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"title": "Gétatchèw Mèkurya / March 14, 1935 - April 4, 2016",
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"body": "\n\nIf you've heard Ethiopian music, the chances are that you've heard the bold tenor saxophone vibrato of **Gétatchèw Mèkurya**. Ever-present on the recordings of the '60s and '70s, much of which was found on the amazing _Ethiopiques_ series, his career found a larger international audience in his later days with his work with the Dutch anarcho-punk band The Ex, Boston-based creative fusion ensemble Either/Orchestra, the group of Fendika, Indian singer Susheela Raman and others, and his music was sampled by K'Naan and Damian Marley.\n\nThe native of Yifat, Ethiopia began his studies on the traditional instruments the _krar_ and _masenqo_ (stringed instruments) before taking to the saxophone and clarinet. Around the age of 14 he became a professional musician with a band in Addis Ababa and in '55 joined Haile Salassie's royal house band. He worked with popular Ethiopian singers such as Alemayehu Ashete, Ayalew Mesfin, Hirut Beqele, Mahmoud Ahmed and others. He also recorded a classic album of his own in 1970, _Negus of Ethiopian Sax_. That album was reissued as part of _Ethiopiques_ and he began collaborating and touring internationally with The Ex in 2004.\n\nHe was notable as well for recording the first instrumental version of a shellela, a traditionally vocal song for warriors going into battle, and Gétatchèw would appear onstage in full warrior outfit (something that I got to witness in person when I saw him play in Boston). As well, there are recordings of him in the 1950's blowing away in a style similar to free-jazz (a genre which had not existed yet and that Gétatchèw knew nothing about until much later).\n\nCheck out this 2007 clip of the legend in action:\n\n Here's one from his classic album _Negus of Ethiopian Sax_ :\n\nHere's a cut from the late '50s, blowing away like a free-jazz radical in a government-run orchestra:\n\nHere he is performing with The Ex, live in Slovenia in 2009:",
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"html": "<p><img src=\"/images/865742-getatchew-mekuria-banlieues-bleues-france-07042006_large.jpg\" alt=\"\"></p>\n<p>If you’ve heard Ethiopian music, the chances are that you’ve heard the bold tenor saxophone vibrato of <strong>Gétatchèw Mèkurya</strong>. Ever-present on the recordings of the ’60s and ’70s, much of which was found on the amazing <em>Ethiopiques</em> series, his career found a larger international audience in his later days with his work with the Dutch anarcho-punk band The Ex, Boston-based creative fusion ensemble Either/Orchestra, the group of Fendika, Indian singer Susheela Raman and others, and his music was sampled by K’Naan and Damian Marley.</p>\n<p>The native of Yifat, Ethiopia began his studies on the traditional instruments the <em>krar</em> and <em>masenqo</em> (stringed instruments) before taking to the saxophone and clarinet. Around the age of 14 he became a professional musician with a band in Addis Ababa and in ‘55 joined Haile Salassie’s royal house band. He worked with popular Ethiopian singers such as Alemayehu Ashete, Ayalew Mesfin, Hirut Beqele, Mahmoud Ahmed and others. He also recorded a classic album of his own in 1970, <em>Negus of Ethiopian Sax</em>. That album was reissued as part of <em>Ethiopiques</em> and he began collaborating and touring internationally with The Ex in 2004.</p>\n<p>He was notable as well for recording the first instrumental version of a shellela, a traditionally vocal song for warriors going into battle, and Gétatchèw would appear onstage in full warrior outfit (something that I got to witness in person when I saw him play in Boston). As well, there are recordings of him in the 1950’s blowing away in a style similar to free-jazz (a genre which had not existed yet and that Gétatchèw knew nothing about until much later).</p>\n<p>Check out this 2007 clip of the legend in action:</p>\n<p>Here’s one from his classic album <em>Negus of Ethiopian Sax</em> :</p>\n<p>Here’s a cut from the late ’50s, blowing away like a free-jazz radical in a government-run orchestra:</p>\n<p>Here he is performing with The Ex, live in Slovenia in 2009:</p>",
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"body": "\n\nThis entry into the series may well stand as one of the controversial ones, given not only some of the cheese that **Les Baxter** was involved with, but also for his role in the 1950's phenomenon of the white man's interpretation of \"Jungle Drums\", etc...as well as (unsubstantiated, and seemingly likely untrue when looking at it deeply) claims of compositional theft made by his understudies. But since it is my piece to write here, I am not going to flinch on calling myself a fan of Baxter's wacky arrangements, particularly in the field of \"exotica\" and exploito-film scores.\n\nRegardless of your socio-political leanings, many would not deny the immense creativity and musical imagination that went into such classic albums like _Ritual of the Savage_ and the amazing album he worked on with Harry Revel, _Music Out of the Moon_ , the 1947 ground-breaking and avant-garde album that introduced the theremin into popular music.\n\nHe also worked as a concert pianist, big-band saxophonist, singer with Mel Torme and Artie Shaw, arranger/conductor/performer with Nat King Cole on a number of big hits (\"Nature Boy\", \"Mona Lisa\", etc), conductor and arranger for Frank Sinatra and did a hell of a lot of work in television and radio before heading over to AIP to score films for Roger Corman and others (including _Black Sabbath_ , the film from which the rock band took its name).\n\nHe famously dabbled in exploito-funk with _Hell's Belles_ , a break classic. But it is really his work as the pioneer in the so-called \"exotica\" and \"space age pop\" genres, with his bizarre and imaginative (and highly experimental) instrumental configurations, his launching of the space-age and \"jungle\" crazes, as well as helping create the \"percussion album\" genre. He produced Yma Sumac and wrote the smash-hit \"Quiet Village\", a standard of its time. As an unabashed fan of the likes of Martin Denny, Esquivel and Arthur Lyman and their brand of (alternatingly wild or corny, sometimes sketchy) \"exotica\", we would have to see Baxter as a bridge for those artists having a sellable category that moved units in the millions, and providing white-bread honkies with their first taste of \"world music\" in the '50s. If you look at musical creativity for exactly what it is, Baxter is a pioneer as an arranger and composer.\n\nThis 1947 collaboration with Harry Revel, from _Music Out Of The Moon_ , is a pioneering classic of \"exotica\" and quite avant-garde, especially with its use of the theramin:\n\nHere is one of Baxter's most well-known albums. Somewhere between insensitive kitsch and seriously creative composition, if you listen to it strictly as music it is quite amazing:\n\nBaxter composed \"Quiet Village\" and his 1952 recording of it came several years before Martin Denny's smash hit version:\n\nAgain, more ethnic insensitivity in its presentation (as well, there was plenty of REAL African jazz in the '50s), but as an album of creative music, this is another lovely record. From 1959:\n\nLes composed the theme for this 1963 horror movie that inspired the band Black Sabbath:\n\nBaxter on the funk rock tip...from the _Hell's Belles_ soundtrack:\n\nMore Baxter rock-influenced tuneage, this time with his old collaborator, the incredible voice of Yma Sumac:",
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"html": "<p><img src=\"/images/11702185_f520_large.jpg\" alt=\"\"></p>\n<p>This entry into the series may well stand as one of the controversial ones, given not only some of the cheese that <strong>Les Baxter</strong> was involved with, but also for his role in the 1950’s phenomenon of the white man’s interpretation of “Jungle Drums”, etc…as well as (unsubstantiated, and seemingly likely untrue when looking at it deeply) claims of compositional theft made by his understudies. But since it is my piece to write here, I am not going to flinch on calling myself a fan of Baxter’s wacky arrangements, particularly in the field of “exotica” and exploito-film scores.</p>\n<p>Regardless of your socio-political leanings, many would not deny the immense creativity and musical imagination that went into such classic albums like <em>Ritual of the Savage</em> and the amazing album he worked on with Harry Revel, <em>Music Out of the Moon</em> , the 1947 ground-breaking and avant-garde album that introduced the theremin into popular music.</p>\n<p>He also worked as a concert pianist, big-band saxophonist, singer with Mel Torme and Artie Shaw, arranger/conductor/performer with Nat King Cole on a number of big hits (“Nature Boy”, “Mona Lisa”, etc), conductor and arranger for Frank Sinatra and did a hell of a lot of work in television and radio before heading over to AIP to score films for Roger Corman and others (including <em>Black Sabbath</em> , the film from which the rock band took its name).</p>\n<p>He famously dabbled in exploito-funk with <em>Hell’s Belles</em> , a break classic. But it is really his work as the pioneer in the so-called “exotica” and “space age pop” genres, with his bizarre and imaginative (and highly experimental) instrumental configurations, his launching of the space-age and “jungle” crazes, as well as helping create the “percussion album” genre. He produced Yma Sumac and wrote the smash-hit “Quiet Village”, a standard of its time. As an unabashed fan of the likes of Martin Denny, Esquivel and Arthur Lyman and their brand of (alternatingly wild or corny, sometimes sketchy) “exotica”, we would have to see Baxter as a bridge for those artists having a sellable category that moved units in the millions, and providing white-bread honkies with their first taste of “world music” in the ’50s. If you look at musical creativity for exactly what it is, Baxter is a pioneer as an arranger and composer.</p>\n<p>This 1947 collaboration with Harry Revel, from <em>Music Out Of The Moon</em> , is a pioneering classic of “exotica” and quite avant-garde, especially with its use of the theramin:</p>\n<p>Here is one of Baxter’s most well-known albums. Somewhere between insensitive kitsch and seriously creative composition, if you listen to it strictly as music it is quite amazing:</p>\n<p>Baxter composed “Quiet Village” and his 1952 recording of it came several years before Martin Denny’s smash hit version:</p>\n<p>Again, more ethnic insensitivity in its presentation (as well, there was plenty of REAL African jazz in the ’50s), but as an album of creative music, this is another lovely record. From 1959:</p>\n<p>Les composed the theme for this 1963 horror movie that inspired the band Black Sabbath:</p>\n<p>Baxter on the funk rock tip…from the <em>Hell’s Belles</em> soundtrack:</p>\n<p>More Baxter rock-influenced tuneage, this time with his old collaborator, the incredible voice of Yma Sumac:</p>",
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"body": "\n\nSoul-jazz organist **Shirley Scott** came out of the Philly scene to cut a ton of sides for Prestige, Moodsville, Impulse, Atlantic, Strata East, Muse, Cadet and more. Usually in either just an organ trio format or with an added horn (often her husband Stanley Turrentine), her records were a consistently grooving mix of bop, soul-jazz, gospel, standards, and pop & Motown covers, with the funk underneath and even some light Latin fare.\n\nBorn and raised in Philadelphia, she first played trumpet and then piano before switching to organ when she filled in on a club gig, immediately loving the instrument. She was in a trio with young John Coltrane in the mid-'50s before hooking up on a longtime musical partnership with Eddie \"Lockjaw\" Davis. She also cut some excellent records with her husband (who was often billed as \"Stan Turner\" for contractual reasons). In the '90s she finally returned to recording on piano. A victim of health effects of the diet drug fen-phen, she won an $8 million lawsuit against the company yet sustained heart-damaging effects before passing away in 2002.\n\nShe was influenced by Jimmy Smith (weren't they all?), Bill Doggett and Horace Silver and brought a deep gospel & blues approach to her style. She collaborated with not only Davis and Turrentine, but also with The Latin Jazz Quintet, Bernard Purdie, Kenny Burrell, Gary McFarland, Oliver Nelson, Harold Vick and others, as well as working in television. She remains the Queen of the Soul Jazz Organ.\n\nHere's Shirley recording a vocal on her record Great Scott!! (Impulse!, '64). I am not sure how often she recorded vocals but it certainly wasn't regular.",
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"html": "<p><img src=\"/images/6a00e008dca1f0883401a3fd10593e970b-500wi_large.jpg\" alt=\"\"></p>\n<p>Soul-jazz organist <strong>Shirley Scott</strong> came out of the Philly scene to cut a ton of sides for Prestige, Moodsville, Impulse, Atlantic, Strata East, Muse, Cadet and more. Usually in either just an organ trio format or with an added horn (often her husband Stanley Turrentine), her records were a consistently grooving mix of bop, soul-jazz, gospel, standards, and pop & Motown covers, with the funk underneath and even some light Latin fare.</p>\n<p>Born and raised in Philadelphia, she first played trumpet and then piano before switching to organ when she filled in on a club gig, immediately loving the instrument. She was in a trio with young John Coltrane in the mid-’50s before hooking up on a longtime musical partnership with Eddie “Lockjaw” Davis. She also cut some excellent records with her husband (who was often billed as “Stan Turner” for contractual reasons). In the ’90s she finally returned to recording on piano. A victim of health effects of the diet drug fen-phen, she won an $8 million lawsuit against the company yet sustained heart-damaging effects before passing away in 2002.</p>\n<p>She was influenced by Jimmy Smith (weren’t they all?), Bill Doggett and Horace Silver and brought a deep gospel & blues approach to her style. She collaborated with not only Davis and Turrentine, but also with The Latin Jazz Quintet, Bernard Purdie, Kenny Burrell, Gary McFarland, Oliver Nelson, Harold Vick and others, as well as working in television. She remains the Queen of the Soul Jazz Organ.</p>\n<p>Here’s Shirley recording a vocal on her record Great Scott!! (Impulse!, ‘64). I am not sure how often she recorded vocals but it certainly wasn’t regular.</p>",
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"title": "Chico Science / March 13, 1966 - Feb 2, 1997",
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"body": "\n\nUnless you are a Brasileiro or follow modern Brazilian music you probably don't know who **Chico Science** was but he was a favorite of mine. In fact his band, Nação Zumbi, have continued to tour the world and make fresh albums mixing samba, psychedelia, funk and hard rock, along with regional folk styles of Northeast Brazil.\n\nFrancisco de Assis França was born in the Northeastern state of Pernambuco, literally coming out of the swamps (\"mangue\"), and he helped found the manguebeat movement in Recife, a collective identity that nurtured the highly original arts and music scene that was on the upswing in the region. Forming around '91, Nação Zumbi play a heavy rock-meets-hiphop-meets-funk-meets-electronica hybrid that assertively included Brazilian folk rhythms (especially the _maracatu_).\n\nChico was the leader and frontman of this unit that traveled heavily in Europe (and the USA for a tour) spreading the word about this new scene in Brasil. Chico Science & Nação Zumbi had a sound and style that took in influences such as Public Enemy, Kurtis Blow, Pink Floyd, James Brown, heavy metal and samba. By all accounts, Chico was an intense front man. I wouldn't know from personal witness because I never got a chance to see him, given the car accident that took his life in '97. But NZ continue to be one of the best bands from the South American continent.\n\nWhile I also seriously encourage you to check out the music Nação Zumbi has made (and continue to make) since Chico's passing, we're going to focus on a few nuggets of the early years involving his fresh and energetic command:\n\nHere's the band live in concert in Recife in '94:\n\nHere is the video for the classic \"Maracatu Atômico\":\n\nFrom an MTV special:\n\nHere's a heavy DJ Soulslinger remix of \"A Cidade\":",
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"html": "<p><img src=\"/images/chico_science_large.jpg\" alt=\"\"></p>\n<p>Unless you are a Brasileiro or follow modern Brazilian music you probably don’t know who <strong>Chico Science</strong> was but he was a favorite of mine. In fact his band, Nação Zumbi, have continued to tour the world and make fresh albums mixing samba, psychedelia, funk and hard rock, along with regional folk styles of Northeast Brazil.</p>\n<p>Francisco de Assis França was born in the Northeastern state of Pernambuco, literally coming out of the swamps (“mangue”), and he helped found the manguebeat movement in Recife, a collective identity that nurtured the highly original arts and music scene that was on the upswing in the region. Forming around ‘91, Nação Zumbi play a heavy rock-meets-hiphop-meets-funk-meets-electronica hybrid that assertively included Brazilian folk rhythms (especially the <em>maracatu</em>).</p>\n<p>Chico was the leader and frontman of this unit that traveled heavily in Europe (and the USA for a tour) spreading the word about this new scene in Brasil. Chico Science & Nação Zumbi had a sound and style that took in influences such as Public Enemy, Kurtis Blow, Pink Floyd, James Brown, heavy metal and samba. By all accounts, Chico was an intense front man. I wouldn’t know from personal witness because I never got a chance to see him, given the car accident that took his life in ‘97. But NZ continue to be one of the best bands from the South American continent.</p>\n<p>While I also seriously encourage you to check out the music Nação Zumbi has made (and continue to make) since Chico’s passing, we’re going to focus on a few nuggets of the early years involving his fresh and energetic command:</p>\n<p>Here’s the band live in concert in Recife in ‘94:</p>\n<p>Here is the video for the classic “Maracatu Atômico”:</p>\n<p>From an MTV special:</p>\n<p>Here’s a heavy DJ Soulslinger remix of “A Cidade”:</p>",
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"title": "Don Drummond / March 12, 1932 - May 6, 1969",
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"body": "\n\nDespite the unfortunate late portion of **Don Drummond's** unstable life, he remains a major figure in Jamaican music. A street youth who saw dire poverty early on, the trombonist came out of the Alpha Boys School (home to many great Jamaican artists) and played jazz for several years before helping found the pioneering Skatalites in 1964.\n\nHe became one of the most high profile early converts to Rastafarianism, political awareness and all. A man of impressive chops (considered by many to be one of the top trombone players in the world), he was teacher to Rico Rodriguez and Vin Gordon, worked with Bob Marley (he was arranger for tunes such as \"Simmer Down\"), appeared with jazz artists such as Sarah Vaughn and Dave Brubeck. He was eccentric for sure, never wore shoes and once pissed on the audience at a concert. \"Don Cosmic\" has been subject to biographies and a ballet!\n\nHe started cutting records in '56 in the nascent Kingston studio scene with Clue J's Blues Blasters, among others. He was one of the chief architects of ska and composed hundreds of songs in his short life. He brought all-world chops to '60s Jamaican music and was mentor to several would-be greats. His career was stopped due to some events that I won't discuss here, but conspiracy theories abound.\n\nHere's one of my favorite ska tunes:\n\nHere's one of his most famous tunes (and sampled by Boogie Down Productions on [\"Edutainment\"](https://www.youtube.com/watch?v=d6svkdJ7HDo)):",
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"html": "<p><img src=\"/images/Don_Drummond_large.jpg\" alt=\"\"></p>\n<p>Despite the unfortunate late portion of <strong>Don Drummond’s</strong> unstable life, he remains a major figure in Jamaican music. A street youth who saw dire poverty early on, the trombonist came out of the Alpha Boys School (home to many great Jamaican artists) and played jazz for several years before helping found the pioneering Skatalites in 1964.</p>\n<p>He became one of the most high profile early converts to Rastafarianism, political awareness and all. A man of impressive chops (considered by many to be one of the top trombone players in the world), he was teacher to Rico Rodriguez and Vin Gordon, worked with Bob Marley (he was arranger for tunes such as “Simmer Down”), appeared with jazz artists such as Sarah Vaughn and Dave Brubeck. He was eccentric for sure, never wore shoes and once pissed on the audience at a concert. “Don Cosmic” has been subject to biographies and a ballet!</p>\n<p>He started cutting records in ‘56 in the nascent Kingston studio scene with Clue J’s Blues Blasters, among others. He was one of the chief architects of ska and composed hundreds of songs in his short life. He brought all-world chops to ’60s Jamaican music and was mentor to several would-be greats. His career was stopped due to some events that I won’t discuss here, but conspiracy theories abound.</p>\n<p>Here’s one of my favorite ska tunes:</p>\n<p>Here’s one of his most famous tunes (and sampled by Boogie Down Productions on <a href=\"https://www.youtube.com/watch?v=d6svkdJ7HDo\">“Edutainment”</a>):</p>",
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"id": "astor-piazzolla-march-11-1921-july-4-1992",
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"title": "Astor Piazzolla / March 11, 1921 - July 4, 1992",
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"body": "\n\nThe Italian-Argentine immigrant **Astor Piazzolla** rose out of the NYC slums to become the world's most noted avant-tango composer, fusing the traditional with classical, jazz and (later) electronics. He was a standing-up master of the bandoneon, but could also play piano.\n\nHe heard jazz while growing up in NYC, but still loved tango orchestras and studied classical. One of his heroes, the great tango bandleader Carlos Gardel, was impressed enough with Astor's chops that he asked the 13-yr old to join his orchestra for a tour but Piazzolla's father refused to allow it. Of course, it was that very tour that killed the entire Gardel band in a plane crash.\n\nHe went on to form a unique chamber music ensemble to play his compositions, disregarding the massive criticism from the purists. Some concerts saw audiences reacting with violence. From the mid-'50s onward, his music became increasingly experimental with jazz improvisation, dissonance and electric instruments.\n\nUntil Piazzolla, the tango usually accompanied dancers and vocalists. He succeeded into turning it into a high artform. His style was perfect for films, of which his music supported many. He collaborated with Gerry Mulligan (one of his influences), as well as Kronos Quartet and also wrote for symphonies. His late quintet music is worth the hype. In my opinion, his music is some of the most exciting I've ever heard.\n\nHere's his 1986 classic, _Tango: Zero Hour_ :",
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"html": "<p><img src=\"/images/astor-piazzolla_large.jpg\" alt=\"\"></p>\n<p>The Italian-Argentine immigrant <strong>Astor Piazzolla</strong> rose out of the NYC slums to become the world’s most noted avant-tango composer, fusing the traditional with classical, jazz and (later) electronics. He was a standing-up master of the bandoneon, but could also play piano.</p>\n<p>He heard jazz while growing up in NYC, but still loved tango orchestras and studied classical. One of his heroes, the great tango bandleader Carlos Gardel, was impressed enough with Astor’s chops that he asked the 13-yr old to join his orchestra for a tour but Piazzolla’s father refused to allow it. Of course, it was that very tour that killed the entire Gardel band in a plane crash.</p>\n<p>He went on to form a unique chamber music ensemble to play his compositions, disregarding the massive criticism from the purists. Some concerts saw audiences reacting with violence. From the mid-’50s onward, his music became increasingly experimental with jazz improvisation, dissonance and electric instruments.</p>\n<p>Until Piazzolla, the tango usually accompanied dancers and vocalists. He succeeded into turning it into a high artform. His style was perfect for films, of which his music supported many. He collaborated with Gerry Mulligan (one of his influences), as well as Kronos Quartet and also wrote for symphonies. His late quintet music is worth the hype. In my opinion, his music is some of the most exciting I’ve ever heard.</p>\n<p>Here’s his 1986 classic, <em>Tango: Zero Hour</em> :</p>",
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"body": "\n\nOne of the best of improvised violin & viola, **Leroy Jenkins** was a member of Chicago's musicians collective AACM, co-formed Creative Construction Company (with Anthony Braxton) and the incredible out-jazz protest trio Revolutionary Ensemble (with Sirone and Jerome Cooper--check out _Vietnam_ on ESP-Disk and _Manhattan Cycles_ on India Navigation). He also worked with Alice Coltrane, Cecil Taylor, Muhal Richard Abrams, Rashied Ali, the JCOA, Andrew Cyrille, Albert Ayler, Archie Shepp, Frank Lowe, Henry Threadgill, Paul Motian and many more.\n\nA native of Chicago, he brought classical chops into a radicalized improv-jazz setting, with a percussive yet mesmerizing style. His group Revolutionary Ensemble are one of my favorites, a charged unit who's 1976 album _The People's Republic_ somehow found its way to A&M records, but when label head Herb Alpert saw and heard it, he was infuriated! In addition to the aforementioned groups, he was also a major part of the ensembles Driftwood, Computer Minds, Sting and Equal Interest.\n\nCheck out the Far-east folk elements he brings to _Vietnam_ , the Revolutionary Ensemble classic for ESP-Disk:\n\nHere's one from _The People's Republic_ :",
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"html": "<p><img src=\"/images/d3a8cc36c98ceb0eba7c90876470b_large.jpg\" alt=\"\"></p>\n<p>One of the best of improvised violin & viola, <strong>Leroy Jenkins</strong> was a member of Chicago’s musicians collective AACM, co-formed Creative Construction Company (with Anthony Braxton) and the incredible out-jazz protest trio Revolutionary Ensemble (with Sirone and Jerome Cooper—check out <em>Vietnam</em> on ESP-Disk and <em>Manhattan Cycles</em> on India Navigation). He also worked with Alice Coltrane, Cecil Taylor, Muhal Richard Abrams, Rashied Ali, the JCOA, Andrew Cyrille, Albert Ayler, Archie Shepp, Frank Lowe, Henry Threadgill, Paul Motian and many more.</p>\n<p>A native of Chicago, he brought classical chops into a radicalized improv-jazz setting, with a percussive yet mesmerizing style. His group Revolutionary Ensemble are one of my favorites, a charged unit who’s 1976 album <em>The People’s Republic</em> somehow found its way to A&M records, but when label head Herb Alpert saw and heard it, he was infuriated! In addition to the aforementioned groups, he was also a major part of the ensembles Driftwood, Computer Minds, Sting and Equal Interest.</p>\n<p>Check out the Far-east folk elements he brings to <em>Vietnam</em> , the Revolutionary Ensemble classic for ESP-Disk:</p>\n<p>Here’s one from <em>The People’s Republic</em> :</p>",
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"body": "\n\nHappy birthday to the Italian-American sculptor and sound artist **Harry Bertoia**! He was a jewelry-maker and designer who hit big with some finely crafted chairs. This allowed him to concentrate on creating these unique sound sculptures that lived in his barn that doubled as a mini concert hall. He would strike or \"play\" these things and the sound would reverberate into my amazed eardrums.\n\nI first heard these otherwordly sounds when a cache of self-produced \"Sonambient\" albums were found and distributed to the public in the mid-1990s. I bought a few of these records and still treasure them to this day. Check out the brand new 11xCD box set on Important Records!",
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"html": "<p><img src=\"/images/harry-bertoia-diamond-chair_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the Italian-American sculptor and sound artist <strong>Harry Bertoia</strong>! He was a jewelry-maker and designer who hit big with some finely crafted chairs. This allowed him to concentrate on creating these unique sound sculptures that lived in his barn that doubled as a mini concert hall. He would strike or “play” these things and the sound would reverberate into my amazed eardrums.</p>\n<p>I first heard these otherwordly sounds when a cache of self-produced “Sonambient” albums were found and distributed to the public in the mid-1990s. I bought a few of these records and still treasure them to this day. Check out the brand new 11xCD box set on Important Records!</p>",
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"body": "\n\nHappy birthday to the harmolodic genius **Ornette Coleman**! His saxophone crying and unique compositional style were as groundbreaking on the avant-garde jazz front as John Coltrane, Cecil Taylor & Sunny Murray, Sun Ra and Albert Ayler were in that new freedom era that started in the late '50s and caused an avalanche of free-jazz in the '60s. In fact, it was Coleman's \"double-quartet\" album, _Free Jazz_ -from '60, which gave name to a whole genre to follow.\n\nThe musical revolutionary grew up poor in Fort Worth TX and learned to sight-read and started teaching himself alto sax at 14, right when Charlie Parker was taking off with his own inventive approach. Coleman spent his early professional years in Texas, working in R&B & bebop bands with the likes of Prince Lasha, Bobby Bradford, King Curtis and Charles Moffett before hitting the road with a minstrel show in '49.\n\nHe ended up in Los Angeles in the early '50s with a plastic alto and he developed a radical approach to blues & bop, in which the individual soloists could play as freely off the head as they wanted, creating a personal artistic statement that caused many to insist his approach was not the \"right way\". His music broke meter, represented new harmonic ideas and encouraged free expression within the group contexts. To many, he seemed out-of-tune. But then again, this was the man who brought us _The Shape of Jazz To Come_.\n\nPaul Bley was an early supporter of this revolutionary approach, playing with Ornette in L.A. in the mid-'50s. He also found willing partners and longtime collaborators in Don Cherry and Charlie Haden. In '59 he went east to the Lenox School of Music in Western Massachusetts and then to NYC where he was an immediately polarizing figure on the scene. (Interesting story: Lionel Hampton was so impressed with an early NYC show by Ornette's group that he asked if he could sit in with them. I can't find any proof that Hamp did end up joining them, but that would be something).\n\nHe signed to Atlantic and dispensed with piano, recording several records that still sound fresh today, not the least of which is the pioneering _Free Jazz,_ and he also recorded an album on tenor among the string of classics. After taking a mini-retirement, he resurfaced with new ideas for trumpet and left-handed violin and could be heard on all three of his axes in his trio with David Izenzon and Charles Moffett (check out _Live at the Golden Circle_). His album he licensed to ESP-Disk (_Town Hall, 1962_ \\- with string section!) was from a concert he self-financed, paving the way for more DIY out-jazz action. He also recorded for Blue Note, Impulse!, Artists House, Columbia and, in the '90s, Verve and others. His '66 album for Blue Note, _The Empty Foxhole_ , was controversial in that his ten year-old drummer son, Denardo Coleman, debuted on the album. As charming as it is, Denardo certainly developed into a fine player in his own right, becoming a regular drummer for his father. He also hosted concerts in his Prince St loft, which doubled as a studio. (Oneness of Juju, then known as Ju-Ju, made their early recordings there).\n\nIn the early '70s he wrote for chamber groups and the symphonic _Skies of America_ project. In '73 he was in Morocco, recording with the Master Musicians of Jajouka, followed by some exploration in Nigeria, both of which contributed to his harmolodic concept for life and music. His own definition of harmolodics: \"the use of the physical and the mental of one's own logic made into an expression of sound to bring about the musical sensation of unison executed by a single person or with a group.\" He applied this to his \"free-funk\" band Prime Time, starting in the mid-'70s, which included players such as James \"Blood\" Ulmer, Jamaaladeen Tacuma, Ronald Shannon Jackson and Denardo, among others.\n\nHe did some transcriptions for Alice Coltrane, took turns on albums by Jackie McLean, Yoko Ono, James \"Blood\" Ulmer, Pat Metheny, Eddy Grant and Lou Reed, played in concert with the Grateful Dead and ran his career and art on his own terms.\n\nHe contributed revolutionary, world-changing music and a fierce commitment to originality, while managing to control his career and releasing only what he wanted and charging what he thought he was worth for concerts. One of the greatest American composers and musicians.\n\nHere's that now-standard \"Lonely Woman\", from '59, one of Ornette's best and most-recognized compositions:\n\nThe musical shot heard around the world:\n\nYou can hear Coleman guesting on trumpet on this fine soul-jazz album from Jackie McLean, '67:\n\nOrnette jamming with the Master Musicians of Morocco:\n\nHere's a fun one where Charlie Haden gets freaky on the bass:\n\nThe underrated '78 album _Body Meta_ :\n\nComplete stream of Prime Time's _Opening_ _The Caravan of Dreams_ album:\n\nJerry Garcia guesting on 1988's _Virgin Beauty_ :\n\nIf you've ever wanted to know what an Ornette composition would sound like as played by a bluegrass artist, here you go:\n\nIf you've ever wanted to know what an Ornette composition would sound like as played by a skronk-punk band, here you go:\n\nAnd finally, we have this dandy:\n\nLive 1991:",
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"html": "<p><img src=\"/images/th_a5375957-5d31-40eb-a9ce-55c9a83ac5bf_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the harmolodic genius <strong>Ornette Coleman</strong>! His saxophone crying and unique compositional style were as groundbreaking on the avant-garde jazz front as John Coltrane, Cecil Taylor & Sunny Murray, Sun Ra and Albert Ayler were in that new freedom era that started in the late ’50s and caused an avalanche of free-jazz in the ’60s. In fact, it was Coleman’s “double-quartet” album, <em>Free Jazz</em> -from ‘60, which gave name to a whole genre to follow.</p>\n<p>The musical revolutionary grew up poor in Fort Worth TX and learned to sight-read and started teaching himself alto sax at 14, right when Charlie Parker was taking off with his own inventive approach. Coleman spent his early professional years in Texas, working in R&B & bebop bands with the likes of Prince Lasha, Bobby Bradford, King Curtis and Charles Moffett before hitting the road with a minstrel show in ‘49.</p>\n<p>He ended up in Los Angeles in the early ’50s with a plastic alto and he developed a radical approach to blues & bop, in which the individual soloists could play as freely off the head as they wanted, creating a personal artistic statement that caused many to insist his approach was not the “right way”. His music broke meter, represented new harmonic ideas and encouraged free expression within the group contexts. To many, he seemed out-of-tune. But then again, this was the man who brought us <em>The Shape of Jazz To Come</em>.</p>\n<p>Paul Bley was an early supporter of this revolutionary approach, playing with Ornette in L.A. in the mid-’50s. He also found willing partners and longtime collaborators in Don Cherry and Charlie Haden. In ‘59 he went east to the Lenox School of Music in Western Massachusetts and then to NYC where he was an immediately polarizing figure on the scene. (Interesting story: Lionel Hampton was so impressed with an early NYC show by Ornette’s group that he asked if he could sit in with them. I can’t find any proof that Hamp did end up joining them, but that would be something).</p>\n<p>He signed to Atlantic and dispensed with piano, recording several records that still sound fresh today, not the least of which is the pioneering <em>Free Jazz,</em> and he also recorded an album on tenor among the string of classics. After taking a mini-retirement, he resurfaced with new ideas for trumpet and left-handed violin and could be heard on all three of his axes in his trio with David Izenzon and Charles Moffett (check out <em>Live at the Golden Circle</em>). His album he licensed to ESP-Disk (<em>Town Hall, 1962</em> - with string section!) was from a concert he self-financed, paving the way for more DIY out-jazz action. He also recorded for Blue Note, Impulse!, Artists House, Columbia and, in the ’90s, Verve and others. His ‘66 album for Blue Note, <em>The Empty Foxhole</em> , was controversial in that his ten year-old drummer son, Denardo Coleman, debuted on the album. As charming as it is, Denardo certainly developed into a fine player in his own right, becoming a regular drummer for his father. He also hosted concerts in his Prince St loft, which doubled as a studio. (Oneness of Juju, then known as Ju-Ju, made their early recordings there).</p>\n<p>In the early ’70s he wrote for chamber groups and the symphonic <em>Skies of America</em> project. In ‘73 he was in Morocco, recording with the Master Musicians of Jajouka, followed by some exploration in Nigeria, both of which contributed to his harmolodic concept for life and music. His own definition of harmolodics: “the use of the physical and the mental of one’s own logic made into an expression of sound to bring about the musical sensation of unison executed by a single person or with a group.” He applied this to his “free-funk” band Prime Time, starting in the mid-’70s, which included players such as James “Blood” Ulmer, Jamaaladeen Tacuma, Ronald Shannon Jackson and Denardo, among others.</p>\n<p>He did some transcriptions for Alice Coltrane, took turns on albums by Jackie McLean, Yoko Ono, James “Blood” Ulmer, Pat Metheny, Eddy Grant and Lou Reed, played in concert with the Grateful Dead and ran his career and art on his own terms.</p>\n<p>He contributed revolutionary, world-changing music and a fierce commitment to originality, while managing to control his career and releasing only what he wanted and charging what he thought he was worth for concerts. One of the greatest American composers and musicians.</p>\n<p>Here’s that now-standard “Lonely Woman”, from ‘59, one of Ornette’s best and most-recognized compositions:</p>\n<p>The musical shot heard around the world:</p>\n<p>You can hear Coleman guesting on trumpet on this fine soul-jazz album from Jackie McLean, ‘67:</p>\n<p>Ornette jamming with the Master Musicians of Morocco:</p>\n<p>Here’s a fun one where Charlie Haden gets freaky on the bass:</p>\n<p>The underrated ‘78 album <em>Body Meta</em> :</p>\n<p>Complete stream of Prime Time’s <em>Opening</em> <em>The Caravan of Dreams</em> album:</p>\n<p>Jerry Garcia guesting on 1988’s <em>Virgin Beauty</em> :</p>\n<p>If you’ve ever wanted to know what an Ornette composition would sound like as played by a bluegrass artist, here you go:</p>\n<p>If you’ve ever wanted to know what an Ornette composition would sound like as played by a skronk-punk band, here you go:</p>\n<p>And finally, we have this dandy:</p>\n<p>Live 1991:</p>",
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"body": "****\n\n**Peace & Rhythm** are featured over at **Wax Poetics**. And together we're running a contest. Enter your email and try to win some goodies!\n\nWax Po has long been one of our favorite sources of music news, record digger's delights and classic cuts for examination. Check out the link:\n\n<http://www.waxpoetics.com/blog/news/contests/peace-rhythm-giveaway/>\n\n \n\n",
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"html": "<p><strong><img src=\"/images/65_Cover_ATCQ-border2_large_51af0971-9df8-4e78-a3dc-ee061d53b02b_large.png\" alt=\"\"></strong></p>\n<p><strong>Peace & Rhythm</strong> are featured over at <strong>Wax Poetics</strong>. And together we’re running a contest. Enter your email and try to win some goodies!</p>\n<p>Wax Po has long been one of our favorite sources of music news, record digger’s delights and classic cuts for examination. Check out the link:</p>\n<p><a href=\"http://www.waxpoetics.com/blog/news/contests/peace-rhythm-giveaway/\">http://www.waxpoetics.com/blog/news/contests/peace-rhythm-giveaway/</a></p>\n<p><img src=\"/images/logo-wax_large.png\" alt=\"\"></p>",
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"body": "\n\nThe Burkinabé singer **Amadou Balaké** had a long and varied career, recording Mandé music, soul, afro-cuban, salsa, highlife, afrobeat/funk and various West African regional styles. He was among the artists who explicitly bridged Afro-Cuban sounds with contemporary African music in the '60s & '70s into the 2000s.\n\nHe was a taxi driver in Mali before joining Harmonie Voltaiqüe and scoring big with the tune he changed his name to (\"Balaké\"). He joined Super Volta before launching his solo career in the mid-'70s. He also sang in Les 5 Consuls. He went to NYC in the late '70s to cut a few records of Afro-charanga and salsa before joining the great Africando, with whom he was a full-time member.\n\nDuring his career, he was based out of Burkina Faso, Ivory Coast, Mali, Ghana, Guinea and NYC and sang in several languages. Many of his songs (and a couple of his albums) have been recently reissued, including his _Bar Konon Mousso Bar_ album, a fantastic set available on the Kindred Spirits label:\n\nFrom his '79 album _Amadou Balaké A New York!_ :\n\nHere's the well-known \"Whiskey & Coca-Cola\", from his '81 _Afro-Charanga_ album:",
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"html": "<p><img src=\"/images/Amadou_Balake_large.jpg\" alt=\"\"></p>\n<p>The Burkinabé singer <strong>Amadou Balaké</strong> had a long and varied career, recording Mandé music, soul, afro-cuban, salsa, highlife, afrobeat/funk and various West African regional styles. He was among the artists who explicitly bridged Afro-Cuban sounds with contemporary African music in the ’60s & ’70s into the 2000s.</p>\n<p>He was a taxi driver in Mali before joining Harmonie Voltaiqüe and scoring big with the tune he changed his name to (“Balaké”). He joined Super Volta before launching his solo career in the mid-’70s. He also sang in Les 5 Consuls. He went to NYC in the late ’70s to cut a few records of Afro-charanga and salsa before joining the great Africando, with whom he was a full-time member.</p>\n<p>During his career, he was based out of Burkina Faso, Ivory Coast, Mali, Ghana, Guinea and NYC and sang in several languages. Many of his songs (and a couple of his albums) have been recently reissued, including his <em>Bar Konon Mousso Bar</em> album, a fantastic set available on the Kindred Spirits label:</p>\n<p>From his ‘79 album <em>Amadou Balaké A New York!</em> :</p>\n<p>Here’s the well-known “Whiskey & Coca-Cola”, from his ‘81 <em>Afro-Charanga</em> album:</p>",
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"body": "\n\nHere's a birthday shout-out to the groovy guitarist **Gábor Szabó** , who infused jazz with the folk music of his native Hungary, Indian & Middle Eastern musics, gypsy styles and pop. He used feedback as part of his music, and he worked well with vocalists. He cut a bunch of excellent '60s albums on Impulse!, as well as the Skye label (which he ran with Cal Tjader and Gary McFarland). He worked with Chico Hamilton, Charles Lloyd, Lena Horne, Bobby Womack, Coke Escovedo, Paul Desmond, Gary McFarland, Chick Corea and others. Santana recorded his \"Gypsy Queen\" (the instrumental part of \"Black Magic Woman\"). He railed against those Scientology bastards before he died. Check out his albums during his late '60s run on Impulse!, especially _Spellbinder_ , _Jazz Raga_ and _The Sorcerer_.\n\nHe started playing guitar at 14, jamming along with the American players he heard on the radio. He was working in Hungary before leaving for Austria in '56 as Communism came in. He first hit the States via the West Coast, working as a janitor to get enough money to go to Berklee School of Music in Boston. Back out West, he joined Chico Hamilton's Los Angeles-based Quintet in '61. The group recorded a line of great records for Impulse! and other labels. After leaving the group in '65 he worked with his bandmate Charles Lloyd, as well as his future business partner, vibraphonist McFarland.\n\nStarting with _Spellbinder_ and _Gypsy '66_ , he produced his own string of classics on Impulse!, including the ground-breaking sitar-jazz-pop album _Jazz Raga_. In '68 the Skye label was born with Szabó, McFarland and Tjader, with Gábor releasing five of his own albums on the imprint. He signed to Blue Thumb and his first album for them was the '71 collaboration with Bobby Womack, which included the original version of \"Breezin\", a mega-hit for George Benson a few years later. His '73 album for CTI, _Mizrab_ , is another favorite of his. His '79 collaboration with Corea, _Femme Fatale,_ was his last record before his death from kidney failure.\n\nHere's a stream of his classic _Jazz Raga_ , from '66:\n\n\"Bacchanal\", from his '68 Skye LP of the same name:\n\n'72's \"Mizrab\":",
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"html": "<p><img src=\"/images/4ccd57ef97214ae99a21fcb04477f7d8_large.png\" alt=\"\"></p>\n<p>Here’s a birthday shout-out to the groovy guitarist <strong>Gábor Szabó</strong> , who infused jazz with the folk music of his native Hungary, Indian & Middle Eastern musics, gypsy styles and pop. He used feedback as part of his music, and he worked well with vocalists. He cut a bunch of excellent ’60s albums on Impulse!, as well as the Skye label (which he ran with Cal Tjader and Gary McFarland). He worked with Chico Hamilton, Charles Lloyd, Lena Horne, Bobby Womack, Coke Escovedo, Paul Desmond, Gary McFarland, Chick Corea and others. Santana recorded his “Gypsy Queen” (the instrumental part of “Black Magic Woman”). He railed against those Scientology bastards before he died. Check out his albums during his late ’60s run on Impulse!, especially <em>Spellbinder</em> , <em>Jazz Raga</em> and <em>The Sorcerer</em>.</p>\n<p>He started playing guitar at 14, jamming along with the American players he heard on the radio. He was working in Hungary before leaving for Austria in ‘56 as Communism came in. He first hit the States via the West Coast, working as a janitor to get enough money to go to Berklee School of Music in Boston. Back out West, he joined Chico Hamilton’s Los Angeles-based Quintet in ‘61. The group recorded a line of great records for Impulse! and other labels. After leaving the group in ‘65 he worked with his bandmate Charles Lloyd, as well as his future business partner, vibraphonist McFarland.</p>\n<p>Starting with <em>Spellbinder</em> and <em>Gypsy ‘66</em> , he produced his own string of classics on Impulse!, including the ground-breaking sitar-jazz-pop album <em>Jazz Raga</em>. In ‘68 the Skye label was born with Szabó, McFarland and Tjader, with Gábor releasing five of his own albums on the imprint. He signed to Blue Thumb and his first album for them was the ‘71 collaboration with Bobby Womack, which included the original version of “Breezin”, a mega-hit for George Benson a few years later. His ‘73 album for CTI, <em>Mizrab</em> , is another favorite of his. His ‘79 collaboration with Corea, <em>Femme Fatale,</em> was his last record before his death from kidney failure.</p>\n<p>Here’s a stream of his classic <em>Jazz Raga</em> , from ‘66:</p>\n<p>“Bacchanal”, from his ‘68 Skye LP of the same name:</p>\n<p>‘72’s “Mizrab”:</p>",
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"title": "Gábor Szabó / March 8, 1936 - Feb 26, 1982",
"pagination": "https://www.peaceandrhythm.com/?page=79",
"date": "March 08, 2017",
"post": "Gábor Szabó / March 8, 1936 - Feb 26, 1982",
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"title": "MIXTAPE: Peace & Rhythm Label Mix By Studebaker Hawk",
"slug": "mixtape-peace-rhythm-label-mix-by-studebaker-hawk",
"date": "2017-03-08T00:00:00.000Z"
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"body": "__\n\n_Here's a brand new**mixtape** put together by **DJ Studebaker Hawk** of tunes found on **Peace & Rhythm** releases to date, from the very first 7\" to the freshest! Give it a listen, check out the links, buy some records, support independent music!! A huge thank you to all the artists we've had the pleasure of working with, Studebaker Hawk for the mix, **Margot Glass** for the art, and YOU for listening!!_\n\n__\n\nTrack list:\n\n0:00[**Peliroja**](https://www.peaceandrhythm.com/pages/peliroja) \\- Situaciones (comp: J. Batista, M. Eckroth, J. Plasse) - from **_Situaciones / Ciudad de Nadie_** 7\" [P&R-45-002](https://www.peaceandrhythm.com/collections/store/products/peliroja-situacionesciudad-de-nadie-limited-edition-7?variant=24052877509) _ (OUT OF PRINT) _\n\n[band website](http://www.pelirojaband.com/about), [official video](https://www.youtube.com/watch?v=7HvgMlzJA8s)\n\n3:30 **[Bio Ritmo](https://www.peaceandrhythm.com/pages/bio-ritmo)** \\- Oriza (comp: S. Méndez) - from **_Oriza_** 7\" [P&R-45-004](https://www.peaceandrhythm.com/collections/store/products/bio-ritmo-oriza-oriza-whiskey-barons-remix-ltd-ed-7) _(limited copies remain)_\n\n[band website](http://bioritmo.com/about/), [official video](https://www.youtube.com/watch?v=yRRUApbLFYo)\n\n7:19 [**C.A.M.P.O.S.**](https://www.peaceandrhythm.com/pages/c-a-m-p-o-s) \\- Luz Blanca, El Cantante (comp: J. Camp) - from **_Miracles & Criminals_** 2xLP [P&R-LP-005](https://www.peaceandrhythm.com/collections/store/products/c-m-p-o-s-miracles-criminals-2xlp) _(OUT NOW!)_\n\n[band website](https://www.facebook.com/CAMPOS-Psychedelic-Band-1731471857128291/)\n\n11:05 [**M.A.K.U. Soundsystem**](https://www.peaceandrhythm.com/pages/m-a-k-u-soundsystem) \\- La Mezcla (Prince of Queens dub) (comp: M.A.K.U.) - from **_The Mix_** 33rpm 12\" [P&R-EP-001](https://www.peaceandrhythm.com/collections/store/products/m-a-k-u-soundsystem-the-mix-7-song-12-33rpm) _(OUT NOW!)_\n\n[band website](https://www.makusoundsystem.com/)\n\n15:34 [**Spam Allstars**](https://www.peaceandrhythm.com/pages/spam-allstars) \\- Agua de Poço (comp: A. De Souza) -digital bonus track from **_Trans-Oceanic_** LP [P&R-LP-008](https://www.peaceandrhythm.com/collections/store/products/spam-allstars-trans-oceanic-lp) _(OUT NOW!)_\n\n[band website](http://spamallstars.com/), [official video](https://www.youtube.com/watch?v=kuooyNP8FAI)\n\n22:11 [**Terrificos**](https://www.peaceandrhythm.com/pages/terrificos) \\- Cachas de Oro (comp: J. Fader, R. Lugo) - from **_Go South / Vaya P'al Sur_** 2xLP [P&R-LP-002](https://www.peaceandrhythm.com/collections/store/products/los-terrificos-go-south-vaya-pal-sur-2xlp-45rpm) _(OUT NOW!)_\n\n[band website](https://www.terrificos.com/music), [official video](https://www.youtube.com/watch?v=P_G-BHZW618)\n\n25:49 [**Big Mean Sound Machine**](https://www.peaceandrhythm.com/pages/big-mean-sound-machine) \\- Wolfpack (comp: B.M.S.M.) - from **_Big Mean Sound Machine / Super Hi-Fi split_** 7\" [P&R-45-003](https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7) _(limited copies remain)_\n\n[band website](http://www.bigmeansoundmachine.com/)\n\n32:24 [**Ola Fresca**](https://www.peaceandrhythm.com/pages/ola-fresca) \\- Bandera (comp: J. Conde) - from **_Elixir_** LP [P&R-LP-001](https://www.peaceandrhythm.com/collections/store/products/ola-fresca-elixir-ltd-ed-lp) _(limited copies remain)_\n\n[band website](https://www.facebook.com/olafresca)\n\n35:36 [**Terrificos**](https://www.peaceandrhythm.com/pages/terrificos) \\- Muerte en la Galera (comp: J. Fader, R. Lugo) - from **_Go South / Vaya P'al Sur_** 2xLP [P&R-LP-002](https://www.peaceandrhythm.com/collections/store/products/los-terrificos-go-south-vaya-pal-sur-2xlp-45rpm) _(OUT NOW!)_\n\n[band website](https://www.terrificos.com/music), [official video](https://www.youtube.com/watch?v=Yx2gY7RBlfg)\n\n39:50 [**C.A.M.P.O.S.**](https://www.peaceandrhythm.com/pages/c-a-m-p-o-s) \\- Moroder Motorik (comp: J. Camp) - from **_Miracles & Criminals_** 2xLP [P&R-LP-005](https://www.peaceandrhythm.com/collections/store/products/c-m-p-o-s-miracles-criminals-2xlp) _(OUT NOW!)_\n\n[band website](https://www.facebook.com/CAMPOS-Psychedelic-Band-1731471857128291/)\n\n41:50 [**Super Hi-Fi**](https://www.peaceandrhythm.com/pages/super-hi-fi) \\- Q Street (comp: E. Gale) - from** _Super Hi-Fi / Big Mean Sound Machine split_** 7\" [P&R-45-003](https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7) _(limited copies remain)_\n\n[band website](http://superhifimusic.com/), [official video](https://www.youtube.com/watch?v=m--OL9bmzW8)\n\n45:56 **[Orquesta El Macabe](https://www.peaceandrhythm.com/pages/orquesta-el-macabeo)o** \\- Armonía (comp: A. Quintero, Macabeo) - from **_La Maldición del Timbal_** LP [P&R-LP-006](https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-la-maldicion-del-timbal-lp) _(OUT NOW!)_\n\n[band website](http://orquestaelmacabeo.com/)\n\n51:16 [**Orquesta El Macabeo**](https://www.peaceandrhythm.com/pages/orquesta-el-macabeo) \\- No Sé Cuando Llegué (comp: J. Morales, Macabeo) - from **_Macacoa / No Sé Cuando Llegué_** 7\" [P&R-45-001](https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-macacoa-no-se-cuando-llegue-7-inch?variant=24052877637) _(OUT OF PRINT)_\n\n[band website](http://orquestaelmacabeo.com/)\n\n55:32 [**Flor de Toloache**](https://www.peaceandrhythm.com/pages/mariachi-flor-de-toloache) \\- Dicen (comp: M. Ramos) - from **_Dicen / When We Love_** 7\" [P&R-45-005](https://www.peaceandrhythm.com/collections/store/products/mariachi-flor-de-toloache-dicen-love-45rpm-7-ltd-ed) _(limited copies remain)_\n\n[band website](http://www.mariachinyc.com/)\n\n59:48 [**Orquesta El Macabeo**](https://www.peaceandrhythm.com/pages/orquesta-el-macabeo) \\- Cogiendo Pon (comp: L. Solá, Macabeo) - from **_El Entierro_** LP [P&R-LP-003](https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-el-entierro-lp-2) _(last copies!!)_\n\n[band website](http://orquestaelmacabeo.com/), [official video](https://www.youtube.com/watch?v=CCPIBP0xtIY)\n\n1:02:54 [**Ola Fresca**](https://www.peaceandrhythm.com/pages/ola-fresca) \\- Elixir (comp: J. Conde) - from **_Elixir_** LP [P&R-LP-001](https://www.peaceandrhythm.com/collections/store/products/ola-fresca-elixir-ltd-ed-lp) _(limited copies remain)_\n\n[band website](https://www.facebook.com/olafresca)\n\n1:07:23 [**Teddy Fire & Iguid Fidd**](https://www.peaceandrhythm.com/pages/teddy-fire) \\- Howlin' Ham (comp: P. Cuba, T. Fire) - from **_Chastity Revolution & The Submachine Girl_** LP [P&R-LP-004](https://www.peaceandrhythm.com/collections/store/products/teddy-fire-chastity-revolution-submachine-girl-lp) _(OUT NOW)_\n\n[band website](https://teddyfireiguidfidd.bandcamp.com/)\n\n_All songs from**Peace & Rhythm** releases and co-releases. Selected & mixed by **DJ Studebaker Hawk**. Cover image by **Margot Glass**. For promotional use only. Contact us for licensing, broadcast, booking and questions._\n\n<https://www.peaceandrhythm.com/>\n\n<http://acapulconightsradio.blogspot.com/>\n\n[http://www.margotglass.com/](http://www.margotglass.com/index.html)",
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"html": "<p><em><img src=\"/images/1452712781_large.png\" alt=\"\"></em></p>\n<p><em>Here’s a brand new<strong>mixtape</strong> put together by <strong>DJ Studebaker Hawk</strong> of tunes found on <strong>Peace & Rhythm</strong> releases to date, from the very first 7” to the freshest! Give it a listen, check out the links, buy some records, support independent music!! A huge thank you to all the artists we’ve had the pleasure of working with, Studebaker Hawk for the mix, <strong>Margot Glass</strong> for the art, and YOU for listening!!</em></p>\n<p>__</p>\n<p>Track list:</p>\n<p>0:00<a href=\"https://www.peaceandrhythm.com/pages/peliroja\"><strong>Peliroja</strong></a> - Situaciones (comp: J. Batista, M. Eckroth, J. Plasse) - from <strong><em>Situaciones / Ciudad de Nadie</em></strong> 7” <a href=\"https://www.peaceandrhythm.com/collections/store/products/peliroja-situacionesciudad-de-nadie-limited-edition-7?variant=24052877509\">P&R-45-002</a> _ (OUT OF PRINT) _</p>\n<p><a href=\"http://www.pelirojaband.com/about\">band website</a>, <a href=\"https://www.youtube.com/watch?v=7HvgMlzJA8s\">official video</a></p>\n<p>3:30 <strong><a href=\"https://www.peaceandrhythm.com/pages/bio-ritmo\">Bio Ritmo</a></strong> - Oriza (comp: S. Méndez) - from <strong><em>Oriza</em></strong> 7” <a href=\"https://www.peaceandrhythm.com/collections/store/products/bio-ritmo-oriza-oriza-whiskey-barons-remix-ltd-ed-7\">P&R-45-004</a> <em>(limited copies remain)</em></p>\n<p><a href=\"http://bioritmo.com/about/\">band website</a>, <a href=\"https://www.youtube.com/watch?v=yRRUApbLFYo\">official video</a></p>\n<p>7:19 <a href=\"https://www.peaceandrhythm.com/pages/c-a-m-p-o-s\"><strong>C.A.M.P.O.S.</strong></a> - Luz Blanca, El Cantante (comp: J. Camp) - from <strong><em>Miracles & Criminals</em></strong> 2xLP <a href=\"https://www.peaceandrhythm.com/collections/store/products/c-m-p-o-s-miracles-criminals-2xlp\">P&R-LP-005</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"https://www.facebook.com/CAMPOS-Psychedelic-Band-1731471857128291/\">band website</a></p>\n<p>11:05 <a href=\"https://www.peaceandrhythm.com/pages/m-a-k-u-soundsystem\"><strong>M.A.K.U. Soundsystem</strong></a> - La Mezcla (Prince of Queens dub) (comp: M.A.K.U.) - from <strong><em>The Mix</em></strong> 33rpm 12” <a href=\"https://www.peaceandrhythm.com/collections/store/products/m-a-k-u-soundsystem-the-mix-7-song-12-33rpm\">P&R-EP-001</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"https://www.makusoundsystem.com/\">band website</a></p>\n<p>15:34 <a href=\"https://www.peaceandrhythm.com/pages/spam-allstars\"><strong>Spam Allstars</strong></a> - Agua de Poço (comp: A. De Souza) -digital bonus track from <strong><em>Trans-Oceanic</em></strong> LP <a href=\"https://www.peaceandrhythm.com/collections/store/products/spam-allstars-trans-oceanic-lp\">P&R-LP-008</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"http://spamallstars.com/\">band website</a>, <a href=\"https://www.youtube.com/watch?v=kuooyNP8FAI\">official video</a></p>\n<p>22:11 <a href=\"https://www.peaceandrhythm.com/pages/terrificos\"><strong>Terrificos</strong></a> - Cachas de Oro (comp: J. Fader, R. Lugo) - from <strong><em>Go South / Vaya P’al Sur</em></strong> 2xLP <a href=\"https://www.peaceandrhythm.com/collections/store/products/los-terrificos-go-south-vaya-pal-sur-2xlp-45rpm\">P&R-LP-002</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"https://www.terrificos.com/music\">band website</a>, <a href=\"https://www.youtube.com/watch?v=P_G-BHZW618\">official video</a></p>\n<p>25:49 <a href=\"https://www.peaceandrhythm.com/pages/big-mean-sound-machine\"><strong>Big Mean Sound Machine</strong></a> - Wolfpack (comp: B.M.S.M.) - from <strong><em>Big Mean Sound Machine / Super Hi-Fi split</em></strong> 7” <a href=\"https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7\">P&R-45-003</a> <em>(limited copies remain)</em></p>\n<p><a href=\"http://www.bigmeansoundmachine.com/\">band website</a></p>\n<p>32:24 <a href=\"https://www.peaceandrhythm.com/pages/ola-fresca\"><strong>Ola Fresca</strong></a> - Bandera (comp: J. Conde) - from <strong><em>Elixir</em></strong> LP <a href=\"https://www.peaceandrhythm.com/collections/store/products/ola-fresca-elixir-ltd-ed-lp\">P&R-LP-001</a> <em>(limited copies remain)</em></p>\n<p><a href=\"https://www.facebook.com/olafresca\">band website</a></p>\n<p>35:36 <a href=\"https://www.peaceandrhythm.com/pages/terrificos\"><strong>Terrificos</strong></a> - Muerte en la Galera (comp: J. Fader, R. Lugo) - from <strong><em>Go South / Vaya P’al Sur</em></strong> 2xLP <a href=\"https://www.peaceandrhythm.com/collections/store/products/los-terrificos-go-south-vaya-pal-sur-2xlp-45rpm\">P&R-LP-002</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"https://www.terrificos.com/music\">band website</a>, <a href=\"https://www.youtube.com/watch?v=Yx2gY7RBlfg\">official video</a></p>\n<p>39:50 <a href=\"https://www.peaceandrhythm.com/pages/c-a-m-p-o-s\"><strong>C.A.M.P.O.S.</strong></a> - Moroder Motorik (comp: J. Camp) - from <strong><em>Miracles & Criminals</em></strong> 2xLP <a href=\"https://www.peaceandrhythm.com/collections/store/products/c-m-p-o-s-miracles-criminals-2xlp\">P&R-LP-005</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"https://www.facebook.com/CAMPOS-Psychedelic-Band-1731471857128291/\">band website</a></p>\n<p>41:50 <a href=\"https://www.peaceandrhythm.com/pages/super-hi-fi\"><strong>Super Hi-Fi</strong></a> - Q Street (comp: E. Gale) - from** <em>Super Hi-Fi / Big Mean Sound Machine split</em>** 7” <a href=\"https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7\">P&R-45-003</a> <em>(limited copies remain)</em></p>\n<p><a href=\"http://superhifimusic.com/\">band website</a>, <a href=\"https://www.youtube.com/watch?v=m--OL9bmzW8\">official video</a></p>\n<p>45:56 <strong><a href=\"https://www.peaceandrhythm.com/pages/orquesta-el-macabeo\">Orquesta El Macabe</a>o</strong> - Armonía (comp: A. Quintero, Macabeo) - from <strong><em>La Maldición del Timbal</em></strong> LP <a href=\"https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-la-maldicion-del-timbal-lp\">P&R-LP-006</a> <em>(OUT NOW!)</em></p>\n<p><a href=\"http://orquestaelmacabeo.com/\">band website</a></p>\n<p>51:16 <a href=\"https://www.peaceandrhythm.com/pages/orquesta-el-macabeo\"><strong>Orquesta El Macabeo</strong></a> - No Sé Cuando Llegué (comp: J. Morales, Macabeo) - from <strong><em>Macacoa / No Sé Cuando Llegué</em></strong> 7” <a href=\"https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-macacoa-no-se-cuando-llegue-7-inch?variant=24052877637\">P&R-45-001</a> <em>(OUT OF PRINT)</em></p>\n<p><a href=\"http://orquestaelmacabeo.com/\">band website</a></p>\n<p>55:32 <a href=\"https://www.peaceandrhythm.com/pages/mariachi-flor-de-toloache\"><strong>Flor de Toloache</strong></a> - Dicen (comp: M. Ramos) - from <strong><em>Dicen / When We Love</em></strong> 7” <a href=\"https://www.peaceandrhythm.com/collections/store/products/mariachi-flor-de-toloache-dicen-love-45rpm-7-ltd-ed\">P&R-45-005</a> <em>(limited copies remain)</em></p>\n<p><a href=\"http://www.mariachinyc.com/\">band website</a></p>\n<p>59:48 <a href=\"https://www.peaceandrhythm.com/pages/orquesta-el-macabeo\"><strong>Orquesta El Macabeo</strong></a> - Cogiendo Pon (comp: L. Solá, Macabeo) - from <strong><em>El Entierro</em></strong> LP <a href=\"https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-el-entierro-lp-2\">P&R-LP-003</a> <em>(last copies!!)</em></p>\n<p><a href=\"http://orquestaelmacabeo.com/\">band website</a>, <a href=\"https://www.youtube.com/watch?v=CCPIBP0xtIY\">official video</a></p>\n<p>1:02:54 <a href=\"https://www.peaceandrhythm.com/pages/ola-fresca\"><strong>Ola Fresca</strong></a> - Elixir (comp: J. Conde) - from <strong><em>Elixir</em></strong> LP <a href=\"https://www.peaceandrhythm.com/collections/store/products/ola-fresca-elixir-ltd-ed-lp\">P&R-LP-001</a> <em>(limited copies remain)</em></p>\n<p><a href=\"https://www.facebook.com/olafresca\">band website</a></p>\n<p>1:07:23 <a href=\"https://www.peaceandrhythm.com/pages/teddy-fire\"><strong>Teddy Fire & Iguid Fidd</strong></a> - Howlin’ Ham (comp: P. Cuba, T. Fire) - from <strong><em>Chastity Revolution & The Submachine Girl</em></strong> LP <a href=\"https://www.peaceandrhythm.com/collections/store/products/teddy-fire-chastity-revolution-submachine-girl-lp\">P&R-LP-004</a> <em>(OUT NOW)</em></p>\n<p><a href=\"https://teddyfireiguidfidd.bandcamp.com/\">band website</a></p>\n<p><em>All songs from<strong>Peace & Rhythm</strong> releases and co-releases. Selected & mixed by <strong>DJ Studebaker Hawk</strong>. Cover image by <strong>Margot Glass</strong>. For promotional use only. Contact us for licensing, broadcast, booking and questions.</em></p>\n<p><a href=\"https://www.peaceandrhythm.com/\">https://www.peaceandrhythm.com/</a></p>\n<p><a href=\"http://acapulconightsradio.blogspot.com/\">http://acapulconightsradio.blogspot.com/</a></p>\n<p><a href=\"http://www.margotglass.com/index.html\">http://www.margotglass.com/</a></p>",
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"body": "\n\nThe Memphis-born **Arthur Lee** heard and played jazz, R&B and surf music before forming a psychedelic folk-rock band in 1965 called Love, and they became one of the most popular bands on the L.A. club scene and remain a cult favorite to this day. Love's music was not just folk-rock, as the music sounded flamenco, garage, pop, blues, hard rock and funk elements as well, and Lee himself collaborated with several singers and musicians including Jimi Hendrix, Billy Preston and Ornette Coleman and is considered a proto-punk figure.\n\nHe was born as Arthur Taylor, his early years were spent in Memphis and he barely saw his musician father. He took an early liking to the blues & poetry as a child (the roots of \"The Red Telephone\" go back to age four). His mother and he relocated to Los Angeles in the early '50s where Arthur grew up as a tough, athletic kid. Musically, he started on accordian before also learning harmonica and organ. His stepfather adopted him, and he legally became Arthur Lee at 15. He and future Love bandmate Johnny Echols grew up together.\n\nLee and Echols' first band was the Stax-inspired The LAG's, an instrumental combo in which Arthur played organ. He wrote some songs for other artists in the surf and R&B genres and was involved in a session with an unknown Hendrix in the early '60s. (The two would become friends and collaborate again in the future). His next band was a swingin' group called The American Four before starting a folk-rock group, which included not only Echols, but also future Mansonite/murderer Bobby Beausoleil. This band changed its name to Love in '65. They were one of the biggest bands on the L.A. scene in the mid-to-late '60s.\n\nThe group's third album,_Forever Changes_('67, Elektra), ranks as an absolute classic with its Baroque-style approach to orchestral pop and some dark lyrics. Later albums featured different line-ups under Lee's direction and went in a harder rocking direction. Love helped The Doors get signed to Elektra but Love ended up off the label. The band had a difficult time touring, due to not only the limitations of traveling certain regions of racist USA in the '60s with a multiracial hippy outfit, but also due to the drug abuse within the band and the resulting problems.\n\nThroughout the '70s Lee alternated between solo records and more material from Love, often with overlapping personnel and ideas. He did a stint in the clink on a gun possession charge in the '90s but resurfaced with a live band upon release. Lee toured in the new millennium playing _Forever Changes_ in its entirety with live strings and horns, including many shows with original Love member and Lee's musical brother Johnny Echols. Lee died of leukemia in 2006.\n\nHere's an interesting promo clip for \"Your Mind And Me Belong Together\". The transfer quality is rough but it's worth checking out for scenes of Arthur in his car, at his house, with his girlfriend, etc.\n\nSome early Arthur here with The American Four:\n\nAnd of course, if you are like me you are always looking for a reason to listen to _Forever Changes_ yet again!:",
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"html": "<p><img src=\"/images/ebc7b41bf051b0d4ffc5cf4e8db6ffd9_large.jpg\" alt=\"\"></p>\n<p>The Memphis-born <strong>Arthur Lee</strong> heard and played jazz, R&B and surf music before forming a psychedelic folk-rock band in 1965 called Love, and they became one of the most popular bands on the L.A. club scene and remain a cult favorite to this day. Love’s music was not just folk-rock, as the music sounded flamenco, garage, pop, blues, hard rock and funk elements as well, and Lee himself collaborated with several singers and musicians including Jimi Hendrix, Billy Preston and Ornette Coleman and is considered a proto-punk figure.</p>\n<p>He was born as Arthur Taylor, his early years were spent in Memphis and he barely saw his musician father. He took an early liking to the blues & poetry as a child (the roots of “The Red Telephone” go back to age four). His mother and he relocated to Los Angeles in the early ’50s where Arthur grew up as a tough, athletic kid. Musically, he started on accordian before also learning harmonica and organ. His stepfather adopted him, and he legally became Arthur Lee at 15. He and future Love bandmate Johnny Echols grew up together.</p>\n<p>Lee and Echols’ first band was the Stax-inspired The LAG’s, an instrumental combo in which Arthur played organ. He wrote some songs for other artists in the surf and R&B genres and was involved in a session with an unknown Hendrix in the early ’60s. (The two would become friends and collaborate again in the future). His next band was a swingin’ group called The American Four before starting a folk-rock group, which included not only Echols, but also future Mansonite/murderer Bobby Beausoleil. This band changed its name to Love in ‘65. They were one of the biggest bands on the L.A. scene in the mid-to-late ’60s.</p>\n<p>The group’s third album,<em>Forever Changes</em>(‘67, Elektra), ranks as an absolute classic with its Baroque-style approach to orchestral pop and some dark lyrics. Later albums featured different line-ups under Lee’s direction and went in a harder rocking direction. Love helped The Doors get signed to Elektra but Love ended up off the label. The band had a difficult time touring, due to not only the limitations of traveling certain regions of racist USA in the ’60s with a multiracial hippy outfit, but also due to the drug abuse within the band and the resulting problems.</p>\n<p>Throughout the ’70s Lee alternated between solo records and more material from Love, often with overlapping personnel and ideas. He did a stint in the clink on a gun possession charge in the ’90s but resurfaced with a live band upon release. Lee toured in the new millennium playing <em>Forever Changes</em> in its entirety with live strings and horns, including many shows with original Love member and Lee’s musical brother Johnny Echols. Lee died of leukemia in 2006.</p>\n<p>Here’s an interesting promo clip for “Your Mind And Me Belong Together”. The transfer quality is rough but it’s worth checking out for scenes of Arthur in his car, at his house, with his girlfriend, etc.</p>\n<p>Some early Arthur here with The American Four:</p>\n<p>And of course, if you are like me you are always looking for a reason to listen to <em>Forever Changes</em> yet again!:</p>",
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"title": "Big Mean Sound Machine and Peace & Rhythm DJs at The Root Cellar, 4/15",
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"body": "\n\nFor the third time in six months, the NY funk behemoth [**Big Mean Sound Machine**](http://www.bigmeansoundmachine.com/) and the **Peace & Rhythm** DJs will team up for a night at [**The Root Cellar**](http://www.rootcellarbar.com/), P&R's home base in Greenfield, Massachusetts. But this time the party will celebrate the arrival of the brand new album by Big Mean, **_Runnin' For The Ghost_ , due out April 7** on **Peace & Rhythm** and [**Blank Slate**](http://www.blankslaterecords.com/).\n\nThe Root Cellar will be jumping yet again as we sweat to the extended psych-funk explorations of B.M.S.M. with a full dancefloor entranced in the deep grooves. P&R DJs **Andujar** and **Bongohead** will spin Afro-funk, Latin and Afrobeat vinyl before and between band sets.\n\nBig Mean Sound Machine are a collective of over 15 analog artists spread out over the East Coast US bringing together musical languages of West Africa, Latin America, the Caribbean and North American funk to create a lush bed of rhythm and harmony that embraces even the most hardcore fans of both dance-funk and avant-garde jazz.\n\n**Saturday, April 15**. Doors at 8, music pumps at 9. Join us for this **record release party**!! [Purchase advance tickets here](https://tickets.vendini.com/ticket-software.html?e=6b3021e6c77e1a27d7a1baca6db2265a&t=tix&vqitq=c72e3d3b-e082-4e61-bfe7-fd406895a5c1&vqitp=e4e9cee9-9894-4d58-994e-1999d590a92a&vqitts=1488933636&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=1a5e97e31af332a8127f6254ebc60823). $12 door/ $10 adv\n\nListen to \"Seeing The Bigger Picture\", the first single off of the forthcoming album, _Runnin' For The Ghost_ :\n\nAnd a video of this marvelous band in action:\n\n**_Runnin' For The Ghost_** , the brand new album by Big Mean Sound Machine, **out April 7, 2017** on Peace & Rhythm and Blank Slate.\n\n\n\nTo purchase a copy of Big Mean Sound Machine's previous Peace & Rhythm release, a **split 45** with [Super Hi-Fi](http://superhifimusic.com/), click [here](https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7).\n\n\n\n_\"...With 13 members... Big Mean Sound Machine’s name can be taken literally as well as being a reflection of their music...Fusing psych, funk, afrobeat, acid jazz and_ \n _everything in between...\"_ \\- **Bandcamp**",
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"html": "<p><img src=\"/images/BMSM_04.15.17_large.jpg\" alt=\"\"></p>\n<p>For the third time in six months, the NY funk behemoth <a href=\"http://www.bigmeansoundmachine.com/\"><strong>Big Mean Sound Machine</strong></a> and the <strong>Peace & Rhythm</strong> DJs will team up for a night at <a href=\"http://www.rootcellarbar.com/\"><strong>The Root Cellar</strong></a>, P&R’s home base in Greenfield, Massachusetts. But this time the party will celebrate the arrival of the brand new album by Big Mean, <strong><em>Runnin’ For The Ghost</em> , due out April 7</strong> on <strong>Peace & Rhythm</strong> and <a href=\"http://www.blankslaterecords.com/\"><strong>Blank Slate</strong></a>.</p>\n<p>The Root Cellar will be jumping yet again as we sweat to the extended psych-funk explorations of B.M.S.M. with a full dancefloor entranced in the deep grooves. P&R DJs <strong>Andujar</strong> and <strong>Bongohead</strong> will spin Afro-funk, Latin and Afrobeat vinyl before and between band sets.</p>\n<p>Big Mean Sound Machine are a collective of over 15 analog artists spread out over the East Coast US bringing together musical languages of West Africa, Latin America, the Caribbean and North American funk to create a lush bed of rhythm and harmony that embraces even the most hardcore fans of both dance-funk and avant-garde jazz.</p>\n<p><strong>Saturday, April 15</strong>. Doors at 8, music pumps at 9. Join us for this <strong>record release party</strong>!! <a href=\"https://tickets.vendini.com/ticket-software.html?e=6b3021e6c77e1a27d7a1baca6db2265a&t=tix&vqitq=c72e3d3b-e082-4e61-bfe7-fd406895a5c1&vqitp=e4e9cee9-9894-4d58-994e-1999d590a92a&vqitts=1488933636&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=1a5e97e31af332a8127f6254ebc60823\">Purchase advance tickets here</a>. $12 door/ $10 adv</p>\n<p>Listen to “Seeing The Bigger Picture”, the first single off of the forthcoming album, <em>Runnin’ For The Ghost</em> :</p>\n<p>And a video of this marvelous band in action:</p>\n<p><strong><em>Runnin’ For The Ghost</em></strong> , the brand new album by Big Mean Sound Machine, <strong>out April 7, 2017</strong> on Peace & Rhythm and Blank Slate.</p>\n<p><img src=\"/images/15338681_10154229091980735_8715355290860656236_n_large.jpg\" alt=\"\"></p>\n<p>To purchase a copy of Big Mean Sound Machine’s previous Peace & Rhythm release, a <strong>split 45</strong> with <a href=\"http://superhifimusic.com/\">Super Hi-Fi</a>, click <a href=\"https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7\">here</a>.</p>\n<p><img src=\"//cdn.shopify.com/s/files/1/1521/8838/products/PandR45_003_Sleeve_Wrap_150_large.jpg?v=1484797299\" alt=\"\"></p>\n<p><em>”…With 13 members… Big Mean Sound Machine’s name can be taken literally as well as being a reflection of their music…Fusing psych, funk, afrobeat, acid jazz and</em><br>\n<em>everything in between…”</em> - <strong>Bandcamp</strong></p>",
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"body": "\n\nSome may say it's not \"cool\" to like honky music but those hipster blowhards may be missing out on the godfather of country swing. This fiddlin' bandleader **Bob Wills** helped set the template for jazzy licks in hillbilly music and his bands burned up dances of up to 10,000 people a night around Texas, Oklahoma, New Mexico, the West Coast and the South. He originally came from a musical family in Texas and played mostly with young black musicians before hoboing and train-hopping. He married, became a barber and hit the stage as a comic/musician and cut his first records in '29. His '30s groups the Light Crust Doughboys and the Texas Playboys incorporated black blues and jazz music into the folk repertoire. Emmett Miller and Bessie Smith were huge inspirations, and he even once rode fifty miles on horseback to hear Bessie (\"No doubt about it. She was the greatest thing I ever heard.\"). He added horns and drum kit to the strings and in the late '30s he brought electric guitar into the mix.\n\nWills would scat and express himself as well as introducing and calling band members during the songs, which makes for a fun listen to his records even today. His band was one of the few that survived post-war economic crunch that depleted orchestras, and a massive 1947 reissue program at Columbia brought back many of his out-of-print tunes for new dancers and listeners. He made a bunch of film appearances in the '40s, sold millions of records and made a lot of money, even opening a nightclub. His undoing came from people close to him ripping him off for a lot of money, not to mention his nasty drinking problem. He suffered a stroke while recording with Merle Haggard in '73 and never recovered.\n\nHis influence was huge, even beyond the admiration of country stars like Merle and Willie Melson. Chuck Berry's \"Maybelline\" was based on \"Ida Red\", the Rolling Stones and Clint Eastwood were fans. Jimi Hendrix on Wills' band: \"I dig them. They used to have some pretty heavy cats, some heavy guitar players.\" The Bob Wills sound helped make country, rockabilly and rock & roll happen.\n\nHere is some footage of Wills and the boys playing their version of the classic by Mississippi Sheiks \"Sittin' On Top Of The World\":\n\nHere is the inspiration behind Chuck Berry's \"Maybelline\":\n\nThis is some priceless footage of Wills which makes me laugh:\n\nHere is a nice back-to-backer with Wills' band playing \"Swing Blues\", an obscure tune they originally recorded in 1936, followed by Merle Haggard's version, retitled \"Stingaree\":\n\nAnd an added treat--the Stones covering Waylon Jennings' \"Bob Wills is Still The King\", live in Texas (where Bob Wills is still the king):",
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"html": "<p><img src=\"/images/Bob-Wills_large.jpg\" alt=\"\"></p>\n<p>Some may say it’s not “cool” to like honky music but those hipster blowhards may be missing out on the godfather of country swing. This fiddlin’ bandleader <strong>Bob Wills</strong> helped set the template for jazzy licks in hillbilly music and his bands burned up dances of up to 10,000 people a night around Texas, Oklahoma, New Mexico, the West Coast and the South. He originally came from a musical family in Texas and played mostly with young black musicians before hoboing and train-hopping. He married, became a barber and hit the stage as a comic/musician and cut his first records in ‘29. His ’30s groups the Light Crust Doughboys and the Texas Playboys incorporated black blues and jazz music into the folk repertoire. Emmett Miller and Bessie Smith were huge inspirations, and he even once rode fifty miles on horseback to hear Bessie (“No doubt about it. She was the greatest thing I ever heard.”). He added horns and drum kit to the strings and in the late ’30s he brought electric guitar into the mix.</p>\n<p>Wills would scat and express himself as well as introducing and calling band members during the songs, which makes for a fun listen to his records even today. His band was one of the few that survived post-war economic crunch that depleted orchestras, and a massive 1947 reissue program at Columbia brought back many of his out-of-print tunes for new dancers and listeners. He made a bunch of film appearances in the ’40s, sold millions of records and made a lot of money, even opening a nightclub. His undoing came from people close to him ripping him off for a lot of money, not to mention his nasty drinking problem. He suffered a stroke while recording with Merle Haggard in ‘73 and never recovered.</p>\n<p>His influence was huge, even beyond the admiration of country stars like Merle and Willie Melson. Chuck Berry’s “Maybelline” was based on “Ida Red”, the Rolling Stones and Clint Eastwood were fans. Jimi Hendrix on Wills’ band: “I dig them. They used to have some pretty heavy cats, some heavy guitar players.” The Bob Wills sound helped make country, rockabilly and rock & roll happen.</p>\n<p>Here is some footage of Wills and the boys playing their version of the classic by Mississippi Sheiks “Sittin’ On Top Of The World”:</p>\n<p>Here is the inspiration behind Chuck Berry’s “Maybelline”:</p>\n<p>This is some priceless footage of Wills which makes me laugh:</p>\n<p>Here is a nice back-to-backer with Wills’ band playing “Swing Blues”, an obscure tune they originally recorded in 1936, followed by Merle Haggard’s version, retitled “Stingaree”:</p>\n<p>And an added treat—the Stones covering Waylon Jennings’ “Bob Wills is Still The King”, live in Texas (where Bob Wills is still the king):</p>",
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"body": "\n\nThe brand new record from Miami’s **Spam Allstars** is chock-full of tropical electro space-funk spiced with a heady dose of Cuban flavors. Instant **_Trans-Oceanic_** beach party! Download card with the extra bonus track \"Agua de Poço\" included!\n\nThe six-piece **Spam Allstars** have been at the forefront of Miami's creative musical blending for twenty years. Founded by turntablist/producer/engineer **DJ Le Spam** to create electronic descargas, those compelling improvisational Latin jams, but this time with funk, electro & hiphop elements. Through the course of six albums, international touring, interesting collaborations with the likes of Phish side project Vida Blue and Rumberos de la Ocho, and a still-running 15-year home-spot residency at Hoy Como Ayer in Little Havana, this ensemble blends traditions and enlightens in ways you won't find anywhere else. This new long-player, _**Trans-Oceanic**_ , offers funk, rumba, charanga, electro beats & bass and relentless grooving. \n \nReflecting the city's widely diverse population, Miami's music is historically culturally rich: the deep voodoo rhythms of Afro-Cuban & Haitian culture, the 808 blasts of Miami's own \"booty bass\" music, the wealth of local soul, funk, R&B & disco, as well as Caribbean soca, Latin freestyle, Dominican merengue, rap, reggae, house, noise...you name it. And of course all those visiting pop stars who had classic albums built at Criteria Studios surely soaked up these varied sounds & cultures while stumbling through the city's streets in search of a feeling. Spam have their own studio, the well-respected **City of Progress** , where the inspiration freely flows through. And they have constructed another doozy of a record, their own brand of blended fusion, for our enjoyment. \n \n_Trans-Oceanic_ is the latest edition in their catalogue and proof of Spam's bouncing, yet melodic, sound & style. With its unique instrumental combos of violin, funk guitar and gorgeous flute & horns on top of timbales, congas, djembe, clave, blasting machine beats and warbling synth bass, this music kicks you onto the dancefloor like no other. Whether you are a rumbero, hip-hopper or funk fanatic, you will be no less moved by the deep tones and soulful style. \n \nThese tunes offer something for everyone: the party-rocking title opener sets sail into wild synth, tasteful djembe, a hand-clapping groove with a sweetly melodic front line of horns & flute. \"Cosquilla\" is an Afro-Cuban rumba-inspired number with montuno played on the Cuban tres and some deep pulsing synth-bass. \"Ruby Carat\" is a funk-charanga with a rumba section and gorgeous trumpet underpinned by the timbales of **Tomás Díaz**. There's the cosmic R&B number, \"Satellite\", which is already receiving response from radio & club DJs alike. That's saxophonist **A.J. Hill** pulling double duty on that soulful vocal around the deep synth and fuzzy guitar solo. \"Around the Track\" is a great piece of Afro-funk but with some rock axe. The violin is back on the electro-soul cut \"La Concha\", with some countryish guitar stylings. As well, this album includes a **download card** , with these tunes plus a digital bonus cut, the freaky \"Agua de Poço\". \n \nThe funk is at the core, with the rumba and electro right there with it going straight to the gut. The horn lines are sublime, there is gorgeous and clear flute and odd combinations of instruments weaving throughout the blend. And as interesting as this experimental electronic-fusion set-up is, it's dance music to be sure. And those bassy drops are calling you to the floor. \n\n\nThe artwork features a piece by Italian born **Francesco Lo Castro** who uses unorthodox painting techniques which involves the intricate layering of pigment and resin to achieve a heightened sense of dimension and depth. Spam Allstars and **Peace & Rhythm **could not be more thrilled to showcase his work connected to this fine music.\n\n_“Perhaps one of the city’s most influential and long-lasting sounds, Spam Allstars is finally bringing some new beats to our booties…[Trans-Oceanic is] …every bit as awesome as they already are\"_ \\- **Prism, Creators of Culture**\n\n_\"Spam Allstars are the creator of the contemporary Miami sound....\"_ - **Miami Herald**\n\n_\"The latest batch of arrangements is collected on Trans-Oceanic, the Spam Allstars’ sixth album. The band’s hypnotic grooves are still firmly in effect, but so is a concrete sense of song structure. This is despite an everything-but-the-kitchen- sink approach: Fuzzed-out guitar riffs sidle up to conga rhythms and voice samples from the National Weather Service.”_ \\- **Ocean Drive**\n\n_\"…an authentic Miami sound is being forged by DJ Le Spam and the All Stars.\"_ - **Rolling Stone**\n\n_\"Often credited as pioneering the new Miami-fusion sound, a synthesis of electronic music with Latin beats from Cuba, Colombia, Venezuela, and other countries whose musicians have migrated to Miami, the Spam Allstars combine live and improvised electronic music and turntables in a vigorous rhythmic celebration that defies categorization.\"_ - **Boston Globe**\n\n_\"Spam creates a Cuban vibe mixed with hip hop and dub, with great swinging violin, horns, synthesizer solos and flute parts. It’s fresh and highly danceable, and you'll wonder why you didn't hear of Spam earlier.\"_ \\- **The Gazette (Montreal)**\n\n_“A good old latin jam, a “descarga’, with the same spirit of Cuba where descarga originated.”_ \\- **BBC**\n\n_“The Spam Allstars are generating a buzz in the_ _music business for their rhythmic mixtures of electronica, Latin, funk, hip-hop and dub. And the band members are just as diverse as the music they groove to.”_ \\- **NPR**\n\nCover art b **Francesco Lo Castro**\n\n_Trans-Oceanic_ out now on LP, co-released between Peace & Rhythm and Spamusica!\n\n[Order here](https://www.peaceandrhythm.com/collections/store/products/spam-allstars-trans-oceanic-lp).\n\nPreview:\n\n[Trans-Oceanic - 12\" vinyl by Spam Allstars](http://spamallstars.bandcamp.com/album/trans-oceanic-12-vinyl)",
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"html": "<p><img src=\"/images/516JU41c9GL._SS500_large.jpg\" alt=\"\"></p>\n<p>The brand new record from Miami’s <strong>Spam Allstars</strong> is chock-full of tropical electro space-funk spiced with a heady dose of Cuban flavors. Instant <strong><em>Trans-Oceanic</em></strong> beach party! Download card with the extra bonus track “Agua de Poço” included!</p>\n<p>The six-piece <strong>Spam Allstars</strong> have been at the forefront of Miami’s creative musical blending for twenty years. Founded by turntablist/producer/engineer <strong>DJ Le Spam</strong> to create electronic descargas, those compelling improvisational Latin jams, but this time with funk, electro & hiphop elements. Through the course of six albums, international touring, interesting collaborations with the likes of Phish side project Vida Blue and Rumberos de la Ocho, and a still-running 15-year home-spot residency at Hoy Como Ayer in Little Havana, this ensemble blends traditions and enlightens in ways you won’t find anywhere else. This new long-player, <em><strong>Trans-Oceanic</strong></em> , offers funk, rumba, charanga, electro beats & bass and relentless grooving.</p>\n<p>Reflecting the city’s widely diverse population, Miami’s music is historically culturally rich: the deep voodoo rhythms of Afro-Cuban & Haitian culture, the 808 blasts of Miami’s own “booty bass” music, the wealth of local soul, funk, R&B & disco, as well as Caribbean soca, Latin freestyle, Dominican merengue, rap, reggae, house, noise…you name it. And of course all those visiting pop stars who had classic albums built at Criteria Studios surely soaked up these varied sounds & cultures while stumbling through the city’s streets in search of a feeling. Spam have their own studio, the well-respected <strong>City of Progress</strong> , where the inspiration freely flows through. And they have constructed another doozy of a record, their own brand of blended fusion, for our enjoyment.</p>\n<p><em>Trans-Oceanic</em> is the latest edition in their catalogue and proof of Spam’s bouncing, yet melodic, sound & style. With its unique instrumental combos of violin, funk guitar and gorgeous flute & horns on top of timbales, congas, djembe, clave, blasting machine beats and warbling synth bass, this music kicks you onto the dancefloor like no other. Whether you are a rumbero, hip-hopper or funk fanatic, you will be no less moved by the deep tones and soulful style.</p>\n<p>These tunes offer something for everyone: the party-rocking title opener sets sail into wild synth, tasteful djembe, a hand-clapping groove with a sweetly melodic front line of horns & flute. “Cosquilla” is an Afro-Cuban rumba-inspired number with montuno played on the Cuban tres and some deep pulsing synth-bass. “Ruby Carat” is a funk-charanga with a rumba section and gorgeous trumpet underpinned by the timbales of <strong>Tomás Díaz</strong>. There’s the cosmic R&B number, “Satellite”, which is already receiving response from radio & club DJs alike. That’s saxophonist <strong>A.J. Hill</strong> pulling double duty on that soulful vocal around the deep synth and fuzzy guitar solo. “Around the Track” is a great piece of Afro-funk but with some rock axe. The violin is back on the electro-soul cut “La Concha”, with some countryish guitar stylings. As well, this album includes a <strong>download card</strong> , with these tunes plus a digital bonus cut, the freaky “Agua de Poço”.</p>\n<p>The funk is at the core, with the rumba and electro right there with it going straight to the gut. The horn lines are sublime, there is gorgeous and clear flute and odd combinations of instruments weaving throughout the blend. And as interesting as this experimental electronic-fusion set-up is, it’s dance music to be sure. And those bassy drops are calling you to the floor.</p>\n<p>The artwork features a piece by Italian born <strong>Francesco Lo Castro</strong> who uses unorthodox painting techniques which involves the intricate layering of pigment and resin to achieve a heightened sense of dimension and depth. Spam Allstars and **Peace & Rhythm **could not be more thrilled to showcase his work connected to this fine music.</p>\n<p><em>“Perhaps one of the city’s most influential and long-lasting sounds, Spam Allstars is finally bringing some new beats to our booties…[Trans-Oceanic is] …every bit as awesome as they already are”</em> - <strong>Prism, Creators of Culture</strong></p>\n<p><em>“Spam Allstars are the creator of the contemporary Miami sound…”</em> - <strong>Miami Herald</strong></p>\n<p><em>“The latest batch of arrangements is collected on Trans-Oceanic, the Spam Allstars’ sixth album. The band’s hypnotic grooves are still firmly in effect, but so is a concrete sense of song structure. This is despite an everything-but-the-kitchen- sink approach: Fuzzed-out guitar riffs sidle up to conga rhythms and voice samples from the National Weather Service.”</em> - <strong>Ocean Drive</strong></p>\n<p><em>“…an authentic Miami sound is being forged by DJ Le Spam and the All Stars.”</em> - <strong>Rolling Stone</strong></p>\n<p><em>“Often credited as pioneering the new Miami-fusion sound, a synthesis of electronic music with Latin beats from Cuba, Colombia, Venezuela, and other countries whose musicians have migrated to Miami, the Spam Allstars combine live and improvised electronic music and turntables in a vigorous rhythmic celebration that defies categorization.”</em> - <strong>Boston Globe</strong></p>\n<p><em>“Spam creates a Cuban vibe mixed with hip hop and dub, with great swinging violin, horns, synthesizer solos and flute parts. It’s fresh and highly danceable, and you’ll wonder why you didn’t hear of Spam earlier.”</em> - <strong>The Gazette (Montreal)</strong></p>\n<p><em>“A good old latin jam, a “descarga’, with the same spirit of Cuba where descarga originated.”</em> - <strong>BBC</strong></p>\n<p><em>“The Spam Allstars are generating a buzz in the</em> <em>music business for their rhythmic mixtures of electronica, Latin, funk, hip-hop and dub. And the band members are just as diverse as the music they groove to.”</em> - <strong>NPR</strong></p>\n<p>Cover art b <strong>Francesco Lo Castro</strong></p>\n<p><em>Trans-Oceanic</em> out now on LP, co-released between Peace & Rhythm and Spamusica!</p>\n<p><a href=\"https://www.peaceandrhythm.com/collections/store/products/spam-allstars-trans-oceanic-lp\">Order here</a>.</p>\n<p>Preview:</p>\n<p><a href=\"http://spamallstars.bandcamp.com/album/trans-oceanic-12-vinyl\">Trans-Oceanic - 12” vinyl by Spam Allstars</a></p>",
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"body": "\n\n**J.B. Lenoir** was an explicitly topical blues singer with a higher voice operating out of Chicago in the '50s and '60s. He cut the politicized \"Korea Blues\" in 1951. His controversial 1954 song \"Eisenhower Blues\" (lyrics: \"My money's gone, my fun is gone, the way things look, how can I be here long?\") was pulled from the shelves. His mid-'60s output was as political as ever. \"Vietnam Blues\" questioned the USA's involvement in Southeast Asia as blacks were being killed with regularity in Mississippi (\"Mister President you always cry about peace, but you must clean up your house before you leave\"). Other songs touched on civil rights, racism, anti-war themes and less serious matters as well. His big hit was the 1954 classic \"Mamma Talk To Your Daughter\", covered by dozens of blues and rock artists since. He started experimenting with African percussion in his music before a car accident left him fucked up. He died three weeks later.\n\nHis actual given first name was J.B. and his last name is pronounced \"Len-nor\". He came from Mississippi and learned guitar from his father, with Blind Lemon Jefferson another major influence. He spent some time working in New Orleans in the '40s, playing with Elmore James and Sonny Boy Williamson II, before heading up to Chicago in '49 and befriending Big Bill Broonzy and playing with Memphis Minnie, Muddy Waters and Sunnyland Smith. His distinctive voice, jazzy style, flamboyant outfits and politicized lyrics gained him notoriety in the city and beyond. He cut a bunch of sides for Parrot, JOB, Chess, Vee Jay and other labels. In '63 he recorded for USA Records \"I Sing Um The Way I Feel\" and \"I Feel So Good\" under the moniker J.B. Lenoir & His African Hunch Rhythm.\n\nIn the mid-'60s he cut two classic acoustic LPs, recorded by Muddy Waters, _Alabama Blues_ and _Down In Mississippi_(both available together on the single Evidence Records CD _Vietnam Blues - The Complete L &R Recordings_). A tour of Europe followed, but that car accident crushed any hope of stardom.\n\nHere's his 1963 cut \"I Sing Um The Way I Feel\", with Afro percussion, a rarity in blues at the time.",
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"html": "<p><img src=\"/images/original_jb-lenoir-2_large.jpg\" alt=\"\"></p>\n<p><strong>J.B. Lenoir</strong> was an explicitly topical blues singer with a higher voice operating out of Chicago in the ’50s and ’60s. He cut the politicized “Korea Blues” in 1951. His controversial 1954 song “Eisenhower Blues” (lyrics: “My money’s gone, my fun is gone, the way things look, how can I be here long?”) was pulled from the shelves. His mid-’60s output was as political as ever. “Vietnam Blues” questioned the USA’s involvement in Southeast Asia as blacks were being killed with regularity in Mississippi (“Mister President you always cry about peace, but you must clean up your house before you leave”). Other songs touched on civil rights, racism, anti-war themes and less serious matters as well. His big hit was the 1954 classic “Mamma Talk To Your Daughter”, covered by dozens of blues and rock artists since. He started experimenting with African percussion in his music before a car accident left him fucked up. He died three weeks later.</p>\n<p>His actual given first name was J.B. and his last name is pronounced “Len-nor”. He came from Mississippi and learned guitar from his father, with Blind Lemon Jefferson another major influence. He spent some time working in New Orleans in the ’40s, playing with Elmore James and Sonny Boy Williamson II, before heading up to Chicago in ‘49 and befriending Big Bill Broonzy and playing with Memphis Minnie, Muddy Waters and Sunnyland Smith. His distinctive voice, jazzy style, flamboyant outfits and politicized lyrics gained him notoriety in the city and beyond. He cut a bunch of sides for Parrot, JOB, Chess, Vee Jay and other labels. In ‘63 he recorded for USA Records “I Sing Um The Way I Feel” and “I Feel So Good” under the moniker J.B. Lenoir & His African Hunch Rhythm.</p>\n<p>In the mid-’60s he cut two classic acoustic LPs, recorded by Muddy Waters, <em>Alabama Blues</em> and <em>Down In Mississippi</em>(both available together on the single Evidence Records CD <em>Vietnam Blues - The Complete L &R Recordings</em>). A tour of Europe followed, but that car accident crushed any hope of stardom.</p>\n<p>Here’s his 1963 cut “I Sing Um The Way I Feel”, with Afro percussion, a rarity in blues at the time.</p>",
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"body": "\n\n**Johnny Jenkins** was an underrated guitarist and singer out of Macon, Georgia. Left-handed, he built a home-made \"guitar\" from a matchbox and rubber bands and he played it upside down (not unlike Jimi Hendrix, who was certainly inspired by Jenkins). He finally got a real guitar and hit the Southern circuit as a flamboyant showman.\n\nHis early '60s band, The Pinetoppers, gave Otis Redding an early job (singer and driver). Otis used extra Jenkins studio time to cut \"These Arms Of Mine\" (with Jenkins on guitar) in '62 and the rest is history for Otis. Jenkins was asked to join Otis' band but declined due to fear of flying! (Given the circumstance of Otis' early demise, perhaps he had a premonition?).\n\nJenkins didn't record much but his few records for Volt and Atco are expensive collector pieces. He cut one classic funky LP as one of the first records on the Capricorn label, _Ton-Ton Macoute!_ , with Duane Allman on guest guitar. It took two years for the record to come out and was buried under Allmans promotion priorities. Jenkins continued to work day jobs for the rest of his life, including digging ditches and logging, with a comeback album in '96.\n\n_Ton-Ton Macoute!_ came about after Jenkins' career was sidetracked by his management's attention to Otis. In fact, it was only after Otis died that they turned any attention back to Jenkins. He cut only a couple of singles for Atlantic subsidiaries Stax and Volt before the Allman Brothers picked up the slack. The album was originally being created as a solo record for Duane Allman, in fact Allman plays most of the guitar on the album rather than Jenkins, who does contribute on a few cuts. Recording started in '69, but with the success of the Allman Brothers Band they were able to deflect the spotlight to one of their favorites in Jenkins, who cut the lead vocals tracks and had the album released under his name.\n\nA funky mix of soul, rock, blues & country, the album is a cult classic. Mostly excellent cover tunes, it features songs by Dr John, Dave Bartholomew, Muddy Waters, Bob Dylan, John Lee Hooker, Otis Rush and others. Check out \"Voodoo In You\", a swampy funk-rock number that may have inspired Stevie Wonder's \"Superstition\". Allman drummers Butch Trucks and Jaimo are laying down the rhythm.",
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"html": "<p><img src=\"/images/71d25bcf080c4a079910346a37ad10c2_large.png\" alt=\"\"></p>\n<p><strong>Johnny Jenkins</strong> was an underrated guitarist and singer out of Macon, Georgia. Left-handed, he built a home-made “guitar” from a matchbox and rubber bands and he played it upside down (not unlike Jimi Hendrix, who was certainly inspired by Jenkins). He finally got a real guitar and hit the Southern circuit as a flamboyant showman.</p>\n<p>His early ’60s band, The Pinetoppers, gave Otis Redding an early job (singer and driver). Otis used extra Jenkins studio time to cut “These Arms Of Mine” (with Jenkins on guitar) in ‘62 and the rest is history for Otis. Jenkins was asked to join Otis’ band but declined due to fear of flying! (Given the circumstance of Otis’ early demise, perhaps he had a premonition?).</p>\n<p>Jenkins didn’t record much but his few records for Volt and Atco are expensive collector pieces. He cut one classic funky LP as one of the first records on the Capricorn label, <em>Ton-Ton Macoute!</em> , with Duane Allman on guest guitar. It took two years for the record to come out and was buried under Allmans promotion priorities. Jenkins continued to work day jobs for the rest of his life, including digging ditches and logging, with a comeback album in ‘96.</p>\n<p><em>Ton-Ton Macoute!</em> came about after Jenkins’ career was sidetracked by his management’s attention to Otis. In fact, it was only after Otis died that they turned any attention back to Jenkins. He cut only a couple of singles for Atlantic subsidiaries Stax and Volt before the Allman Brothers picked up the slack. The album was originally being created as a solo record for Duane Allman, in fact Allman plays most of the guitar on the album rather than Jenkins, who does contribute on a few cuts. Recording started in ‘69, but with the success of the Allman Brothers Band they were able to deflect the spotlight to one of their favorites in Jenkins, who cut the lead vocals tracks and had the album released under his name.</p>\n<p>A funky mix of soul, rock, blues & country, the album is a cult classic. Mostly excellent cover tunes, it features songs by Dr John, Dave Bartholomew, Muddy Waters, Bob Dylan, John Lee Hooker, Otis Rush and others. Check out “Voodoo In You”, a swampy funk-rock number that may have inspired Stevie Wonder’s “Superstition”. Allman drummers Butch Trucks and Jaimo are laying down the rhythm.</p>",
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"title": "Bobby Womack / March 4, 1944 - July 27, 2014",
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"body": "\n\nThe career of the great **Bobby Womack** spanned many generations, styles and roles...from the doo-wop with his brothers in The Valentinos to session work with everybody from the Rolling Stones to Sam Cooke. He was a major influence on Jimi Hendrix. He was a left-handed guitarist, vocalist, songwriter, producer, soundtrack composer (_Across 110th St_ is a classic!), label head...you have certainly heard the work of Bobby beyond the few songs of his on oldies radio.\n\nJust a SMALL sampling of artists he collaborated with include Aretha Franklin, James Brown, Ray Charles, Elvis Presley, Sly & the Family Stone, Gabor Szabo, Joe Tex, Wilson Pickett, Mos Def, Janis Joplin, Van Morrison, King Curtis, Allen Toussaint, Stevie Wonder, Gorillaz, Snoop Dogg, the Box Tops, New Birth, Rod Stewart, Patti LaBelle, Bill Withers, Eric Clapton and so many more. His life had a lot of personal ups & downs (he's got a [memoir available](https://www.amazon.com/Midnight-Mover-Story-Greatest-Singer/dp/1844541487)) but he created a huge legacy with hundreds of songs and collabs that spanned soul, funk, rock, gospel, doo-wop, country, rap, blues and cinematic themes.\n\nHe was from Cleveland and sang gospel with the family as a youth. A 1953 gig with the Soul Stirrers put Bobby into Sam Cooke's orbit. The brothers joined Cooke out in Los Angeles and recorded some R&B and gospel sides for Cooke's SAR label in the early '60s. Soon after, they were renamed The Valentinos. Their '64 tune \"It's All Over Now\" was a monster hit for the Stones. By this point Womack was playing guitar in Cooke's band when tragedy struck with the death of Cooke. In a questionable move, Womack married Cooke's widow, causing scandal in the music community.\n\nHe was a frequent composer for Wilson Pickett, including \"I'm A Midnight Mover\". He also wrote \"Breezin\", a huge smash hit for George Benson. And \"You're Welcome, Stop On By\" stands as one of my favorites. Even with (or perhaps sometimes because of) all this money and success, he withstood major tragedies and problems. Besides the death of his friend Cooke, his brother Harry was murdered in Bobby's house and Bobby went through major drug addiction. His son also died as an infant. His attempt at hitting the country music charts didn't go to plan as his _BW Goes C &W_ flopped. (Original working title: _Step Aside Charley Pride, Give Another Nigger A Try_).\n\nHe had some hits in the '80s but laid low for the most part in the '90s and 2000s, returning to the public eye sporadically while dealing with health issues.\n\nHere's The Valentinos' OG version of \"It's All Over Now\", penned by Bobby and covered later the same year by the Rolling Stones, a major hit.\n\nHere's the 1970 original of \"Breezin\", a later smash for Benson but co-composed by Womack and Szabo. Womack plays 2nd guitar:\n\nBobby wrote this one for _Pearl_ :\n\nI like the movie, but I LOVE the tune:\n\nBobby goes country:\n\nBobby contributing vocals to Rae & Christian:\n\nAnd perhaps my favorite:",
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"html": "<p><img src=\"/images/1035x696-20140628-bobbywomack-06-x1800-1403958211_large.jpg\" alt=\"\"></p>\n<p>The career of the great <strong>Bobby Womack</strong> spanned many generations, styles and roles…from the doo-wop with his brothers in The Valentinos to session work with everybody from the Rolling Stones to Sam Cooke. He was a major influence on Jimi Hendrix. He was a left-handed guitarist, vocalist, songwriter, producer, soundtrack composer (<em>Across 110th St</em> is a classic!), label head…you have certainly heard the work of Bobby beyond the few songs of his on oldies radio.</p>\n<p>Just a SMALL sampling of artists he collaborated with include Aretha Franklin, James Brown, Ray Charles, Elvis Presley, Sly & the Family Stone, Gabor Szabo, Joe Tex, Wilson Pickett, Mos Def, Janis Joplin, Van Morrison, King Curtis, Allen Toussaint, Stevie Wonder, Gorillaz, Snoop Dogg, the Box Tops, New Birth, Rod Stewart, Patti LaBelle, Bill Withers, Eric Clapton and so many more. His life had a lot of personal ups & downs (he’s got a <a href=\"https://www.amazon.com/Midnight-Mover-Story-Greatest-Singer/dp/1844541487\">memoir available</a>) but he created a huge legacy with hundreds of songs and collabs that spanned soul, funk, rock, gospel, doo-wop, country, rap, blues and cinematic themes.</p>\n<p>He was from Cleveland and sang gospel with the family as a youth. A 1953 gig with the Soul Stirrers put Bobby into Sam Cooke’s orbit. The brothers joined Cooke out in Los Angeles and recorded some R&B and gospel sides for Cooke’s SAR label in the early ’60s. Soon after, they were renamed The Valentinos. Their ‘64 tune “It’s All Over Now” was a monster hit for the Stones. By this point Womack was playing guitar in Cooke’s band when tragedy struck with the death of Cooke. In a questionable move, Womack married Cooke’s widow, causing scandal in the music community.</p>\n<p>He was a frequent composer for Wilson Pickett, including “I’m A Midnight Mover”. He also wrote “Breezin”, a huge smash hit for George Benson. And “You’re Welcome, Stop On By” stands as one of my favorites. Even with (or perhaps sometimes because of) all this money and success, he withstood major tragedies and problems. Besides the death of his friend Cooke, his brother Harry was murdered in Bobby’s house and Bobby went through major drug addiction. His son also died as an infant. His attempt at hitting the country music charts didn’t go to plan as his <em>BW Goes C &W</em> flopped. (Original working title: <em>Step Aside Charley Pride, Give Another Nigger A Try</em>).</p>\n<p>He had some hits in the ’80s but laid low for the most part in the ’90s and 2000s, returning to the public eye sporadically while dealing with health issues.</p>\n<p>Here’s The Valentinos’ OG version of “It’s All Over Now”, penned by Bobby and covered later the same year by the Rolling Stones, a major hit.</p>\n<p>Here’s the 1970 original of “Breezin”, a later smash for Benson but co-composed by Womack and Szabo. Womack plays 2nd guitar:</p>\n<p>Bobby wrote this one for <em>Pearl</em> :</p>\n<p>I like the movie, but I LOVE the tune:</p>\n<p>Bobby goes country:</p>\n<p>Bobby contributing vocals to Rae & Christian:</p>\n<p>And perhaps my favorite:</p>",
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"title": "Bobby Womack / March 4, 1944 - July 27, 2014",
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Peace & Rhythm Featured At Wax Poetics
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Wax Po has long been one of our favorite sources of music news, record digger's delights and classic cuts for examination. Check out the link:
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