News & Updates

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  {
    "id": "don-covay-march-24-1936-jan-31-2015",
    "data": {
      "title": "Don Covay / March 24, 1936 - Jan 31, 2015",
      "slug": "don-covay-march-24-1936-jan-31-2015",
      "date": "2017-03-24T00:00:00.000Z"
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    "body": "![](/images/742590621423002730_large.jpg)\n\nSinger & songwriter **Don Covay** came out of DC singing gospel with The Rainbows (a group that has included Marvin Gaye and another March 24 birthday Billy Stewart), making a debut recording in 1956. The next year he went to work for and tour with Little Richard. He recorded some tunes for Atlantic, Columbia and other smaller labels, did some writing at the Brill Building, and started to come into his own when he re-signed with Atlantic, and saw a big 1964 hit with \"Mercy, Mercy\" (with a young Jimi Hendrix on guitar).\n\nAtlantic sent him down to Stax to cut \"See-Saw\" and he also did some more songwriting during this period, most notably \"Chain of Fools\" which was a huge hit for Aretha Franklin. He helped organize the The Soul Clan (featuring Solomon Burke, Ben E King, Joe Tex and Arthur Conley) and also the funky Jefferson Lemon Blues Band.\n\nThe '70s saw him recording for Mercury, Philly International, and the Rolling Stones, among others. A stroke in the early '90s slowed him down for awhile but he returned in 2000 with a final album. His career spanned gospel, doo-wop, soul, funk, rock and disco.\n\nMy fave personal song of his was \"Sookie Sookie\". His songs have been recorded by so many great artists: the Rolling Stones, Aretha Franklin, Chubby Checker, Booker T & the MGs, Solomon Burke, Wilson Pickett, 13th Floor Elevators, Otis Redding, Los Yorks, Little Richard, Jimi Hendrix, Wanda Jackson, Jerry Butler, Gladys Knight, Todd Rundgren, Steppenwolf, Etta James, Small Faces, Iggy Pop and many, many more.\n\nHere's \"Mercy, Mercy\", from 1964, with that goodtimer Jimmy James aka Jimi Hendrix on guitar on an early recording of his, working here for Covay:\n\nMy fave:\n\nOne of Covay's tunes, \"Chain of Fools\" was a huge hit in '67 with Aretha, but check out the Covay backing band, The Good-Timers, on this single from '68:",
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      "html": "<p><img src=\"/images/742590621423002730_large.jpg\" alt=\"\"></p>\n<p>Singer &#x26; songwriter <strong>Don Covay</strong> came out of DC singing gospel with The Rainbows (a group that has included Marvin Gaye and another March 24 birthday Billy Stewart), making a debut recording in 1956. The next year he went to work for and tour with Little Richard. He recorded some tunes for Atlantic, Columbia and other smaller labels, did some writing at the Brill Building, and started to come into his own when he re-signed with Atlantic, and saw a big 1964 hit with “Mercy, Mercy” (with a young Jimi Hendrix on guitar).</p>\n<p>Atlantic sent him down to Stax to cut “See-Saw” and he also did some more songwriting during this period, most notably “Chain of Fools” which was a huge hit for Aretha Franklin. He helped organize the The Soul Clan (featuring Solomon Burke, Ben E King, Joe Tex and Arthur Conley) and also the funky Jefferson Lemon Blues Band.</p>\n<p>The ’70s saw him recording for Mercury, Philly International, and the Rolling Stones, among others. A stroke in the early ’90s slowed him down for awhile but he returned in 2000 with a final album. His career spanned gospel, doo-wop, soul, funk, rock and disco.</p>\n<p>My fave personal song of his was “Sookie Sookie”. His songs have been recorded by so many great artists: the Rolling Stones, Aretha Franklin, Chubby Checker, Booker T &#x26; the MGs, Solomon Burke, Wilson Pickett, 13th Floor Elevators, Otis Redding, Los Yorks, Little Richard, Jimi Hendrix, Wanda Jackson, Jerry Butler, Gladys Knight, Todd Rundgren, Steppenwolf, Etta James, Small Faces, Iggy Pop and many, many more.</p>\n<p>Here’s “Mercy, Mercy”, from 1964, with that goodtimer Jimmy James aka Jimi Hendrix on guitar on an early recording of his, working here for Covay:</p>\n<p>My fave:</p>\n<p>One of Covay’s tunes, “Chain of Fools” was a huge hit in ‘67 with Aretha, but check out the Covay backing band, The Good-Timers, on this single from ‘68:</p>",
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          "title": "Don Covay / March 24, 1936 - Jan 31, 2015",
          "pagination": "https://www.peaceandrhythm.com/?page=73",
          "date": "March 24, 2017",
          "post": "Don Covay / March 24, 1936 - Jan 31, 2015",
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  {
    "id": "dave-pike-march-23-1938-oct-3-2015",
    "data": {
      "title": "Dave Pike / March 23, 1938 - Oct 3, 2015",
      "slug": "dave-pike-march-23-1938-oct-3-2015",
      "date": "2017-03-23T00:00:00.000Z"
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    "body": "![](/images/a6c6975accd6075826364775f6290e7f_large.jpg)\n\nHipster jazz vibraphonist **Dave Pike** has always been part of the rare groove & funky music landscape thanks to his classic tunes like the Indian-inspired \"Mathar\" and his great covers of \"I Got The Feelin\" and \"Spooky\" with The Dave Pike Set.\n\nBorn on this date in 1938 in Detroit, he played drums before moving to amplified vibraphone and marimba. He came up playing bop and made his first recording with Paul Bley's group in '58. He cut a bunch of records as a leader that touched upon Latin jazz, bossa nova and Caribbean musics.\n\nHe played in Herbie Mann's band for much of the '60s before moving to Europe in '68. There he started working with the popular Clarke-Boland big band and founded his own amazing group, The Dave Pike Set (with Volker Kriegel). The DPS recorded several groovy albums that explored boogaloo, modal, bop, psych pop, free jazz and soul-jazz.\n\nHe was back in the States by the mid-'70s recording for Muse and a host of other labels. Aside from those mentioned he also worked with Herbie Hancock, Dexter Gordon, Bill Evans, Karin Krog, Cachao, Chick Corea, João Donato, Ahmed Abdul-Malik, Ray Barretto and more.",
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      "html": "<p><img src=\"/images/a6c6975accd6075826364775f6290e7f_large.jpg\" alt=\"\"></p>\n<p>Hipster jazz vibraphonist <strong>Dave Pike</strong> has always been part of the rare groove &#x26; funky music landscape thanks to his classic tunes like the Indian-inspired “Mathar” and his great covers of “I Got The Feelin” and “Spooky” with The Dave Pike Set.</p>\n<p>Born on this date in 1938 in Detroit, he played drums before moving to amplified vibraphone and marimba. He came up playing bop and made his first recording with Paul Bley’s group in ‘58. He cut a bunch of records as a leader that touched upon Latin jazz, bossa nova and Caribbean musics.</p>\n<p>He played in Herbie Mann’s band for much of the ’60s before moving to Europe in ‘68. There he started working with the popular Clarke-Boland big band and founded his own amazing group, The Dave Pike Set (with Volker Kriegel). The DPS recorded several groovy albums that explored boogaloo, modal, bop, psych pop, free jazz and soul-jazz.</p>\n<p>He was back in the States by the mid-’70s recording for Muse and a host of other labels. Aside from those mentioned he also worked with Herbie Hancock, Dexter Gordon, Bill Evans, Karin Krog, Cachao, Chick Corea, João Donato, Ahmed Abdul-Malik, Ray Barretto and more.</p>",
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          "title": "Dave Pike / March 23, 1938 - Oct 3, 2015",
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          "date": "March 23, 2017",
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    "id": "richmond-va-studebaker-hawk-at-body-talk-saturday-night",
    "data": {
      "title": "RICHMOND VA: Studebaker Hawk at Body Talk, Saturday Night!",
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      "date": "2017-03-23T00:00:00.000Z"
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    "body": "![](/images/BT_large.jpg)\n\n**Peace & Rhythm's DJ Studebaker Hawk** is back in Richmond this Saturday, throwing down at the **_Body Talk_** party at **Continental Divide, 10pm-2am**.\n\nBody Talk are a Richmond-based DJ collective focused on playing the best in boogie-funk, soul, disco, go-go and electro dance music.\n\n**2501 W Main St, Richmond VA 23220**\n\n<https://bodytalkrva.tumblr.com/>\n\n<http://www.eatdivide.com/>",
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      "html": "<p><img src=\"/images/BT_large.jpg\" alt=\"\"></p>\n<p><strong>Peace &#x26; Rhythm’s DJ Studebaker Hawk</strong> is back in Richmond this Saturday, throwing down at the <strong><em>Body Talk</em></strong> party at <strong>Continental Divide, 10pm-2am</strong>.</p>\n<p>Body Talk are a Richmond-based DJ collective focused on playing the best in boogie-funk, soul, disco, go-go and electro dance music.</p>\n<p><strong>2501 W Main St, Richmond VA 23220</strong></p>\n<p><a href=\"https://bodytalkrva.tumblr.com/\">https://bodytalkrva.tumblr.com/</a></p>\n<p><a href=\"http://www.eatdivide.com/\">http://www.eatdivide.com/</a></p>",
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          "title": "RICHMOND VA: Studebaker Hawk at Body Talk, Saturday Night!",
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          "date": "March 23, 2017",
          "post": "RICHMOND VA: Studebaker Hawk at Body Talk, Saturday Night!",
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  {
    "id": "tonight-discoteca-latina-returns-to-sevenstrong",
    "data": {
      "title": "TONIGHT! Discoteca Latina Returns To Sevenstrong",
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      "date": "2017-03-23T00:00:00.000Z"
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    "body": "![](/images/2_large.jpg)\n\nTonight! The **_Discoteca Latina_** party returns to Sevenstrong in Northampton MA, with **Peace & Rhythm's DJ Bongohead** and guest **Rob Suave** out of Boston, spinning classic salsa dura, mambo, charanga, boogaloo, bachata, merengue, mambo, cumbia and other Latin styles for the dancefloor, all direct from old school vinyl!\n\nIt's at **Sevenstrong (7 Strong Ave), Northampton**. It rolls from **10pm** to 2am and **admission is free!**\n\n<http://www.sevenstrongavenue.com/#!>",
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      "html": "<p><img src=\"/images/2_large.jpg\" alt=\"\"></p>\n<p>Tonight! The <strong><em>Discoteca Latina</em></strong> party returns to Sevenstrong in Northampton MA, with <strong>Peace &#x26; Rhythm’s DJ Bongohead</strong> and guest <strong>Rob Suave</strong> out of Boston, spinning classic salsa dura, mambo, charanga, boogaloo, bachata, merengue, mambo, cumbia and other Latin styles for the dancefloor, all direct from old school vinyl!</p>\n<p>It’s at <strong>Sevenstrong (7 Strong Ave), Northampton</strong>. It rolls from <strong>10pm</strong> to 2am and <strong>admission is free!</strong></p>\n<p><a href=\"http://www.sevenstrongavenue.com/#!\">http://www.sevenstrongavenue.com/#!</a></p>",
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          "title": "TONIGHT! Discoteca Latina Returns To Sevenstrong",
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          "date": "March 23, 2017",
          "post": "TONIGHT! Discoteca Latina Returns To Sevenstrong",
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  {
    "id": "fred-anderson-march-22-1929-june-24-2010",
    "data": {
      "title": "Fred Anderson / March 22, 1929 - June 24, 2010",
      "slug": "fred-anderson-march-22-1929-june-24-2010",
      "date": "2017-03-22T00:00:00.000Z"
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    "body": "![](/images/fredanderson_custom-091949f883e01b04665966cc494f80aac225576e-s6-c30_large.jpg)\n\nTenor player **Fred Anderson** may have been an underknown saxophonist but there is no denying his amazing, flowing playing and his commitment to nurturing the local scene in Chicago. In fact, it was desire to stay home and run the Velvet Lounge that kept him from a larger international profile.\n\nBorn in Louisiana, he came to Chicago in the '40s and worked doing carpet installation before opening nightclubs. In the '60's he was a founding member of the AACM and played on a couple of fantastic Joseph Jarman albums. Indeed, those fine albums are where I first heard him, especially on his own composition \"Little Fox Run\", one of the highlights.\n\nIn the '70s he had a band with master percussionist Hamid Drake (who was like a son to him) and trombonist George Lewis. He did some touring in Europe and came back to Chicago to open his first venue in '77. He bought the Velvet Lounge in '83 and that place became a well-known entity in the worlds of free jazz, avant-garde and out rock music.\n\nIn the late '90s he started recording again for labels like Okka Disk, Eremite, Delmark, Thrill Jockey and others, and starting touring more often (often in settings with Drake and William Parker). He passed on in 2010 but his legacy in the city will always remain. In fact, Joshua Abrams, Hamid Drake, Ernest Dawkins, Nicole Mitchell, George Lewis and many others all owe a great debt to Fred and his encouragement.\n\nHere's Fred at the Europa Jazz Fest in 2005, with Drake and bassist Jaribu Shahid:\n\nAn incredible disk from Unheard Music, this 1980 group of Fred's, recorded live in Milwaukee, finally saw the light of day in 2000. That's Drake on tablas:\n\nHere's \"Little Fox Run\", from Joseph Jarman's classic 1967 LP _Song For_. This is the first time I ever heard Anderson play was on this fine album:",
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      "html": "<p><img src=\"/images/fredanderson_custom-091949f883e01b04665966cc494f80aac225576e-s6-c30_large.jpg\" alt=\"\"></p>\n<p>Tenor player <strong>Fred Anderson</strong> may have been an underknown saxophonist but there is no denying his amazing, flowing playing and his commitment to nurturing the local scene in Chicago. In fact, it was desire to stay home and run the Velvet Lounge that kept him from a larger international profile.</p>\n<p>Born in Louisiana, he came to Chicago in the ’40s and worked doing carpet installation before opening nightclubs. In the ‘60’s he was a founding member of the AACM and played on a couple of fantastic Joseph Jarman albums. Indeed, those fine albums are where I first heard him, especially on his own composition “Little Fox Run”, one of the highlights.</p>\n<p>In the ’70s he had a band with master percussionist Hamid Drake (who was like a son to him) and trombonist George Lewis. He did some touring in Europe and came back to Chicago to open his first venue in ‘77. He bought the Velvet Lounge in ‘83 and that place became a well-known entity in the worlds of free jazz, avant-garde and out rock music.</p>\n<p>In the late ’90s he started recording again for labels like Okka Disk, Eremite, Delmark, Thrill Jockey and others, and starting touring more often (often in settings with Drake and William Parker). He passed on in 2010 but his legacy in the city will always remain. In fact, Joshua Abrams, Hamid Drake, Ernest Dawkins, Nicole Mitchell, George Lewis and many others all owe a great debt to Fred and his encouragement.</p>\n<p>Here’s Fred at the Europa Jazz Fest in 2005, with Drake and bassist Jaribu Shahid:</p>\n<p>An incredible disk from Unheard Music, this 1980 group of Fred’s, recorded live in Milwaukee, finally saw the light of day in 2000. That’s Drake on tablas:</p>\n<p>Here’s “Little Fox Run”, from Joseph Jarman’s classic 1967 LP <em>Song For</em>. This is the first time I ever heard Anderson play was on this fine album:</p>",
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          "title": "Fred Anderson / March 22, 1929 - June 24, 2010",
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          "date": "March 22, 2017",
          "post": "Fred Anderson / March 22, 1929 - June 24, 2010",
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    "id": "peace-rhythm-djs-return-to-the-alvah-stone-4-8",
    "data": {
      "title": "Peace & Rhythm DJs Return to The Alvah Stone, 4/8",
      "slug": "peace-rhythm-djs-return-to-the-alvah-stone-4-8",
      "date": "2017-03-22T00:00:00.000Z"
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    "body": "![](/images/GetFileAttachment-13_large.jpg)\n\nWe're excited to be returning to one of our favorite spots -- **The Alvah Stone**!\n\nThis fantastic restaurant, located in an old mill overlooking a falling river, is a perfect rural spot for a lively party! The **restaurant is celebrating three years** and the week-long festivities will be capped off by a **tropical-funk dance party** featuring **DJs Andujar and Bongohead** of **Peace & Rhythm** Records.\n\nThe Alvah Stone offers incredible food, a great bar with plenty of local drafts and hand-crafted cocktails and a wonderful staff.\n\nThe DJs will be spinning groovy international flavors, all from vinyl -- from cumbia to funk to afro to dub. You will also hear selections from brand new Peace & Rhythm releases. So bring your dancing shoes!\n\nThe Alvah Stone will be supplying \"Stoner snacks\" all night long on a special late-night menu created by Chef (and music lover!) **David Schrier** just for the party.\n\n**Free admission! Come and join us. Sat, Apr 8, 9pm til 1230am.**\n\n**The Alvah Stone, 440 Greenfield Rd, Montague MA 01351**\n\n<http://www.thealvahstone.com/>",
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      "html": "<p><img src=\"/images/GetFileAttachment-13_large.jpg\" alt=\"\"></p>\n<p>We’re excited to be returning to one of our favorite spots — <strong>The Alvah Stone</strong>!</p>\n<p>This fantastic restaurant, located in an old mill overlooking a falling river, is a perfect rural spot for a lively party! The <strong>restaurant is celebrating three years</strong> and the week-long festivities will be capped off by a <strong>tropical-funk dance party</strong> featuring <strong>DJs Andujar and Bongohead</strong> of <strong>Peace &#x26; Rhythm</strong> Records.</p>\n<p>The Alvah Stone offers incredible food, a great bar with plenty of local drafts and hand-crafted cocktails and a wonderful staff.</p>\n<p>The DJs will be spinning groovy international flavors, all from vinyl — from cumbia to funk to afro to dub. You will also hear selections from brand new Peace &#x26; Rhythm releases. So bring your dancing shoes!</p>\n<p>The Alvah Stone will be supplying “Stoner snacks” all night long on a special late-night menu created by Chef (and music lover!) <strong>David Schrier</strong> just for the party.</p>\n<p><strong>Free admission! Come and join us. Sat, Apr 8, 9pm til 1230am.</strong></p>\n<p><strong>The Alvah Stone, 440 Greenfield Rd, Montague MA 01351</strong></p>\n<p><a href=\"http://www.thealvahstone.com/\">http://www.thealvahstone.com/</a></p>",
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          "title": "Peace & Rhythm DJs Return to The Alvah Stone, 4/8",
          "pagination": "https://www.peaceandrhythm.com/?page=73",
          "date": "March 22, 2017",
          "post": "Peace & Rhythm DJs Return to The Alvah Stone, 4/8",
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  {
    "id": "solomon-burke-march-21-1940-oct-10-2010",
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      "title": "Solomon Burke / March 21, 1940 - Oct 10, 2010",
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      "date": "2017-03-21T00:00:00.000Z"
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    "body": "![](/images/d64942fd11a84ffcbb9cd8c9bbd11caf_large.png)\n\nThe Bishop of Soul, **Solomon Burke** mixed gospel, blues, R&B and country to become one of the earliest self-identifying \"soul\" artists. Legend has it that he was the one to coin the phrase. This is due to his relationship to the church and not wanting to be labeled a \"blues\" singer.\n\nHe was a preacher in church since the age of 7 and became pastor at 12 and a father at 14. As a teen he worked at a meat market with Chubby Checker. At 15 he was signed to Apollo Records (although the label was told by his manager that he was 19). In the mid-'50s he recorded with jazz saxophonist Lester Young. In '57 he teamed with boxer Joe Louis on the hit song \"You Can Run (But You Can't Hide)\".\n\nBy the early '60s he was blacklisted by his thieving manager and was homeless for a while. He was hit by a car, with the driver taking him in. He studied Islam and mortuary science. He married for the second time and then had a string of hits at Atlantic in the early '60s (including \"Cry To Me\"). In '65 he covered \"Maggie's Farm\", becoming the first black artist to sing Bob Dylan's songs.\n\nIn 1966 he started the collective of Atlantic singers known as \"the Soul Clan\" (Burke, Otis Redding, Don Covay, Ben E. King, Joe Tex, Wilson Pickett, Arthur Conley). This collective had the intent to go into both music and real estate and build black-run businesses. (James Brown was an ally as well). They made one album, accompanied by Bobby Womack (after Otis died).\n\nAfter leaving Atlantic he jumped from label to label in the '70s, while also scoring for black films (such as _Cool Breeze_). In the '80s he went back to recording gospel records. A 2002 album on Fat Possum reignited his career. Always an entrepreneur, among his many businesses he owned were funeral homes, restaurants, drugstores, a popcorn company, limo service and he was the one who first brought the Mountain Dew soft drink to Philly. He was also a popular bishop and was involved in community service.\n\nThe classic \"Cry To Me\":\n\nHere he is cutting probably the first black-voiced version of a Dylan tune, ca '65:",
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      "html": "<p><img src=\"/images/d64942fd11a84ffcbb9cd8c9bbd11caf_large.png\" alt=\"\"></p>\n<p>The Bishop of Soul, <strong>Solomon Burke</strong> mixed gospel, blues, R&#x26;B and country to become one of the earliest self-identifying “soul” artists. Legend has it that he was the one to coin the phrase. This is due to his relationship to the church and not wanting to be labeled a “blues” singer.</p>\n<p>He was a preacher in church since the age of 7 and became pastor at 12 and a father at 14. As a teen he worked at a meat market with Chubby Checker. At 15 he was signed to Apollo Records (although the label was told by his manager that he was 19). In the mid-’50s he recorded with jazz saxophonist Lester Young. In ‘57 he teamed with boxer Joe Louis on the hit song “You Can Run (But You Can’t Hide)”.</p>\n<p>By the early ’60s he was blacklisted by his thieving manager and was homeless for a while. He was hit by a car, with the driver taking him in. He studied Islam and mortuary science. He married for the second time and then had a string of hits at Atlantic in the early ’60s (including “Cry To Me”). In ‘65 he covered “Maggie’s Farm”, becoming the first black artist to sing Bob Dylan’s songs.</p>\n<p>In 1966 he started the collective of Atlantic singers known as “the Soul Clan” (Burke, Otis Redding, Don Covay, Ben E. King, Joe Tex, Wilson Pickett, Arthur Conley). This collective had the intent to go into both music and real estate and build black-run businesses. (James Brown was an ally as well). They made one album, accompanied by Bobby Womack (after Otis died).</p>\n<p>After leaving Atlantic he jumped from label to label in the ’70s, while also scoring for black films (such as <em>Cool Breeze</em>). In the ’80s he went back to recording gospel records. A 2002 album on Fat Possum reignited his career. Always an entrepreneur, among his many businesses he owned were funeral homes, restaurants, drugstores, a popcorn company, limo service and he was the one who first brought the Mountain Dew soft drink to Philly. He was also a popular bishop and was involved in community service.</p>\n<p>The classic “Cry To Me”:</p>\n<p>Here he is cutting probably the first black-voiced version of a Dylan tune, ca ‘65:</p>",
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          "title": "Solomon Burke / March 21, 1940 - Oct 10, 2010",
          "pagination": "https://www.peaceandrhythm.com/?page=74",
          "date": "March 21, 2017",
          "post": "Solomon Burke / March 21, 1940 - Oct 10, 2010",
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    "id": "son-house-march-21-1902-oct-19-1988",
    "data": {
      "title": "Son House / March 21, 1902 - Oct 19, 1988",
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      "date": "2017-03-21T00:00:00.000Z"
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    "body": "![](/images/SonHouse1_large.jpg)\n\nHere's a birthday tribute to Eddie James House, Jr! His high-emotion and intense style as a vocalist and slide player are about as heavy as classic blues got. As well, he mixed in a capella spirituals into his performances.\n\nBorn in the Mississippi Delta, **Son House** was a nomadic preacher for some time. Coming out of the church, he went blues in '27 after initially disapproving of it due to his former position. This happened after he was entranced while hearing someone play bottleneck guitar. He was already 25 when he picked up a guitar for the first time.\n\nAfter killing a man he spent some time in jail. Upon release he became a popular artist in Mississippi, did some train-hopping and hoboing around, traveling with Charley Patton & Willie Brown and cutting sides for Paramount in '30. In the early '40s he was a recorded subject of Alan Lomax, who was deeply inspired by the House 78s he had prized. House quit music in '43 to move to upstate NY, but not before inspiring Robert Johnson and Muddy Waters (who, of course, inspired seemingly everyone else).\n\nHe was found in Rochester NY in '64, having not touched a guitar for many years. He was prompted to join the folk revival coffeehouse circuit, scaring the shit out of preppy cracker kids with his raw grit and moody style. Several new recordings were made (including with Canned Heat's Blind Owl Wilson), as well as tours of the States and Europe.\n\nSon House was always one of the most intense of the folk-blues artists, as great tunes like \"Death Letter\" tell, and his recordings at both ends of his career are fantastic. As such, he was a major influence on many blues and rock guitarists.\n\nVintage footage:",
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      "html": "<p><img src=\"/images/SonHouse1_large.jpg\" alt=\"\"></p>\n<p>Here’s a birthday tribute to Eddie James House, Jr! His high-emotion and intense style as a vocalist and slide player are about as heavy as classic blues got. As well, he mixed in a capella spirituals into his performances.</p>\n<p>Born in the Mississippi Delta, <strong>Son House</strong> was a nomadic preacher for some time. Coming out of the church, he went blues in ‘27 after initially disapproving of it due to his former position. This happened after he was entranced while hearing someone play bottleneck guitar. He was already 25 when he picked up a guitar for the first time.</p>\n<p>After killing a man he spent some time in jail. Upon release he became a popular artist in Mississippi, did some train-hopping and hoboing around, traveling with Charley Patton &#x26; Willie Brown and cutting sides for Paramount in ‘30. In the early ’40s he was a recorded subject of Alan Lomax, who was deeply inspired by the House 78s he had prized. House quit music in ‘43 to move to upstate NY, but not before inspiring Robert Johnson and Muddy Waters (who, of course, inspired seemingly everyone else).</p>\n<p>He was found in Rochester NY in ‘64, having not touched a guitar for many years. He was prompted to join the folk revival coffeehouse circuit, scaring the shit out of preppy cracker kids with his raw grit and moody style. Several new recordings were made (including with Canned Heat’s Blind Owl Wilson), as well as tours of the States and Europe.</p>\n<p>Son House was always one of the most intense of the folk-blues artists, as great tunes like “Death Letter” tell, and his recordings at both ends of his career are fantastic. As such, he was a major influence on many blues and rock guitarists.</p>\n<p>Vintage footage:</p>",
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          "title": "Son House / March 21, 1902 - Oct 19, 1988",
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          "date": "March 21, 2017",
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    "id": "sister-rosetta-tharpe-march-20-1915-oct-9-1973",
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      "title": "Sister Rosetta Tharpe / March 20, 1915 - Oct 9, 1973",
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      "date": "2017-03-20T00:00:00.000Z"
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    "body": "![](/images/sina600span_large.jpg)\n\nThe original soul sister **Rosetta Tharpe** was the first secular gospel recording star, a huge influence on rock & roll and an excellent electric guitarist. Whether in church or in a concert hall in front of a big band, she captivated everyone. As a child she barnstormed across the South with her mom and was called a \"singing and guitar playing miracle\".\n\nShe cut her first records in '38 with Lucky Millander's orchestra, including \"Rock Me\". She appeared at the _Spirituals To Swing_ concert that year and played with Cab Calloway's band as well. As bad as it was to some religious conservatives that a woman was playing guitar, her getting down with the devil's jazz and blues dances was hell-raising. In '47 she gave 15-year old Little Richard his first concert appearance, singing onstage with her. She made a lot of hit records, became a huge celebrity and did some overseas touring in the '50s and '60s before health issues slowed her down.\n\nHere's some fun footage of her in '64 in the UK:",
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      "html": "<p><img src=\"/images/sina600span_large.jpg\" alt=\"\"></p>\n<p>The original soul sister <strong>Rosetta Tharpe</strong> was the first secular gospel recording star, a huge influence on rock &#x26; roll and an excellent electric guitarist. Whether in church or in a concert hall in front of a big band, she captivated everyone. As a child she barnstormed across the South with her mom and was called a “singing and guitar playing miracle”.</p>\n<p>She cut her first records in ‘38 with Lucky Millander’s orchestra, including “Rock Me”. She appeared at the <em>Spirituals To Swing</em> concert that year and played with Cab Calloway’s band as well. As bad as it was to some religious conservatives that a woman was playing guitar, her getting down with the devil’s jazz and blues dances was hell-raising. In ‘47 she gave 15-year old Little Richard his first concert appearance, singing onstage with her. She made a lot of hit records, became a huge celebrity and did some overseas touring in the ’50s and ’60s before health issues slowed her down.</p>\n<p>Here’s some fun footage of her in ‘64 in the UK:</p>",
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          "date": "March 20, 2017",
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    "id": "tod-dockstader-march-20-1932-feb-27-2015",
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      "title": "Tod Dockstader / March, 20, 1932 - Feb 27, 2015",
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      "date": "2017-03-20T00:00:00.000Z"
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    "body": "![](/images/dockstader-starkland-1_large.jpg)\n\nMusique concrète composer and writer **Tod Dockstader** was from Minnesota but went to Hollywood in the '50s where he lined up a job doing music to accompany the _Tom & Jerry_ cartoon. Dockstader also wrote a couple of the episodes. He also contributed sound effects for _Mr Magoo_.\n\nHis first album _Eight Electronic Pieces_ was self-released before being picked up by Folkways in 1961. Music from those recordings were later used in the film _Fellini Satyricon_. He released his organized sound masterpiece _Quatermass_ in the mid '60s.\n\nHe continued his experimental sound art into the '70s, while also composing and directing for television, educational films and stock material. He used tape manipulations and oscillators on his earlier work, as well as Moog and other synthesizers while his later work utilized computers.\n\nMorton Feldman described Dockstader's work as possessing “vibrant musicality rather than musicianship”. Dockstader cited Varèse, Stockhausen, Berio and Ussachevsky as major influences.",
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      "html": "<p><img src=\"/images/dockstader-starkland-1_large.jpg\" alt=\"\"></p>\n<p>Musique concrète composer and writer <strong>Tod Dockstader</strong> was from Minnesota but went to Hollywood in the ’50s where he lined up a job doing music to accompany the <em>Tom &#x26; Jerry</em> cartoon. Dockstader also wrote a couple of the episodes. He also contributed sound effects for <em>Mr Magoo</em>.</p>\n<p>His first album <em>Eight Electronic Pieces</em> was self-released before being picked up by Folkways in 1961. Music from those recordings were later used in the film <em>Fellini Satyricon</em>. He released his organized sound masterpiece <em>Quatermass</em> in the mid ’60s.</p>\n<p>He continued his experimental sound art into the ’70s, while also composing and directing for television, educational films and stock material. He used tape manipulations and oscillators on his earlier work, as well as Moog and other synthesizers while his later work utilized computers.</p>\n<p>Morton Feldman described Dockstader’s work as possessing “vibrant musicality rather than musicianship”. Dockstader cited Varèse, Stockhausen, Berio and Ussachevsky as major influences.</p>",
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    "id": "lennie-tristano-march-19-1919-nov-18-1978",
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      "title": "Lennie Tristano / March 19, 1919 - Nov 18, 1978",
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      "date": "2017-03-19T00:00:00.000Z"
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    "body": "![](/images/lennie-tristano-playing-piano-1950s-billboard-650_large.jpg)\n\nThe underrated composer & avant-jazz pioneer **Lennie Tristano** may not get as much respect as he deserves, but the guy helped bridge bop to free jazz in the late '40's(!). A gifted pianist, the young Tristano, totally blind by age 9, did his first \"pro\" gigs at 11, playing clarinet in a Chicago whorehouse. He played saxophone and piano in \"rumba\" bands in the early '40s and was a teacher to future professional collaborators Lee Konitz and Warne Marsh.\n\nHe went to NYC in '46 and started hangin' and playin' with Bird. In '49 his group recorded the first free improvisation tunes (\"Intuition\" and \"Digression\", as well as two others that were lost). They played free improvisation around Northeast US venues in '49 and '50 but proved to be too far ahead of the audiences. In '51 he started a school for jazz musicians, as well as his own label, Jazz, utilizing overdubbing for the first time in improv jazz. The distribution was just not there for the label so he decided to rent his studio to Charles Mingus & Max Roach for their similarly-inspired artist-run label, Debut.\n\nIn '53 he recorded perhaps the first atonal solo piano improvisation (\"Descent Into The Maelstrom\") that made it to disk. Folks, we're talking about a truly innovative guy here! His group played the Newport Festival in '54 and signed with Atlantic. After a tour of Europe in the mid-'60s things started to slow down and Tristano rarely played in concert after that. He continued to be an educator until his death. Among his students: Charles Mingus, Lee Konitz, Warne Marsh, Phil Woods and others.\n\n\"Intuition\", 1949:\n\nAnd \"Digression\":\n\n\"Descent Into The Maelstrom\", from 1953:",
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      "html": "<p><img src=\"/images/lennie-tristano-playing-piano-1950s-billboard-650_large.jpg\" alt=\"\"></p>\n<p>The underrated composer &#x26; avant-jazz pioneer <strong>Lennie Tristano</strong> may not get as much respect as he deserves, but the guy helped bridge bop to free jazz in the late ‘40’s(!). A gifted pianist, the young Tristano, totally blind by age 9, did his first “pro” gigs at 11, playing clarinet in a Chicago whorehouse. He played saxophone and piano in “rumba” bands in the early ’40s and was a teacher to future professional collaborators Lee Konitz and Warne Marsh.</p>\n<p>He went to NYC in ‘46 and started hangin’ and playin’ with Bird. In ‘49 his group recorded the first free improvisation tunes (“Intuition” and “Digression”, as well as two others that were lost). They played free improvisation around Northeast US venues in ‘49 and ‘50 but proved to be too far ahead of the audiences. In ‘51 he started a school for jazz musicians, as well as his own label, Jazz, utilizing overdubbing for the first time in improv jazz. The distribution was just not there for the label so he decided to rent his studio to Charles Mingus &#x26; Max Roach for their similarly-inspired artist-run label, Debut.</p>\n<p>In ‘53 he recorded perhaps the first atonal solo piano improvisation (“Descent Into The Maelstrom”) that made it to disk. Folks, we’re talking about a truly innovative guy here! His group played the Newport Festival in ‘54 and signed with Atlantic. After a tour of Europe in the mid-’60s things started to slow down and Tristano rarely played in concert after that. He continued to be an educator until his death. Among his students: Charles Mingus, Lee Konitz, Warne Marsh, Phil Woods and others.</p>\n<p>“Intuition”, 1949:</p>\n<p>And “Digression”:</p>\n<p>“Descent Into The Maelstrom”, from 1953:</p>",
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    "id": "wilson-pickett-march-18-1941-jan-19-2006",
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      "title": "Wilson Pickett / March 18, 1941 - Jan 19, 2006",
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      "date": "2017-03-18T00:00:00.000Z"
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    "body": "![](/images/wilson-pickett_large.jpg)\n\nSinger, composer and soul music icon, the wicked **Wilson Pickett** came out of the Detroit churches and joined the infamous Falcons (including Mack Rice & Eddie Floyd). Pickett co-wrote and sang lead on their classic proto-soul tune \"I Found A Love\" from '59. He then wrote \"If You Need Me\", which became a big hit for Solomon Burke.\n\nStarting in '65 he belted out some huge hits of his own. \"In The Midnight Hour\", a tune he was co-composer of, was recorded at Stax, \"Land of 1000 Dances\", \"Mustang Sally\", \"Funky Broadway\", \"Hey Jude\" (featuring Duane Allman) and \"Don't Knock My Love\" were all recorded at Fame Studios in Muscle Shoals. He cut the funk monster \"Engine No. 9\" and \"Don't Let The Green Grass Fool You\" in Philly with Gamble & Huff in '70.\n\nHe coasted through the disco era and had a couple of minor hits into the '80s but primarily lived on his past glories. And glorious those great records were! It was a badge of honor to have the wicked one funk up your tune. And DJs to this day can get the dancefloor moving with some of his classic cuts.\n\nOne of my faves by the man, this burning psych-funk number:\n\n\"I Found A Love\":",
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      "html": "<p><img src=\"/images/wilson-pickett_large.jpg\" alt=\"\"></p>\n<p>Singer, composer and soul music icon, the wicked <strong>Wilson Pickett</strong> came out of the Detroit churches and joined the infamous Falcons (including Mack Rice &#x26; Eddie Floyd). Pickett co-wrote and sang lead on their classic proto-soul tune “I Found A Love” from ‘59. He then wrote “If You Need Me”, which became a big hit for Solomon Burke.</p>\n<p>Starting in ‘65 he belted out some huge hits of his own. “In The Midnight Hour”, a tune he was co-composer of, was recorded at Stax, “Land of 1000 Dances”, “Mustang Sally”, “Funky Broadway”, “Hey Jude” (featuring Duane Allman) and “Don’t Knock My Love” were all recorded at Fame Studios in Muscle Shoals. He cut the funk monster “Engine No. 9” and “Don’t Let The Green Grass Fool You” in Philly with Gamble &#x26; Huff in ‘70.</p>\n<p>He coasted through the disco era and had a couple of minor hits into the ’80s but primarily lived on his past glories. And glorious those great records were! It was a badge of honor to have the wicked one funk up your tune. And DJs to this day can get the dancefloor moving with some of his classic cuts.</p>\n<p>One of my faves by the man, this burning psych-funk number:</p>\n<p>“I Found A Love”:</p>",
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          "date": "March 18, 2017",
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    "id": "debut-single-by-locobeach-out-next-month-on-peace-rhythm",
    "data": {
      "title": "Debut Single By Locobeach Out Next Month On Peace & Rhythm",
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      "date": "2017-03-17T00:00:00.000Z"
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    "body": "Out in April, Peace & Rhythm will be dropping the debut single by psychedelic disco-cumbia Latin supergroup Locobeach. \"The Devil Is A Charmer\", written by Joshua \"C.A.M.P.O.S.\" Camp, will be available as a digital single, the first in a series leading up to the band's full-length debut vinyl LP to be released in late 2017 on Peace & Rhythm. This fantastic group features members and ex-members of Los Crema Paraiso, Chicha Libre, Los Amigos Invisibles, La Muy Bestia Pop and C.A.M.P.O.S...Stay tuned!!\n\n![](/images/1_04df391d-0a20-4f72-a990-d594a985dcec_large.jpg)",
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      "html": "<p>Out in April, Peace &#x26; Rhythm will be dropping the debut single by psychedelic disco-cumbia Latin supergroup Locobeach. “The Devil Is A Charmer”, written by Joshua “C.A.M.P.O.S.” Camp, will be available as a digital single, the first in a series leading up to the band’s full-length debut vinyl LP to be released in late 2017 on Peace &#x26; Rhythm. This fantastic group features members and ex-members of Los Crema Paraiso, Chicha Libre, Los Amigos Invisibles, La Muy Bestia Pop and C.A.M.P.O.S…Stay tuned!!</p>\n<p><img src=\"/images/1_04df391d-0a20-4f72-a990-d594a985dcec_large.jpg\" alt=\"\"></p>",
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          "date": "March 17, 2017",
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  {
    "id": "elis-regina-march-17-1945-jan-19-1982",
    "data": {
      "title": "Elis Regina / March 17, 1945 - Jan 19, 1982",
      "slug": "elis-regina-march-17-1945-jan-19-1982",
      "date": "2017-03-17T00:00:00.000Z"
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    "body": "![](/images/foto-elis-regina-arquivo-21-344x479_large.jpg)\n\nOne of Brasil's most popular singers, Porto Alegre native **Elis Regina** started her career in '57 and became well-known as a teenager winning song contests and releasing albums. \"Arrastão\" was a huge hit for her in '65, propelling her to be the most popular singer in the country. She worked with some of the artists involved in the Tropicália movement of the late '60s/early '70s, recording songs by Gilberto Gil and others. (Indeed, she was a vocal critic of the dictatorial regime). She made a landmark bossa nova album (_Elis & Tom_) with Antonio Carlos \"Tom\" Jobim in '75. She joined the socialist Workers Party in 1980. She died of a drug overdose at 36, with her funeral attracting over 100,000 people. Her children have gone on to music careers and Elis remains one of Brasil's most-loved artists of all time long after her passing.\n\nThe classic with Tom Jobim:",
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      "html": "<p><img src=\"/images/foto-elis-regina-arquivo-21-344x479_large.jpg\" alt=\"\"></p>\n<p>One of Brasil’s most popular singers, Porto Alegre native <strong>Elis Regina</strong> started her career in ‘57 and became well-known as a teenager winning song contests and releasing albums. “Arrastão” was a huge hit for her in ‘65, propelling her to be the most popular singer in the country. She worked with some of the artists involved in the Tropicália movement of the late ’60s/early ’70s, recording songs by Gilberto Gil and others. (Indeed, she was a vocal critic of the dictatorial regime). She made a landmark bossa nova album (<em>Elis &#x26; Tom</em>) with Antonio Carlos “Tom” Jobim in ‘75. She joined the socialist Workers Party in 1980. She died of a drug overdose at 36, with her funeral attracting over 100,000 people. Her children have gone on to music careers and Elis remains one of Brasil’s most-loved artists of all time long after her passing.</p>\n<p>The classic with Tom Jobim:</p>",
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          "title": "Elis Regina / March 17, 1945 - Jan 19, 1982",
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          "date": "March 17, 2017",
          "post": "Elis Regina / March 17, 1945 - Jan 19, 1982",
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    "id": "fulaso-at-vaya-63-series-march-24",
    "data": {
      "title": "Fulaso At ¡Vaya! 63 Series, March 24",
      "slug": "fulaso-at-vaya-63-series-march-24",
      "date": "2017-03-17T00:00:00.000Z"
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    "body": "![](/images/FUL_3607_Web_large_429828bb-de67-4944-86b8-e14fa2d7bf97_large.jpg)\n\nNYC-based band **Fulaso** , featuring **Erica Ramos** , will be playing the next installment of the crucial **¡Vaya! 63** series at **The David Rubenstein Atrium at Lincoln Center.** The show is produced in association with **NYU's Music & Social Change Lab**. Barcelona native **DJ Turmix (** of the famous Boogaloo! NYC parties) will open with a vinyl DJ set. This all happens **Friday, March 24, 7pm**. The event is free admission, on a strictly first-come first-serve basis. And yes, they all \"sell\" out. 61 W 62nd St New York, NY 10023\n\nWith hefty brass and raucous rhythms rooted in Puerto Rico, Cuba, and Colombia, the bilingual, multicultural 10-piece band **Fulaso** knows how to keep the dance floor jumping with its signature brand of FUnky LAtin SOul!. These folks are unstoppable with the magnetic energy of one of the most captivating frontwomen on the mic, the soulful songstress **Erica Ramos**. Fulaso’s music and vibe emanate New York City, anchored in the classic boogaloo and Latin soul of El Barrio in the ’60s and ’70s, infused with a jolt of millennial funk and bumpin' neo-soul, this band is making waves as an exciting act not to be missed!\n\n**Peace & Rhythm** and **Enlace Funk** magazine will be teaming up to release Fulaso's debut vinyl single next month, a **two song 45rpm 7\"** with picture sleeve, to accompany the magazine. [Details here](https://www.peaceandrhythm.com/blogs/news/coming-in-april-fulaso-la-rumba-my-little-baby-45rpm-7).\n\n<http://musicsocialchange.org/event/vaya-63-fulaso/>\n\nFacebook [event page](https://www.facebook.com/events/218200195309923/)\n\n<http://fulaso.com/>\n\n<http://www.djturmix.com/#!>\n\nFor info on further events in the !Vaya! 63 series, [click here](http://musicsocialchange.org/events/category/music/).",
    "filePath": "content/posts/fulaso-at-vaya-63-series-march-24.md",
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      "html": "<p><img src=\"/images/FUL_3607_Web_large_429828bb-de67-4944-86b8-e14fa2d7bf97_large.jpg\" alt=\"\"></p>\n<p>NYC-based band <strong>Fulaso</strong> , featuring <strong>Erica Ramos</strong> , will be playing the next installment of the crucial <strong>¡Vaya! 63</strong> series at <strong>The David Rubenstein Atrium at Lincoln Center.</strong> The show is produced in association with <strong>NYU’s Music &#x26; Social Change Lab</strong>. Barcelona native <strong>DJ Turmix (</strong> of the famous Boogaloo! NYC parties) will open with a vinyl DJ set. This all happens <strong>Friday, March 24, 7pm</strong>. The event is free admission, on a strictly first-come first-serve basis. And yes, they all “sell” out. 61 W 62nd St New York, NY 10023</p>\n<p>With hefty brass and raucous rhythms rooted in Puerto Rico, Cuba, and Colombia, the bilingual, multicultural 10-piece band <strong>Fulaso</strong> knows how to keep the dance floor jumping with its signature brand of FUnky LAtin SOul!. These folks are unstoppable with the magnetic energy of one of the most captivating frontwomen on the mic, the soulful songstress <strong>Erica Ramos</strong>. Fulaso’s music and vibe emanate New York City, anchored in the classic boogaloo and Latin soul of El Barrio in the ’60s and ’70s, infused with a jolt of millennial funk and bumpin’ neo-soul, this band is making waves as an exciting act not to be missed!</p>\n<p><strong>Peace &#x26; Rhythm</strong> and <strong>Enlace Funk</strong> magazine will be teaming up to release Fulaso’s debut vinyl single next month, a <strong>two song 45rpm 7”</strong> with picture sleeve, to accompany the magazine. <a href=\"https://www.peaceandrhythm.com/blogs/news/coming-in-april-fulaso-la-rumba-my-little-baby-45rpm-7\">Details here</a>.</p>\n<p><a href=\"http://musicsocialchange.org/event/vaya-63-fulaso/\">http://musicsocialchange.org/event/vaya-63-fulaso/</a></p>\n<p>Facebook <a href=\"https://www.facebook.com/events/218200195309923/\">event page</a></p>\n<p><a href=\"http://fulaso.com/\">http://fulaso.com/</a></p>\n<p><a href=\"http://www.djturmix.com/#!\">http://www.djturmix.com/#!</a></p>\n<p>For info on further events in the !Vaya! 63 series, <a href=\"http://musicsocialchange.org/events/category/music/\">click here</a>.</p>",
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    "id": "nat-king-cole-march-17-1919-feb-15-1965",
    "data": {
      "title": "Nat King Cole / March 17, 1919 - Feb 15, 1965",
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    "body": "![](/images/nat-king-cole_large.jpg)\n\nSome may view **Nat King Cole** as an apolitical jazz-gone-pop sell-out \"Uncle Tom\" (as he has been called by some radicals) who moved into the upper-crust white neighborhood and made a bunch of Christmas dreck and soft music. Or you could view him as a major black superstar who had his hand in a number of respectable endeavors with much success. Regardless, it is hard to deny his sweet voice and the immense popularity he found.\n\nA talented pianist, he found that audiences started preferring his vocal numbers more than the instrumentals so he obliged with his smooth baritone. A star on the radio since the late '30s, he signed with Capitol in '43 and became their biggest seller. His trio set-up of piano/guitar/bass became the go-to standard. In the late '40s he started recording with strings. In '48 he took a chance on a composition given to him by a seemingly random Los Angeles street character (the proto-hippy Eden Ahbez), which became the huge hit \"Nature Boy\".\n\nStill a jazzman at heart, he cut a disk in '51 in a super-trio with Lester Young and Buddy Rich. In '56 he became the first African-American to host a TV show and his first recording session in Cuba in '58 was the first of his albums to be sung in Español. He produced music for radio, stage and screen (even appearing in movies a few times himself).\n\nDespite the criticisms of his middle-of-the-road proclivities, his skin still made him a target of hate as the KKK burned crosses on his front lawn. In 1965, in his birth city of Birmingham, Cole was physically assaulted in an attempted kidnapping (during one of his concerts!) by a white power group. After that incident he never played in the South again. It was then that he visibly joined the civil rights movement. He died of lung cancer at 45. His music covered jazz, classical, rock & roll and even country.\n\nWith Rich and Prez:",
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      "html": "<p><img src=\"/images/nat-king-cole_large.jpg\" alt=\"\"></p>\n<p>Some may view <strong>Nat King Cole</strong> as an apolitical jazz-gone-pop sell-out “Uncle Tom” (as he has been called by some radicals) who moved into the upper-crust white neighborhood and made a bunch of Christmas dreck and soft music. Or you could view him as a major black superstar who had his hand in a number of respectable endeavors with much success. Regardless, it is hard to deny his sweet voice and the immense popularity he found.</p>\n<p>A talented pianist, he found that audiences started preferring his vocal numbers more than the instrumentals so he obliged with his smooth baritone. A star on the radio since the late ’30s, he signed with Capitol in ‘43 and became their biggest seller. His trio set-up of piano/guitar/bass became the go-to standard. In the late ’40s he started recording with strings. In ‘48 he took a chance on a composition given to him by a seemingly random Los Angeles street character (the proto-hippy Eden Ahbez), which became the huge hit “Nature Boy”.</p>\n<p>Still a jazzman at heart, he cut a disk in ‘51 in a super-trio with Lester Young and Buddy Rich. In ‘56 he became the first African-American to host a TV show and his first recording session in Cuba in ‘58 was the first of his albums to be sung in Español. He produced music for radio, stage and screen (even appearing in movies a few times himself).</p>\n<p>Despite the criticisms of his middle-of-the-road proclivities, his skin still made him a target of hate as the KKK burned crosses on his front lawn. In 1965, in his birth city of Birmingham, Cole was physically assaulted in an attempted kidnapping (during one of his concerts!) by a white power group. After that incident he never played in the South again. It was then that he visibly joined the civil rights movement. He died of lung cancer at 45. His music covered jazz, classical, rock &#x26; roll and even country.</p>\n<p>With Rich and Prez:</p>",
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    "id": "fred-neil-march-16-1936-july-7-2001",
    "data": {
      "title": "Fred Neil / March 16, 1936 - July 7, 2001",
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    "body": "![](/images/dew_neil_large.jpg)\n\nLet's hear it for animal rights activists who double as successful musicians! **Fred Neil** , friend of the dolphins and singer-songwriter, is from Florida but went to NYC in the '50s to write songs at the Brill Building. While there he wrote tunes for Buddy Holly and Roy Orbison, cut demos for Elvis and Bobby Darin, while also recording some rockabilly 45s.\n\nIn the early 60s he was part of the Greenwich Village folks scene, making records with Vince Martin and his backing groups included people like John Sebastian, Bob Dylan and the Seventh Sons in its ranks. He was an influence on Joni Mitchell, David Crosby, Karen Dalton, Tim Hardin and others and he cut his classic \"Everybody's Talkin\", the tune he is most famous for, in '66 (released on Elektra). After Harry Nillson covered it for the \"Midnight Cowboy\" movie, Neil blew up. His songs \"The Dolphin Song\" and \"That's The Bag I'm In\" were covered by many.\n\nHe released a few more albums, played Madison Square Garden with Stephen Stills and then largely dropped out of music, save for a few major international appearances. He has a ton of unreleased music (including an album with John Cipollina of Quicksilver Messenger Service!). His main love was the dolphins, and starting in the early '70s he was back in South Florida taking care of the dolphin population, usually only publicly playing music in benefit concerts for The Dolphin Project.",
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      "html": "<p><img src=\"/images/dew_neil_large.jpg\" alt=\"\"></p>\n<p>Let’s hear it for animal rights activists who double as successful musicians! <strong>Fred Neil</strong> , friend of the dolphins and singer-songwriter, is from Florida but went to NYC in the ’50s to write songs at the Brill Building. While there he wrote tunes for Buddy Holly and Roy Orbison, cut demos for Elvis and Bobby Darin, while also recording some rockabilly 45s.</p>\n<p>In the early 60s he was part of the Greenwich Village folks scene, making records with Vince Martin and his backing groups included people like John Sebastian, Bob Dylan and the Seventh Sons in its ranks. He was an influence on Joni Mitchell, David Crosby, Karen Dalton, Tim Hardin and others and he cut his classic “Everybody’s Talkin”, the tune he is most famous for, in ‘66 (released on Elektra). After Harry Nillson covered it for the “Midnight Cowboy” movie, Neil blew up. His songs “The Dolphin Song” and “That’s The Bag I’m In” were covered by many.</p>\n<p>He released a few more albums, played Madison Square Garden with Stephen Stills and then largely dropped out of music, save for a few major international appearances. He has a ton of unreleased music (including an album with John Cipollina of Quicksilver Messenger Service!). His main love was the dolphins, and starting in the early ’70s he was back in South Florida taking care of the dolphin population, usually only publicly playing music in benefit concerts for The Dolphin Project.</p>",
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          "date": "March 16, 2017",
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    "id": "lightnin-hopkins-march-15-1912-jan-30-1982",
    "data": {
      "title": "Lightnin' Hopkins / March 15, 1912 - Jan 30, 1982",
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      "date": "2017-03-15T00:00:00.000Z"
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    "body": "![](/images/A-290582-1413006009-4095_jpeg_large.jpg)\n\nHere's a birthday shout-out to Sam **\"Lightnin\" Hopkins** , the influential blues great from Texas. He played both electric and acoustic guitars, but his first instrument was a home-made cigar-box \"guitar\" with chicken wire for strings. He was boogieing from the '20s (although didn't record until '46) until the '80s, mostly in Texas until 1960 when he played at Carnegie Hall for an integrated audience for the first time. (Pete Seeger and Joan Baez were also on the bill). In the period between he worked with his cousin Texas Alexander and even played with Blind Lemon Jefferson on at least one occasion.\n\nHe found himself incarcerated for a while in the '30s, before his career really got going. He then went to Los Angeles and cut his first sides in '46 and had some chart hits in the early '50s but rarely played outside of Texas, where he was quite prolific and immensely popular in the gin-joints. Folkways recorded him in his apartment for a solo album, released in '59, right around the time when the folk revival brought new interest. From there on he found himself playing universities and folk coffeehouses and touring nationally and internationally.\n\nHe cut some widely regarded albums in the '60s (_Mojo Hand_ , _Blues In My Bottle_ , etc) for labels like World Pacific, Prestige, Candid, Arhoolie, Imperial and others. He cut _Free Form Patterns_ in '68 with the members of the 13th Floor Elevators as his backing band. He opened some shows for the Grateful Dead and was the subject of a 1970 documentary by Les Blank. A car accident that year limited his touring schedule for awhile but his reputation as an influential bluesman was already cemented, and he did tour Japan in the late '70s.\n\nHe was an entertaining singer and his guitar playing inspired many rockers. He usually played either solo or with a rhythm section but was most affecting unaccompanied as he played like a one-man-band. Cancer took him in '82.\n\nFrom _The Blues Accordin' To Lightnin' Hopkins_ , a film by Les Blank:\n\nFrom 1962's _Mojo Hand_ :\n\nAnd here's Lightnin's Folkways album from '59:",
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      "html": "<p><img src=\"/images/A-290582-1413006009-4095_jpeg_large.jpg\" alt=\"\"></p>\n<p>Here’s a birthday shout-out to Sam <strong>“Lightnin” Hopkins</strong> , the influential blues great from Texas. He played both electric and acoustic guitars, but his first instrument was a home-made cigar-box “guitar” with chicken wire for strings. He was boogieing from the ’20s (although didn’t record until ‘46) until the ’80s, mostly in Texas until 1960 when he played at Carnegie Hall for an integrated audience for the first time. (Pete Seeger and Joan Baez were also on the bill). In the period between he worked with his cousin Texas Alexander and even played with Blind Lemon Jefferson on at least one occasion.</p>\n<p>He found himself incarcerated for a while in the ’30s, before his career really got going. He then went to Los Angeles and cut his first sides in ‘46 and had some chart hits in the early ’50s but rarely played outside of Texas, where he was quite prolific and immensely popular in the gin-joints. Folkways recorded him in his apartment for a solo album, released in ‘59, right around the time when the folk revival brought new interest. From there on he found himself playing universities and folk coffeehouses and touring nationally and internationally.</p>\n<p>He cut some widely regarded albums in the ’60s (<em>Mojo Hand</em> , <em>Blues In My Bottle</em> , etc) for labels like World Pacific, Prestige, Candid, Arhoolie, Imperial and others. He cut <em>Free Form Patterns</em> in ‘68 with the members of the 13th Floor Elevators as his backing band. He opened some shows for the Grateful Dead and was the subject of a 1970 documentary by Les Blank. A car accident that year limited his touring schedule for awhile but his reputation as an influential bluesman was already cemented, and he did tour Japan in the late ’70s.</p>\n<p>He was an entertaining singer and his guitar playing inspired many rockers. He usually played either solo or with a rhythm section but was most affecting unaccompanied as he played like a one-man-band. Cancer took him in ‘82.</p>\n<p>From <em>The Blues Accordin’ To Lightnin’ Hopkins</em> , a film by Les Blank:</p>\n<p>From 1962’s <em>Mojo Hand</em> :</p>\n<p>And here’s Lightnin’s Folkways album from ‘59:</p>",
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    "id": "ralph-macdonald-march-15-1944-dec-18-2011",
    "data": {
      "title": "Ralph MacDonald / March 15, 1944 - Dec 18, 2011",
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      "date": "2017-03-15T00:00:00.000Z"
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    "body": "![](/images/R-483772-1421729391-1232_jpeg_large.jpg)\n\nHere's some birthday recognition to one the most prolific and unsung musicians on the groovy music landscape, master percussionist **Ralph MacDonald**! Harlem-raised, his father was a musician from Trinidad & Tobago and the calypso and steelpan have always been with him. He played with Harry Belafonte from 17 until his mid 20s (including being the major artistic force behind Belafonte's 1971 _Calypso Carnival_ album). That year he started his own publishing company and hit the big-time the next year with his composition \"Where Is The Love\" (recorded by Donny Hathaway and Roberta Flack, with Ralph on percussion).\n\nIt was non-stop from there and Ralph was first call for so many pop artists where he would contribute steelpan, congas, bongos, talking drum, balafon, shekere and many other instruments, although usually relegated to a simple \"percussion\" credit, even on albums he was the best part of. Indeed, often times his percussion was the highlight of some of these songs, in my opinion. (We're looking at you Jimmy Buffett, Billy Joel, Hall & Oates, Lionel Richie, etc!).\n\nIn his distinguished career he also recorded with Stevie Wonder, Carole King, Paul Simon, David Bowie (_Young Americans_), Aretha Franklin, Max Roach, Diana Ross, Steely Dan, Rahsaan Roland Kirk, Herbie Mann, Joe Henderson, Amy Winehouse, and so many CTI and Atlantic sides. You can hear him on music ranging from soul, funk, jazz and folk, to disco, calypso and pop. He even plays on a '60's protest-folk album for ESP-Disk (the Jerry Moore album)!\n\nHe wrote \"Just The Two Of Us\" and \"Mister Magic\" and was a featured artist on the soundtrack to _Saturday Night Fever._ Billed under his own name he actually recorded some of the best disco cuts of the era (his \"Jam On The Groove\" is a funky breaks classic). It seems that so many times when I heard some nasty percussion breaks in popular disco and funk records, sure enough it was Ralph MacDonald!\n\nCheck out this clip from 1981 with Ralph and kit drummer Steve Gadd accompanying each other in a duo:\n\n\"Jam on the Groove\"!:\n\n\"Young Americans\"!:\n\nRalph was co-composer on \"Where Is The Love\", which was a big hit for Roberta Flack & Donny Hathaway in '72. This brought Ralph considerable royalties and respect. In '76 Ralph recorded this fantastic version:",
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      "html": "<p><img src=\"/images/R-483772-1421729391-1232_jpeg_large.jpg\" alt=\"\"></p>\n<p>Here’s some birthday recognition to one the most prolific and unsung musicians on the groovy music landscape, master percussionist <strong>Ralph MacDonald</strong>! Harlem-raised, his father was a musician from Trinidad &#x26; Tobago and the calypso and steelpan have always been with him. He played with Harry Belafonte from 17 until his mid 20s (including being the major artistic force behind Belafonte’s 1971 <em>Calypso Carnival</em> album). That year he started his own publishing company and hit the big-time the next year with his composition “Where Is The Love” (recorded by Donny Hathaway and Roberta Flack, with Ralph on percussion).</p>\n<p>It was non-stop from there and Ralph was first call for so many pop artists where he would contribute steelpan, congas, bongos, talking drum, balafon, shekere and many other instruments, although usually relegated to a simple “percussion” credit, even on albums he was the best part of. Indeed, often times his percussion was the highlight of some of these songs, in my opinion. (We’re looking at you Jimmy Buffett, Billy Joel, Hall &#x26; Oates, Lionel Richie, etc!).</p>\n<p>In his distinguished career he also recorded with Stevie Wonder, Carole King, Paul Simon, David Bowie (<em>Young Americans</em>), Aretha Franklin, Max Roach, Diana Ross, Steely Dan, Rahsaan Roland Kirk, Herbie Mann, Joe Henderson, Amy Winehouse, and so many CTI and Atlantic sides. You can hear him on music ranging from soul, funk, jazz and folk, to disco, calypso and pop. He even plays on a ‘60’s protest-folk album for ESP-Disk (the Jerry Moore album)!</p>\n<p>He wrote “Just The Two Of Us” and “Mister Magic” and was a featured artist on the soundtrack to <em>Saturday Night Fever.</em> Billed under his own name he actually recorded some of the best disco cuts of the era (his “Jam On The Groove” is a funky breaks classic). It seems that so many times when I heard some nasty percussion breaks in popular disco and funk records, sure enough it was Ralph MacDonald!</p>\n<p>Check out this clip from 1981 with Ralph and kit drummer Steve Gadd accompanying each other in a duo:</p>\n<p>“Jam on the Groove”!:</p>\n<p>“Young Americans”!:</p>\n<p>Ralph was co-composer on “Where Is The Love”, which was a big hit for Roberta Flack &#x26; Donny Hathaway in ‘72. This brought Ralph considerable royalties and respect. In ‘76 Ralph recorded this fantastic version:</p>",
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    "id": "coming-in-april-fulaso-la-rumba-my-little-baby-45rpm-7",
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      "title": "Coming in April! Fulaso - \"La Rumba\" / \"My Little Baby\" 45rpm 7\"",
      "slug": "coming-in-april-fulaso-la-rumba-my-little-baby-45rpm-7",
      "date": "2017-03-14T00:00:00.000Z"
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    "body": "![](/images/GetFileAttachment-10_large.jpg)\n\nWe're excited to announce a **new 7\" coming next month** by the NYC Latin-funk-soul-boogaloo outfit **[Fulaso](https://www.facebook.com/fulaso/)**.\n\nWith hefty brass and raucous rhythms rooted in Puerto Rico, Cuba, and Colombia, the bilingual, multicultural 10-piece band **Fulaso** knows how to keep the dance floor jumping with its signature brand of FUnky LAtin SOul!. These folks are unstoppable with the magnetic energy of one of the most captivating frontwomen on the mic, the soulful songstress **Erica Ramos**. Fulaso’s music and vibe emanate New York City, anchored in the classic boogaloo and Latin soul of El Barrio in the ’60s and ’70s, infused with a jolt of millennial funk and bumpin' neo-soul, this band is making waves as an exciting act not to be missed!\n\nThe band teams up with **Peace & Rhythm** and Spain's finest funk/soul/rare-groove magazine **Enlace Funk** for a groovy 45 of FUnk LAtin SOul! FU-LA-SO!!!!\n\nSleeve design by **Pablo Yglesias**.\n\n**Fulaso** official website [here](http://fulaso.com/).\n\n\"Like\" Fulaso on [Facebook](https://www.facebook.com/fulaso).\n\n**Fulaso 7\"** coming this spring on **Peace & Rhythm** and [**Enlace Funk**](http://enlacefunk.com/).\n\n![](/images/FUL_3607_Web_large.jpg)\n\n![](/images/suscripcion-anual-opcion-2_large.jpg)",
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      "html": "<p><img src=\"/images/GetFileAttachment-10_large.jpg\" alt=\"\"></p>\n<p>We’re excited to announce a <strong>new 7” coming next month</strong> by the NYC Latin-funk-soul-boogaloo outfit <strong><a href=\"https://www.facebook.com/fulaso/\">Fulaso</a></strong>.</p>\n<p>With hefty brass and raucous rhythms rooted in Puerto Rico, Cuba, and Colombia, the bilingual, multicultural 10-piece band <strong>Fulaso</strong> knows how to keep the dance floor jumping with its signature brand of FUnky LAtin SOul!. These folks are unstoppable with the magnetic energy of one of the most captivating frontwomen on the mic, the soulful songstress <strong>Erica Ramos</strong>. Fulaso’s music and vibe emanate New York City, anchored in the classic boogaloo and Latin soul of El Barrio in the ’60s and ’70s, infused with a jolt of millennial funk and bumpin’ neo-soul, this band is making waves as an exciting act not to be missed!</p>\n<p>The band teams up with <strong>Peace &#x26; Rhythm</strong> and Spain’s finest funk/soul/rare-groove magazine <strong>Enlace Funk</strong> for a groovy 45 of FUnk LAtin SOul! FU-LA-SO!!!!</p>\n<p>Sleeve design by <strong>Pablo Yglesias</strong>.</p>\n<p><strong>Fulaso</strong> official website <a href=\"http://fulaso.com/\">here</a>.</p>\n<p>“Like” Fulaso on <a href=\"https://www.facebook.com/fulaso\">Facebook</a>.</p>\n<p><strong>Fulaso 7”</strong> coming this spring on <strong>Peace &#x26; Rhythm</strong> and <a href=\"http://enlacefunk.com/\"><strong>Enlace Funk</strong></a>.</p>\n<p><img src=\"/images/FUL_3607_Web_large.jpg\" alt=\"\"></p>\n<p><img src=\"/images/suscripcion-anual-opcion-2_large.jpg\" alt=\"\"></p>",
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          "title": "Coming in April! Fulaso - \"La Rumba\" / \"My Little Baby\" 45rpm 7\"",
          "pagination": "https://www.peaceandrhythm.com/?page=76",
          "date": "March 14, 2017",
          "post": "Coming in April! Fulaso - \"La Rumba\" / \"My Little Baby\" 45rpm 7\"",
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