>Maiden Voyage</em> , Tina Brooks <em>True Blue</em> , Sonny Rollins <em>East Broadway Run Down</em> , Ilhan Mimaroglu <em>Sing Me A Song Of Songmy</em> , along with his own classic run on Blue Note, Impulse! and Atlantic.</p>\n<p>He headed over to CTI in the ’70s and cut the groovy <em>Red Clay</em> , a staple of funk-jazz heads everywhere. After that he got a little boring, appearing with Billy Joel and the like. But you can’t deny the ubiquitous presence of his horn in the world of jazz. His Blue Note recordings of the early ’60s are a hard bop fan’s dream.</p>\n<p>From <em>Open Sesame</em> , Blue Note, 1960:</p>\n<p>From <em>Ready For Freddie</em> , Blue Note, 1961, with the Coltrane rhythm section:</p>\n<p>From <em>Breaking Point</em> , Blue Note, 1964:</p>\n<p>His best work for CTI is right here, <em>Red Clay</em> :</p>\n<p>And a personal favorite album of mine, his bizarre collaboration with Ilhan Mimaroğlu, <em>Sing Me A Song Of Songmy</em> , Atlantic, 1971:</p>",
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"body": "\n\nThe great Cuban conguero and bandleader **Mongo Santamaría** brought some spice to the American popular music scene. He had been bandleader for the prestigious Tropicana house band in Havana in the '40s before coming to NYC in 1950. He was the composer of \"Afro Blue\" and had a huge hit with Herbie Hancock's \"Watermelon Man\".\n\nIn addition to his own groovy ensembles, he played with Cal Tjader, Tito Puente, Perez Prado, Fania All Stars, Willie Bobo, Dizzy Gillespie and others. It's always a pleasure to hear his Afro-Cuban arrangements of popular soul tunes, as well as his Orisha-guided rumbas. He played jazz, charanga, boogaloo, salsa, funk and pop. He was making vital recordings and performing into the late 1990s.\n\nHere's a 1980 performance, followed by some favorites:",
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"html": "<p><img src=\"/images/19deb46da27feba4d9a478b6955c9208_large.jpg\" alt=\"\"></p>\n<p>The great Cuban conguero and bandleader <strong>Mongo Santamaría</strong> brought some spice to the American popular music scene. He had been bandleader for the prestigious Tropicana house band in Havana in the ’40s before coming to NYC in 1950. He was the composer of “Afro Blue” and had a huge hit with Herbie Hancock’s “Watermelon Man”.</p>\n<p>In addition to his own groovy ensembles, he played with Cal Tjader, Tito Puente, Perez Prado, Fania All Stars, Willie Bobo, Dizzy Gillespie and others. It’s always a pleasure to hear his Afro-Cuban arrangements of popular soul tunes, as well as his Orisha-guided rumbas. He played jazz, charanga, boogaloo, salsa, funk and pop. He was making vital recordings and performing into the late 1990s.</p>\n<p>Here’s a 1980 performance, followed by some favorites:</p>",
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"body": "\n\n**BRAND NEW!! OUT NOW!!** The heaviest and sweatiest funk ensemble Big Mean Sound Machine's newest full length platter!! _**Runnin' For The Ghost**_ is available now! [**Order here**](https://www.peaceandrhythm.com/products/big-mean-sound-machine-runnin-for-the-ghost-lp). Stores may contact [**Forced Exposure**](http://www.forcedexposure.com/Catalog/big-mean-sound-machine-runnin-for-the-ghost-lp/PEACE.009LP.html) for wholesale.\n\nIn a time when people need to come together more than ever, **Big Mean Sound Machine** is spreading positivity through communal dance by creating music that moves people of all ages and backgrounds. With this new album, the ten piece band breaks new sonic ground and creates a unique flavor of instrumental music with their fourth full-length studio album, **_Runnin’ for the Ghost_** , co-released by **Peace & Rhythm** (USA) and **Blank Slate Records** (Germany). \n \nWhile on tour, Big Mean opened a new chapter when the band had the honor of meeting and playing with master drummer **Tony Allen** (pioneer and co-creator of afrobeat with Fela Kuti and the Africa 70). His dream of seeing afrobeat music spread globally to become bigger than any one person or any one group motivated Big Mean to carry the torch of original dance music into the 21st century. Though traditional afrobeat has had a major influence on Big Mean Sound Machine, the music on _Runnin’ for the Ghost_ reaches far beyond tradition and pushes the band’s sound in new ways through the mixing and blending of many genres, keeping with the spirit that inspired Allen and Kuti to create their own style in the first place. \n \nOn _Runnin’ for the Ghost_ , Big Mean continues to harness their collective creativity as the majority of the conception, arrangement and production came from within the band. Bassist and band leader **Angelo Peters** led the charge in producing the new record while recruiting **Matt Saccuccimorano** (of Big Mean's previous release _Contraband_) to engineer the first live studio session. Later, Peters engineered and mixed the rest of the album at **Big Mean Studios** with additional recording and production from bandmates **Dan Barker** , **Andrew Klein** and **Lucas Ashby**. Big Mean’s synth wizard **Dana Billings** added the final touches in mastering the album, completing the process. \n \nTo push forward into new creative territory, while recording _Runnin’ for the Ghost_ the band tried a different approach than usual by learning, arranging and recording certain tracks in a single day, crafting the music spontaneously in the studio. This new collaborative approach shines through on the standout track “Van Chatter.” The song delves into the realm of West African highlife and Central African soukous with articulate and fast moving guitar sounds alongside a call and response horn melody, creating a lively conversation between tradition and innovation. \n \nAnother highlight is the lead single, “Seeing The Bigger Picture,” which incorporates Afro-Cuban percussion patterns and a driving, melodic bass groove that support an uplifting horn melody and a swirling analog synthesizer solo. Each band member’s unique musical voice serves as a thread in a seamlessly intertwined fabric of sound, creating an anthem for Big Mean’s mission to move people.\n\nBig Mean Sound Machine are **on tour now** in support of this amazing record. [Tour dates here](http://www.bigmeansoundmachine.com/tour). And [here](https://www.peaceandrhythm.com/blogs/news/big-mean-sound-machine-and-peace-rhythm-djs-at-the-root-cellar-4-15) is info about the special **record release party** with the Peace & Rhythm DJs at The Root Cellar, P&R's homebase in Greenfield MA on 4/15.\n\n[Runnin' for the Ghost by Big Mean Sound Machine](http://bigmeansoundmachine.bandcamp.com/album/runnin-for-the-ghost)\n\n**Music written, arranged and performed by Big Mean Sound Machine**\n\n**Produced by Angelo Peters and Big Mean Sound Machine**\n\n**Released by Peace & Rhythm, Blank Slate and Big Mean Sound Machine**\n\n**Tracks 2, 4, 6, 8 & 10 recorded live at the Enfield Baptist Church by Matt Saccuccimorano**\n\n**Tracks 1, 3, 5, 7, 9 & 11 recorded live at Big Mean Studios by Angelo Peters**\n\n**Additional recording at Big Mean Studios by Angelo Peters, Dan Barker, Andrew Klein, Lucas Ashby and Dana Billings**\n\n**Mixed by Angelo Peters at Big Mean Studios, Ithaca, NY**\n\n**Mastered by Dana Billings at Electric Wilburland Studio, Newfield, NY**\n\n**Album artwork by Pierce Marratto**\n\n**Executive Producers: Jill Schneider and Robert Barker**\n\n**[Order the vinyl](https://www.peaceandrhythm.com/products/big-mean-sound-machine-runnin-for-the-ghost-lp) direct from Peace & Rhythm mailorder!!**\n\n[**http://www.bigmeansoundmachine.com/**](http://www.bigmeansoundmachine.com/)",
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"html": "<p><img src=\"//cdn.shopify.com/s/files/1/1521/8838/products/15338681_10154229091980735_8715355290860656236_n_large.jpg?v=1490570676\" alt=\"\"></p>\n<p><strong>BRAND NEW!! OUT NOW!!</strong> The heaviest and sweatiest funk ensemble Big Mean Sound Machine’s newest full length platter!! <em><strong>Runnin’ For The Ghost</strong></em> is available now! <a href=\"https://www.peaceandrhythm.com/products/big-mean-sound-machine-runnin-for-the-ghost-lp\"><strong>Order here</strong></a>. Stores may contact <a href=\"http://www.forcedexposure.com/Catalog/big-mean-sound-machine-runnin-for-the-ghost-lp/PEACE.009LP.html\"><strong>Forced Exposure</strong></a> for wholesale.</p>\n<p>In a time when people need to come together more than ever, <strong>Big Mean Sound Machine</strong> is spreading positivity through communal dance by creating music that moves people of all ages and backgrounds. With this new album, the ten piece band breaks new sonic ground and creates a unique flavor of instrumental music with their fourth full-length studio album, <strong><em>Runnin’ for the Ghost</em></strong> , co-released by <strong>Peace & Rhythm</strong> (USA) and <strong>Blank Slate Records</strong> (Germany).</p>\n<p>While on tour, Big Mean opened a new chapter when the band had the honor of meeting and playing with master drummer <strong>Tony Allen</strong> (pioneer and co-creator of afrobeat with Fela Kuti and the Africa 70). His dream of seeing afrobeat music spread globally to become bigger than any one person or any one group motivated Big Mean to carry the torch of original dance music into the 21st century. Though traditional afrobeat has had a major influence on Big Mean Sound Machine, the music on <em>Runnin’ for the Ghost</em> reaches far beyond tradition and pushes the band’s sound in new ways through the mixing and blending of many genres, keeping with the spirit that inspired Allen and Kuti to create their own style in the first place.</p>\n<p>On <em>Runnin’ for the Ghost</em> , Big Mean continues to harness their collective creativity as the majority of the conception, arrangement and production came from within the band. Bassist and band leader <strong>Angelo Peters</strong> led the charge in producing the new record while recruiting <strong>Matt Saccuccimorano</strong> (of Big Mean’s previous release <em>Contraband</em>) to engineer the first live studio session. Later, Peters engineered and mixed the rest of the album at <strong>Big Mean Studios</strong> with additional recording and production from bandmates <strong>Dan Barker</strong> , <strong>Andrew Klein</strong> and <strong>Lucas Ashby</strong>. Big Mean’s synth wizard <strong>Dana Billings</strong> added the final touches in mastering the album, completing the process.</p>\n<p>To push forward into new creative territory, while recording <em>Runnin’ for the Ghost</em> the band tried a different approach than usual by learning, arranging and recording certain tracks in a single day, crafting the music spontaneously in the studio. This new collaborative approach shines through on the standout track “Van Chatter.” The song delves into the realm of West African highlife and Central African soukous with articulate and fast moving guitar sounds alongside a call and response horn melody, creating a lively conversation between tradition and innovation.</p>\n<p>Another highlight is the lead single, “Seeing The Bigger Picture,” which incorporates Afro-Cuban percussion patterns and a driving, melodic bass groove that support an uplifting horn melody and a swirling analog synthesizer solo. Each band member’s unique musical voice serves as a thread in a seamlessly intertwined fabric of sound, creating an anthem for Big Mean’s mission to move people.</p>\n<p>Big Mean Sound Machine are <strong>on tour now</strong> in support of this amazing record. <a href=\"http://www.bigmeansoundmachine.com/tour\">Tour dates here</a>. And <a href=\"https://www.peaceandrhythm.com/blogs/news/big-mean-sound-machine-and-peace-rhythm-djs-at-the-root-cellar-4-15\">here</a> is info about the special <strong>record release party</strong> with the Peace & Rhythm DJs at The Root Cellar, P&R’s homebase in Greenfield MA on 4/15.</p>\n<p><a href=\"http://bigmeansoundmachine.bandcamp.com/album/runnin-for-the-ghost\">Runnin’ for the Ghost by Big Mean Sound Machine</a></p>\n<p><strong>Music written, arranged and performed by Big Mean Sound Machine</strong></p>\n<p><strong>Produced by Angelo Peters and Big Mean Sound Machine</strong></p>\n<p><strong>Released by Peace & Rhythm, Blank Slate and Big Mean Sound Machine</strong></p>\n<p><strong>Tracks 2, 4, 6, 8 & 10 recorded live at the Enfield Baptist Church by Matt Saccuccimorano</strong></p>\n<p><strong>Tracks 1, 3, 5, 7, 9 & 11 recorded live at Big Mean Studios by Angelo Peters</strong></p>\n<p><strong>Additional recording at Big Mean Studios by Angelo Peters, Dan Barker, Andrew Klein, Lucas Ashby and Dana Billings</strong></p>\n<p><strong>Mixed by Angelo Peters at Big Mean Studios, Ithaca, NY</strong></p>\n<p><strong>Mastered by Dana Billings at Electric Wilburland Studio, Newfield, NY</strong></p>\n<p><strong>Album artwork by Pierce Marratto</strong></p>\n<p><strong>Executive Producers: Jill Schneider and Robert Barker</strong></p>\n<p><strong><a href=\"https://www.peaceandrhythm.com/products/big-mean-sound-machine-runnin-for-the-ghost-lp\">Order the vinyl</a> direct from Peace & Rhythm mailorder!!</strong></p>\n<p><a href=\"http://www.bigmeansoundmachine.com/\"><strong>http://www.bigmeansoundmachine.com/</strong></a></p>",
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"body": "\n\nTaking the world by storm: the amazing **Locobeach**!! Psychedelic disco-cumbia made in Brooklyn NY, from the bastard children of Chicha Libre and Los Crema Paraiso. Members of Los Amigos Invicibles, La Muy Bestia Pop and featuring the talents of Joshua Camp, songwriting talent and creator of the C.A.M.P.O.S. project. This fantastic new outfit is already electrifying audiences around NYC.\n\nLocobeach is cumbia pop; latin disco with a psychedelic/spaghetti western edge. This supergroup of a band is comprised of **Jose****Luis Pardo** on guitars/vocals, **Neil Ochoa** on congas/percussion/electronics, **Joshua Camp** on accordion/keyboards/vocals and **Edward Marshall** on bass. Dance music for your brain!\n\n**Peace & Rhythm** are honored to be releasing their **debut album** , coming late in 2017. Leading up to its release will be a series of digital singles, beginning with **\"The Devil Is A Charmer\"** , available now!\n\nBuy the debut digital single right here:\n\n<a href=\"http://locobeach.bandcamp.com/track/the-devil-is-a-charmer\">The Devil is A Charmer by Locobeach</a>\n\nAnd here is the video, directed by Luis Gerardo Díaz, 2017.\n\n",
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"html": "<p><img src=\"//cdn.shopify.com/s/files/1/1521/8838/products/1_large.jpg?v=1491253225\" alt=\"\"></p>\n<p>Taking the world by storm: the amazing <strong>Locobeach</strong>!! Psychedelic disco-cumbia made in Brooklyn NY, from the bastard children of Chicha Libre and Los Crema Paraiso. Members of Los Amigos Invicibles, La Muy Bestia Pop and featuring the talents of Joshua Camp, songwriting talent and creator of the C.A.M.P.O.S. project. This fantastic new outfit is already electrifying audiences around NYC.</p>\n<p>Locobeach is cumbia pop; latin disco with a psychedelic/spaghetti western edge. This supergroup of a band is comprised of <strong>Jose****Luis Pardo</strong> on guitars/vocals, <strong>Neil Ochoa</strong> on congas/percussion/electronics, <strong>Joshua Camp</strong> on accordion/keyboards/vocals and <strong>Edward Marshall</strong> on bass. Dance music for your brain!</p>\n<p><strong>Peace & Rhythm</strong> are honored to be releasing their <strong>debut album</strong> , coming late in 2017. Leading up to its release will be a series of digital singles, beginning with <strong>“The Devil Is A Charmer”</strong> , available now!</p>\n<p>Buy the debut digital single right here:</p>\n<p><a href=\"http://locobeach.bandcamp.com/track/the-devil-is-a-charmer\">The Devil is A Charmer by Locobeach</a></p>\n<p>And here is the video, directed by Luis Gerardo Díaz, 2017.</p>\n<p><img src=\"/images/GetAttachmentThumbnail_large.jpg\" alt=\"\"></p>",
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"body": "****\n\n**Gerry Mulligan** may be the most well-known (and perhaps most important) baritone saxophonist in jazz and beyond. His playing, arranging and compositional talents have found him work with many of the greatest jazz artists ever, as well as extensive work in orchestral settings.\n\nHe started arranging for Gene Krupa in '46 before playing on the classic Miles Davis Nonet sides that became _Birth Of The Cool_ and subsequent jobs with the group ('48-'51). 1951 saw the issue of his first album _Mulligan Plays Mulligan_ before heading to Los Angeles to take a job with Stan Kenton.\n\nIt was there that he teamed with the not-yet-famous Chet Baker, achieving great acclaim until heroin took the band apart and Mulligan found himself in the slammer for awhile. Upon release he re-formed the group with trombonist Bob Brookmeyer replacing Baker.\n\nHe worked with both Thelonious Monk and Paul Desmond in the late '50s and in the early '60s he formed a big band, touring and recording for Verve and from '67-'73 was in regular partnership with Dave Brubeck. The mid-'70s found him working in Italy, including with tango master Astor Piazzolla. He worked often with Mingus in the '70s before re-forming the big band. He even experimented with electronics in the early '80s. He had also been working with classical orchestras for decades.\n\nIn demand for a variety of settings his entire career, he also notably performed and/or recorded with Duke Ellington, Billie Holiday, Mel Torme and many, many others. He also recorded on a variety of reed instruments, as well as piano, but stands with Harry Carney among the greats of the bari.\n\nHere is the _Birth of the Cool_ sessions, of which Mulligan is a major part of, as baritone player, composer and arranger:\n\nHere's Mulligan in partnership with Chet Baker, back when Baker was a fine trumpeter and not an obnoxiously overrated junkie singer:\n\nAnd _Mulligan Meets Monk_ :",
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"html": "<p><strong><img src=\"/images/gerry-mulligan_wide-ca9742020f1ed2a3c3b9f2e5ea3de406eab418a6-s1100-c15_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Gerry Mulligan</strong> may be the most well-known (and perhaps most important) baritone saxophonist in jazz and beyond. His playing, arranging and compositional talents have found him work with many of the greatest jazz artists ever, as well as extensive work in orchestral settings.</p>\n<p>He started arranging for Gene Krupa in ‘46 before playing on the classic Miles Davis Nonet sides that became <em>Birth Of The Cool</em> and subsequent jobs with the group (‘48-‘51). 1951 saw the issue of his first album <em>Mulligan Plays Mulligan</em> before heading to Los Angeles to take a job with Stan Kenton.</p>\n<p>It was there that he teamed with the not-yet-famous Chet Baker, achieving great acclaim until heroin took the band apart and Mulligan found himself in the slammer for awhile. Upon release he re-formed the group with trombonist Bob Brookmeyer replacing Baker.</p>\n<p>He worked with both Thelonious Monk and Paul Desmond in the late ’50s and in the early ’60s he formed a big band, touring and recording for Verve and from ‘67-‘73 was in regular partnership with Dave Brubeck. The mid-’70s found him working in Italy, including with tango master Astor Piazzolla. He worked often with Mingus in the ’70s before re-forming the big band. He even experimented with electronics in the early ’80s. He had also been working with classical orchestras for decades.</p>\n<p>In demand for a variety of settings his entire career, he also notably performed and/or recorded with Duke Ellington, Billie Holiday, Mel Torme and many, many others. He also recorded on a variety of reed instruments, as well as piano, but stands with Harry Carney among the greats of the bari.</p>\n<p>Here is the <em>Birth of the Cool</em> sessions, of which Mulligan is a major part of, as baritone player, composer and arranger:</p>\n<p>Here’s Mulligan in partnership with Chet Baker, back when Baker was a fine trumpeter and not an obnoxiously overrated junkie singer:</p>\n<p>And <em>Mulligan Meets Monk</em> :</p>",
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"body": "\n\nThough never a household name, pianist, big-band leader, composer and community activist **Horace Tapscott** was a major figure on the Los Angeles jazz scene. As a teenager he, Don Cherry & Billy Higgins played together and took in the legendarily thriving Central Ave bop scene of the late '40s. Initially a trombonist, he got a call to work with Lionel Hampton before moving to piano (the Thelonious Monk and Herbie Nichols influence is evident).\n\nIn '61 he formed the Pan-Afrikan Peoples Arkestra, a progressive big band that included poets, dancers and a good amount of activist spirit. In '63 he cut some sessions with the underrated trombonist Lou Blackburn. He was arranger/conductor/composer for the classic Sonny Criss Orchestra album _Sonny's Dream (Birth Of The New Cool)_ in '68, and put out a great record under his own name for Flying Dutchman in '69 (_The Giant Is Awakened_ , featuring Black Arthur Blythe).\n\nHis Arkestra became affiliated with the L.A. chapter of the Black Panthers and he found himself blacklisted and labeled \"unhirable\". But this didn't stop the flow of creative music, including young talents David Murray, Butch Morris and Sabir Mateen among others. He recorded for the Nimbus label, as well as sporadic dates on other labels such as HatArt.\n\nIn addition to the aforementioned players, he also worked with Roy Haynes, Andrew Cyrille, Sonny Simmons and others. From bop to free jazz to statements of social consciousness, Tapscott's work as a bandleader and mentor is inspiring stuff and respect for his music seems to be ever-growing long after his death.",
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"html": "<p><img src=\"/images/Horace_Tapscott_JiW_10.11.91_large.gif\" alt=\"\"></p>\n<p>Though never a household name, pianist, big-band leader, composer and community activist <strong>Horace Tapscott</strong> was a major figure on the Los Angeles jazz scene. As a teenager he, Don Cherry & Billy Higgins played together and took in the legendarily thriving Central Ave bop scene of the late ’40s. Initially a trombonist, he got a call to work with Lionel Hampton before moving to piano (the Thelonious Monk and Herbie Nichols influence is evident).</p>\n<p>In ‘61 he formed the Pan-Afrikan Peoples Arkestra, a progressive big band that included poets, dancers and a good amount of activist spirit. In ‘63 he cut some sessions with the underrated trombonist Lou Blackburn. He was arranger/conductor/composer for the classic Sonny Criss Orchestra album <em>Sonny’s Dream (Birth Of The New Cool)</em> in ‘68, and put out a great record under his own name for Flying Dutchman in ‘69 (<em>The Giant Is Awakened</em> , featuring Black Arthur Blythe).</p>\n<p>His Arkestra became affiliated with the L.A. chapter of the Black Panthers and he found himself blacklisted and labeled “unhirable”. But this didn’t stop the flow of creative music, including young talents David Murray, Butch Morris and Sabir Mateen among others. He recorded for the Nimbus label, as well as sporadic dates on other labels such as HatArt.</p>\n<p>In addition to the aforementioned players, he also worked with Roy Haynes, Andrew Cyrille, Sonny Simmons and others. From bop to free jazz to statements of social consciousness, Tapscott’s work as a bandleader and mentor is inspiring stuff and respect for his music seems to be ever-growing long after his death.</p>",
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"title": "Merle Haggard / April 6, 1937 - April 6, 2016",
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"body": "\n\nCountry music icon, outlaw poet and one of the greatest songwriters in American music history, **Merle Haggard** passed away on his 79th birthday, a premonition that he shared with his family. \"The Bottle Let Me Down\", \"Branded Man\", \"Mama Tried\", \"Working Man Blues\", \"High On A Hilltop\", \"Silver Wings\", \"(My Friends Are Gonna Be) Strangers\"...so many great tunes. And his politics veered left sometime in the last 20 years, even recording an anti-war song about the Iraq war. One of my personal favorite songwriters. \"Sing me back home...\"\n\nSure, some harsh folks can get on my case about liking a honky country music star, but as far as I am concerned he was the genre's best, a great songwriter and a respectable bandleader. No apologies here.\n\nOne of his great tunes:\n\nHere's Merle's 1972 song about interracial love, a tuned that irked the Grand Ole Opry folks:\n\nSome Merle live footage:",
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"html": "<p><img src=\"/images/MerleHaggard-1200x630-1459966867_large.jpg\" alt=\"\"></p>\n<p>Country music icon, outlaw poet and one of the greatest songwriters in American music history, <strong>Merle Haggard</strong> passed away on his 79th birthday, a premonition that he shared with his family. “The Bottle Let Me Down”, “Branded Man”, “Mama Tried”, “Working Man Blues”, “High On A Hilltop”, “Silver Wings”, “(My Friends Are Gonna Be) Strangers”…so many great tunes. And his politics veered left sometime in the last 20 years, even recording an anti-war song about the Iraq war. One of my personal favorite songwriters. “Sing me back home…”</p>\n<p>Sure, some harsh folks can get on my case about liking a honky country music star, but as far as I am concerned he was the genre’s best, a great songwriter and a respectable bandleader. No apologies here.</p>\n<p>One of his great tunes:</p>\n<p>Here’s Merle’s 1972 song about interracial love, a tuned that irked the Grand Ole Opry folks:</p>\n<p>Some Merle live footage:</p>",
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Bessie Smith / April 15, 1894 - Sept 26, 1937
April 15, 2017
One of the greatest singers of her time, Bessie Smith and her powerful voice was a major attraction of the 1920s and stood to influence many jazz & blues vocalists, most notably Billie Holiday and Janis Joplin. Bessie came from Chattanooga TN. She had lost both her parents by the...
eden ahbez / April 15, 1908 - March 4, 1995
April 15, 2017
The original hippy, the mystical eden ahbez wrote a tune called "Nature Boy" and by chance was able to hand it to Nat King Cole who turned it into a mega-hit in 1948. He looked like a hippy long before it was a thing and lived outdoors in Los Angeles....
TWISTED: Nature Boy Special!
April 15, 2017
The original hippy, the mystical eden ahbez wrote a tune called "Nature Boy" and by chance was able to hand it to Nat King Cole who turned it into a mega-hit in 1948. He looked like a hippy long before it was a thing and lived outdoors in Los Angeles....
Gene Ammons / April 14, 1925 - July 23, 1974
April 14, 2017
Here's a birthday nod to the soulful tenor man Gene Ammons. "Jug" was one of the fathers of the soul-jazz genre and was a popular and prolific recording artist before spending most of his last fifteen years incarcerated on drug charges. He was the son of pianist Albert Ammons and...
Cosimo Matassa / April 13, 1926 - Sept 11, 2014
April 13, 2017
** Cosimo Matassa's J&M Recording studio in New Orleans was the home of some of the biggest hits of the early rock & roll era and he helped shape the NOLA sound. A Sicilian-American who was born and raised in NOLA, he was a funky grocer, record & appliance shop...
Bobby Benson / April 11, 1922 - May 14, 1983
April 11, 2017
Happy birthday to one of the greats of West African highlife music! The composer of one of the biggest African songs ever, "Taxi Driver", the Nigerian entertainer and businessman Bobby Benson was leader of an 11-piece band, comedian, magician and hotel/nightclub owner. His band played calypso, jazz, jive, samba and...
Jimmy Sabater / April 11, 1936 - Feb 8, 2012
April 11, 2017
** Jimmy Sabater , the velvet-voiced Nuyorican singer & timbalista with the Joe Cuba Sextet, was the smooth English-tongued half of his lead vocal duo with Cheo Feliciano. Check out such great tunes as the smash hit "Bang, Bang", and "To Be With You" (a classic bolero, which Jimmy also...
Richard Berry / April 11, 1935 - Jan 23, 1997
April 11, 2017
** Richard Berry was the composer and original 1957 performer of the iconic song "Louie Louie", a ballad which was actually based on "El Loco Cha Cha" by Cuban composer René Touzet that would eventually become a rocking standard after a mega-hit by the Kingsmen in '63. It could make...
Eddie Hazel / April 10, 1950 - Dec 23, 1992
April 10, 2017
Happy birthday to the one-and-only "Maggot Brain", the funk-rock guitar god for Funkadelic, Eddie Hazel! Brooklyn-born, he grew up in Plainfield NJ, learning guitar as a kid and singing in church with future P-Funk bandmate Billy "Bass" Nelson. As teenagers the pair were working on the local Jersey scene. In...
TWISTED: Maggot Brain Special!
April 10, 2017
In honor of the birthday of the great psych-funk guitarist Eddie Hazel, he of Funkadelic fame, here's a few assorted renditions of his signature emo-metal tune. It's astounding how many versions there are. While they are all pretty faithful, the range of different types of artists covering it is amazing....
Carl Perkins / April 9, 1932 - Jan 19, 1998
April 9, 2017
The King of Rockabilly, Carl Perkins came from a poor sharecropper family in Tennessee. He formed a band with his brothers and played all over the region before Carl got signed to Sun Records. His tune "Blue Suede Shoes" was his huge hit and also became a hit for his...
Babatunde Olatunji / April 7, 1927 - April 6, 2003
April 7, 2017
The Nigerian percussionist, teacher and activist Babatunde Olatunji helped bring African rhythms to the greater music world. His 1959 album for Columbia, Drums Of Passion , became a staple on hi-fis all over the world. His bands included amazing jazz musicians like Yusef Lateef, Ahmed Abdul-Malik, Pat Patrick, Marshall Allen,...
Billie Holiday / April 7, 1915 - July 17, 1959
April 7, 2017
Happy birthday to Lady Day, the most impactful American singer that ever lived. The most emotional and distinguishable voice in music, Billie Holiday was immensely popular. She was also a screaming example of how fucked up America is and exposed its mistreatment of those who come from the poorest sect...
Freddie Hubbard / April 7, 1938 - Dec 29, 2008
April 7, 2017
I want to give a shout-out to jazz trumpeter Freddie Hubbard on his date of birth. He may not have been an iconoclast himself but there he was on some of the most ground-breaking and important jazz records made in the '50s and '60s, such as Ornette Coleman's Free Jazz...
Mongo Santamaria / April 7, 1917 - Feb 1, 2003
April 7, 2017
The great Cuban conguero and bandleader Mongo Santamaría brought some spice to the American popular music scene. He had been bandleader for the prestigious Tropicana house band in Havana in the '40s before coming to NYC in 1950. He was the composer of "Afro Blue" and had a huge hit...
OUT NOW!!! Big Mean Sound Machine - Runnin' For The Ghost LP
April 7, 2017
BRAND NEW!! OUT NOW!! The heaviest and sweatiest funk ensemble Big Mean Sound Machine's newest full length platter!! Runnin' For The Ghost is available now! Order here. Stores may contact Forced Exposure for wholesale. In a time when people need to come together more than ever, Big Mean Sound Machine...
WORLD PREMIERE: Locobeach debut single, "The Devil Is A Charmer", OUT NOW!!
April 7, 2017
Taking the world by storm: the amazing Locobeach!! Psychedelic disco-cumbia made in Brooklyn NY, from the bastard children of Chicha Libre and Los Crema Paraiso. Members of Los Amigos Invicibles, La Muy Bestia Pop and featuring the talents of Joshua Camp, songwriting talent and creator of the C.A.M.P.O.S. project. This...
Gerry Mulligan / April 6, 1927 - Jan 20, 1996
April 6, 2017
** Gerry Mulligan may be the most well-known (and perhaps most important) baritone saxophonist in jazz and beyond. His playing, arranging and compositional talents have found him work with many of the greatest jazz artists ever, as well as extensive work in orchestral settings. He started arranging for Gene Krupa...
Horace Tapscott / April 6, 1934 - Feb 27, 1999
April 6, 2017
Though never a household name, pianist, big-band leader, composer and community activist Horace Tapscott was a major figure on the Los Angeles jazz scene. As a teenager he, Don Cherry & Billy Higgins played together and took in the legendarily thriving Central Ave bop scene of the late '40s. Initially...
Merle Haggard / April 6, 1937 - April 6, 2016
April 6, 2017
Country music icon, outlaw poet and one of the greatest songwriters in American music history, Merle Haggard passed away on his 79th birthday, a premonition that he shared with his family. "The Bottle Let Me Down", "Branded Man", "Mama Tried", "Working Man Blues", "High On A Hilltop", "Silver Wings", "(My...