News & Updates
Please note: this page is here for archival purposes only and is no longer being updated.
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"title": "Miriam Makeba / March 4, 1932 - Nov 9, 2008",
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"body": "\n\nHappy birthday to \"Mama Africa\" **Miriam Makeba** , civil rights and anti-apartheid activist, singer, actress, UN delegate, Black Panther and warrior. From her birth in jail (where she spent the first six months of her life with her incarcerated mother) to her death immediately following a concert to raise awareness of mafia control, Miriam was a freedom fighter and compassionate voice throughout.\n\nOne of the first stars of the African continent to be recognized internationally (after her big 1957 hit \"Pata Pata\"), she survived breast cancer in the '50s and founded an all-woman group The Skylarks (a rarity for the time). She toured the world with Harry Belafante. A Xhosa woman, she was a major voice speaking out against apartheid, for which her native South Africa banned her, and she never went home until 1990.\n\nShe was married five times, including to Hugh Masekela and Stokely Carmichael. She made a lot of records from tribal folk to afro-pop to covers of American rock songs to jazz-funk, including collaborations with Paul Simon, Nina Simone and members of The Crusaders. Despite being in exile for much of her life she was a citizen of ten different countries, a result of her worldly stature. Let's listen to a few of her tunes.\n\nHere she is performing her hit tune on _The Ed Sullivan Show_ , 1967:\n\nFrom her 1965 album with Harry Belafonte:\n\nOne of my personal favorites, \"Samba\", from _A Promise_ , her 1974 album with members of The Crusaders:\n\nHere's a fun one from 1970:",
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"html": "<p><img src=\"/images/ZZZ031909-PP_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to “Mama Africa” <strong>Miriam Makeba</strong> , civil rights and anti-apartheid activist, singer, actress, UN delegate, Black Panther and warrior. From her birth in jail (where she spent the first six months of her life with her incarcerated mother) to her death immediately following a concert to raise awareness of mafia control, Miriam was a freedom fighter and compassionate voice throughout.</p>\n<p>One of the first stars of the African continent to be recognized internationally (after her big 1957 hit “Pata Pata”), she survived breast cancer in the ’50s and founded an all-woman group The Skylarks (a rarity for the time). She toured the world with Harry Belafante. A Xhosa woman, she was a major voice speaking out against apartheid, for which her native South Africa banned her, and she never went home until 1990.</p>\n<p>She was married five times, including to Hugh Masekela and Stokely Carmichael. She made a lot of records from tribal folk to afro-pop to covers of American rock songs to jazz-funk, including collaborations with Paul Simon, Nina Simone and members of The Crusaders. Despite being in exile for much of her life she was a citizen of ten different countries, a result of her worldly stature. Let’s listen to a few of her tunes.</p>\n<p>Here she is performing her hit tune on <em>The Ed Sullivan Show</em> , 1967:</p>\n<p>From her 1965 album with Harry Belafonte:</p>\n<p>One of my personal favorites, “Samba”, from <em>A Promise</em> , her 1974 album with members of The Crusaders:</p>\n<p>Here’s a fun one from 1970:</p>",
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"title": "Miriam Makeba / March 4, 1932 - Nov 9, 2008",
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"date": "March 04, 2017",
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"id": "jackie-mittoo-march-3-1948-dec-16-1990",
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"title": "Jackie Mittoo / March 3, 1948 - Dec 16, 1990",
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"date": "2017-03-03T00:00:00.000Z"
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"body": "\n\nOne of the most important Jamaican musical figures was the keyboardist/composer **Jackie Mittoo**. He was a child prodigy who learned piano at four years old, was leading popular club bands recording sessions for Studio One as a teenager. He became the label's Musical Director and was a founding member of The Skatalites, along with Tommy McCook (who [shares](https://www.peaceandrhythm.com/blogs/news/tommy-mccook-march-3-1927-may-5-1998) a date of birth today).\n\nVery much influenced by soul music (such as Booker T & the MG's), he not only held down key roles in The Soul Vendors, Sound Dimension and The Soul Brothers, but he also made some funky records under his own name. He worked on tons of sessions for all the great ska and rocksteady singers on the island.\n\nHe headed to Toronto by 1970 and continued a reggae/soul career there, as well as in Jamaica. While in Canada, he also became a well-known easy listening artist. He left the planet much too young (due to the Big C, at 42) but not without a massive legacy as one of the foundations of Jamaican music.\n\nWith Alton Ellis on vocal:\n\nWith the Soul Vendors:\n\nHere's a really funky one:\n\nSkatalites:\n\nThis one was a sizable international hit for him:",
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"html": "<p><img src=\"/images/2f7d1995e9933ca672d86f9a8c695be3_large.jpg\" alt=\"\"></p>\n<p>One of the most important Jamaican musical figures was the keyboardist/composer <strong>Jackie Mittoo</strong>. He was a child prodigy who learned piano at four years old, was leading popular club bands recording sessions for Studio One as a teenager. He became the label’s Musical Director and was a founding member of The Skatalites, along with Tommy McCook (who <a href=\"https://www.peaceandrhythm.com/blogs/news/tommy-mccook-march-3-1927-may-5-1998\">shares</a> a date of birth today).</p>\n<p>Very much influenced by soul music (such as Booker T & the MG’s), he not only held down key roles in The Soul Vendors, Sound Dimension and The Soul Brothers, but he also made some funky records under his own name. He worked on tons of sessions for all the great ska and rocksteady singers on the island.</p>\n<p>He headed to Toronto by 1970 and continued a reggae/soul career there, as well as in Jamaica. While in Canada, he also became a well-known easy listening artist. He left the planet much too young (due to the Big C, at 42) but not without a massive legacy as one of the foundations of Jamaican music.</p>\n<p>With Alton Ellis on vocal:</p>\n<p>With the Soul Vendors:</p>\n<p>Here’s a really funky one:</p>\n<p>Skatalites:</p>\n<p>This one was a sizable international hit for him:</p>",
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"title": "Jimmy Garrison / March 3, 1934 - April 7, 1976",
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"body": "\n\nOne of my favorite bassists (and a major piece of the Coltrane groups of the '60s), **Jimmy Garrison** came out of the Philly jazz scene, working and/or recording with a host of greats such as Kenny Dorham, Calvin Massey, Jackie McLean, Ornette Coleman, Lee Konitz, Philly Joe Jones and others before hooking up with Trane in '62.\n\nHe brought a hard-driving style that later displayed a flamenco-inspired lyricism (at times) to the Trane sound as his #1 bassist until the saxophonist's death in '67. In the following years he continued to record with many Coltrane associates (such as Alice, Elvin Jones, Archie Shepp, etc), as well as with Clifford Thornton (on the heavy _Freedom & Unity_ album), Hampton Hawes and Sonny Rollins. He also was an educator (William Parker was a student). He was lost to cancer at 42. His work with Coltrane opened up a lot of solo space for bassists.\n\nHere's a segment of Garrison getting all the solo space he needs, in the intro to what turned out to be an hour long version of \"My Favorite Things\", recorded in Japan in '66.\n\nAnd here he is in a trio with Elvin Jones and Joe Farrell, on the 1968 album _The Ultimate Elvin Jones_ :",
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"html": "<p><img src=\"/images/Jimmy-Garrison_large.jpg\" alt=\"\"></p>\n<p>One of my favorite bassists (and a major piece of the Coltrane groups of the ’60s), <strong>Jimmy Garrison</strong> came out of the Philly jazz scene, working and/or recording with a host of greats such as Kenny Dorham, Calvin Massey, Jackie McLean, Ornette Coleman, Lee Konitz, Philly Joe Jones and others before hooking up with Trane in ‘62.</p>\n<p>He brought a hard-driving style that later displayed a flamenco-inspired lyricism (at times) to the Trane sound as his #1 bassist until the saxophonist’s death in ‘67. In the following years he continued to record with many Coltrane associates (such as Alice, Elvin Jones, Archie Shepp, etc), as well as with Clifford Thornton (on the heavy <em>Freedom & Unity</em> album), Hampton Hawes and Sonny Rollins. He also was an educator (William Parker was a student). He was lost to cancer at 42. His work with Coltrane opened up a lot of solo space for bassists.</p>\n<p>Here’s a segment of Garrison getting all the solo space he needs, in the intro to what turned out to be an hour long version of “My Favorite Things”, recorded in Japan in ‘66.</p>\n<p>And here he is in a trio with Elvin Jones and Joe Farrell, on the 1968 album <em>The Ultimate Elvin Jones</em> :</p>",
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"title": "Tommy McCook / March 3, 1927 - May 5, 1998",
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"body": "\n\nThe great Cuban-born saxophonist **Tommy McCook** came out of the important Kingston JA-based Alpha Boys School (home to many great Jamaican musicians) and worked on a gazillion sessions of ska, reggae, jazz, rocksteady and soul, and was a founding (and long-time) member of The Skatalites (along with Jackie Mittoo--whose born day is [also today](https://www.peaceandrhythm.com/blogs/news/jackie-mittoo-march-3-1948-dec-16-1990)). He was Musical Director for The Supersonics and cut a few sides under his own name, as well as the band backing singers like Alton Ellis, Justin Hinds and others.\n\nA lyrical tenor player, he cited John Coltrane as one of his biggest influences. Early on he played jazz and worked with the spiritual group Count Ossie & the Mystic Revelation of Rastafari. He spent some time in the mid-'50s in the Bahamas working with Ernest ranglin. Aside from his work with nearly every notable Jamaican artist and producer (including Bunny Lee, Coxone Dodd, Duke Reid, Yabby You, Glenn Brown, etc), he also recorded a few albums under the direction of Herbie Mann.\n\nHere is a YouTube stream of the entire Blood & Fire collection of some great late '70s recordings McCook made for the Grove Music label:",
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"html": "<p><img src=\"/images/p-27-portraits-of-jamaican-music-205_large.jpg\" alt=\"\"></p>\n<p>The great Cuban-born saxophonist <strong>Tommy McCook</strong> came out of the important Kingston JA-based Alpha Boys School (home to many great Jamaican musicians) and worked on a gazillion sessions of ska, reggae, jazz, rocksteady and soul, and was a founding (and long-time) member of The Skatalites (along with Jackie Mittoo—whose born day is <a href=\"https://www.peaceandrhythm.com/blogs/news/jackie-mittoo-march-3-1948-dec-16-1990\">also today</a>). He was Musical Director for The Supersonics and cut a few sides under his own name, as well as the band backing singers like Alton Ellis, Justin Hinds and others.</p>\n<p>A lyrical tenor player, he cited John Coltrane as one of his biggest influences. Early on he played jazz and worked with the spiritual group Count Ossie & the Mystic Revelation of Rastafari. He spent some time in the mid-’50s in the Bahamas working with Ernest ranglin. Aside from his work with nearly every notable Jamaican artist and producer (including Bunny Lee, Coxone Dodd, Duke Reid, Yabby You, Glenn Brown, etc), he also recorded a few albums under the direction of Herbie Mann.</p>\n<p>Here is a YouTube stream of the entire Blood & Fire collection of some great late ’70s recordings McCook made for the Grove Music label:</p>",
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"id": "lou-reed-march-2-1942-oct-27-2013",
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"title": "Lou Reed / March 2, 1942 - Oct 27, 2013",
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"body": "\n\nHere's a birthday shout to **Lou Reed** , urban storyteller, composer, guitarist, avant-rocker and NYC icon. The Velvet Underground are one of my all time favorite rock bands, and although his solo work is very hit-or-miss he displays heart and passion through all of it. He was a drug-using, free-jazz loving, dark poet with a life of ups & downs who captivated through song and sound. He is one of the godfathers of punk & no wave, a huge influence on Krautrock and sympathized with the freaks of the world. His biggest hit \"Walk On The Wild Side\" has been sampled numerous times.\n\nHis music could be sweet and poppy or dark and aggressive. He also did song cycles, white noise, R&B-inflected tunes and even ambient music. This is a man who could be as far-out as anyone, rock straight ahead, contribute to operas and could be very funny. He has collaborated with a wide cast of interesting folk, from John Cale, David Bowie, Rick Wakeman and Robert Quine to Don Cherry, Laurie Anderson, Metallica and orchestras. We may call him the original goth, the first art-rocker or simply a man who told us stories. He was an American original.\n\n\"My God is rock'n'roll. It's an obscure power that can change your life. The most important part of my religion is to play guitar.\"",
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"html": "<p><img src=\"/images/1382904207532.cached_large.jpg\" alt=\"\"></p>\n<p>Here’s a birthday shout to <strong>Lou Reed</strong> , urban storyteller, composer, guitarist, avant-rocker and NYC icon. The Velvet Underground are one of my all time favorite rock bands, and although his solo work is very hit-or-miss he displays heart and passion through all of it. He was a drug-using, free-jazz loving, dark poet with a life of ups & downs who captivated through song and sound. He is one of the godfathers of punk & no wave, a huge influence on Krautrock and sympathized with the freaks of the world. His biggest hit “Walk On The Wild Side” has been sampled numerous times.</p>\n<p>His music could be sweet and poppy or dark and aggressive. He also did song cycles, white noise, R&B-inflected tunes and even ambient music. This is a man who could be as far-out as anyone, rock straight ahead, contribute to operas and could be very funny. He has collaborated with a wide cast of interesting folk, from John Cale, David Bowie, Rick Wakeman and Robert Quine to Don Cherry, Laurie Anderson, Metallica and orchestras. We may call him the original goth, the first art-rocker or simply a man who told us stories. He was an American original.</p>\n<p>“My God is rock’n’roll. It’s an obscure power that can change your life. The most important part of my religion is to play guitar.”</p>",
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"id": "scott-la-rock-march-2-1962-aug-27-1987",
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"title": "Scott La Rock / March 2, 1962 - Aug 27, 1987",
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"body": "\n\nThe social worker-turned-rap producer/DJ **Scott La Rock** formed Boogie Down Productions with homeless teen KRS-One in the South Bronx in 1986 and the act brought the art of rap to a new level of poetry. Their first album, the proto-gangsta _Criminal Minded_ , was a heavy blast of borough pride, battle raps, sparse and cutting funky production (inspired by James Brown and dancehall) and a gritty urban realism that has been a continuation in rap (for good or bad) ever since. They (theatrically?) initiated the \"rap beef\" with their battle boasts.\n\nScott was shot while trying to defuse a situation and died at the hospital. This incident ushered in the Stop The Violence movement in rap, led by BDP. The one album Scott made was full of educational tales about hip-hop's true origins in the Bronx. This was part of the soundtrack to my youth. BDP soldiered on for several more excellent records but _Criminal Minded_ set a new standard at the time.",
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"html": "<p><img src=\"/images/scott-la-rock_large.jpg\" alt=\"\"></p>\n<p>The social worker-turned-rap producer/DJ <strong>Scott La Rock</strong> formed Boogie Down Productions with homeless teen KRS-One in the South Bronx in 1986 and the act brought the art of rap to a new level of poetry. Their first album, the proto-gangsta <em>Criminal Minded</em> , was a heavy blast of borough pride, battle raps, sparse and cutting funky production (inspired by James Brown and dancehall) and a gritty urban realism that has been a continuation in rap (for good or bad) ever since. They (theatrically?) initiated the “rap beef” with their battle boasts.</p>\n<p>Scott was shot while trying to defuse a situation and died at the hospital. This incident ushered in the Stop The Violence movement in rap, led by BDP. The one album Scott made was full of educational tales about hip-hop’s true origins in the Bronx. This was part of the soundtrack to my youth. BDP soldiered on for several more excellent records but <em>Criminal Minded</em> set a new standard at the time.</p>",
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"title": "Willie Mitchell / March 1, 1928 - Jan 5, 2010",
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"body": "\n\nHe produced Al Green and was an owner, engineer and staff producer for the Memphis-based soul label Hi Records. He also produced albums for Syl Johnson, Ann Peebles, O.V. Wright, Otis Clay and others. Papa **Willie Mitchell** was a major part of the Southern soul scene and his Hi Records company was one of the most successful independent labels in the world.\n\nA Memphis native, Mitchell started playing trumpet at 8 and was writing and arranging music soon after. His early groups included musicians such as Booker Little, Phineas Newborn Jr, Charles Lloyd and George Coleman. He gigged with Elvis Presley in the mid-'50s and worked at Home Of The Blues. In '59 Mitchell signed with Hi, working in their studio and helping to build their sound. Al Jackson Jr (of the MG's) was the drummer on many of the hits.\n\nAfter working as a staff producer and engineer, he became a co-owner of Hi Records in 1970 after founder Joe Cuoghi died. Mitchell brought us many of our favorite 70s soul hits, especially Al Green's best period. He played trumpet, composed, arranged, engineered and generally ran the show. After the sale of Hi to major label interests he started Waylo Records and Royal Recording Studio and in later years collaborated with Green, Joyce Cobb and Solomon Burke.\n\nHe had his own hit with \"Soul Serenade\" in '68:\n\nHe was the one who signed Green to Hi and coaxed his biggest hits out of him:\n\nAnd who doesn't just LOVE this classic?!:",
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"html": "<p><img src=\"/images/royal-slideshow-vintage-willie-mitchell_large.jpg\" alt=\"\"></p>\n<p>He produced Al Green and was an owner, engineer and staff producer for the Memphis-based soul label Hi Records. He also produced albums for Syl Johnson, Ann Peebles, O.V. Wright, Otis Clay and others. Papa <strong>Willie Mitchell</strong> was a major part of the Southern soul scene and his Hi Records company was one of the most successful independent labels in the world.</p>\n<p>A Memphis native, Mitchell started playing trumpet at 8 and was writing and arranging music soon after. His early groups included musicians such as Booker Little, Phineas Newborn Jr, Charles Lloyd and George Coleman. He gigged with Elvis Presley in the mid-’50s and worked at Home Of The Blues. In ‘59 Mitchell signed with Hi, working in their studio and helping to build their sound. Al Jackson Jr (of the MG’s) was the drummer on many of the hits.</p>\n<p>After working as a staff producer and engineer, he became a co-owner of Hi Records in 1970 after founder Joe Cuoghi died. Mitchell brought us many of our favorite 70s soul hits, especially Al Green’s best period. He played trumpet, composed, arranged, engineered and generally ran the show. After the sale of Hi to major label interests he started Waylo Records and Royal Recording Studio and in later years collaborated with Green, Joyce Cobb and Solomon Burke.</p>\n<p>He had his own hit with “Soul Serenade” in ‘68:</p>\n<p>He was the one who signed Green to Hi and coaxed his biggest hits out of him:</p>\n<p>And who doesn’t just LOVE this classic?!:</p>",
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"date": "March 01, 2017",
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"id": "discoteca-latina-returns-to-sevenstrong-march-9",
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"title": "Discoteca Latina Returns To Sevenstrong, March 9",
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"body": "**__**\n\n**_Discoteca Latina_** is back!\n\nJoin us at **[Sevenstrong](https://www.facebook.com/sevenstrongavenue/)** for _Discoteca Latina_! A night for dancers and lovers of Latin music. This coming **Thursday, March 9** , 10pm. \n \n**[Rob Suave](https://www.facebook.com/rob.suave.96)** (Boston, MA's #1 salsa DJ) joins **[Peace& Rhythm](https://www.facebook.com/Peace-Rhythm-1419359794984720/) DJs Bongohead and Studebaker Hawk**, spinning the finest in old-school, classic and hard salsa, cumbia, bachata, merengue, timba, cha cha, boogaloo and more keeping the rhythms alive on the dance floor. \n \n**Free entry** , full bar, join the party!\n\nFacebook event page: <https://www.facebook.com/events/1763038127358188/>\n\n[http://www.sevenstrongavenue.com/](http://www.sevenstrongavenue.com/)",
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"html": "<p><strong><em><img src=\"/images/17021924_1853278478259514_6016644843648192488_n_large.jpg\" alt=\"\"></em></strong></p>\n<p><strong><em>Discoteca Latina</em></strong> is back!</p>\n<p>Join us at <strong><a href=\"https://www.facebook.com/sevenstrongavenue/\">Sevenstrong</a></strong> for <em>Discoteca Latina</em>! A night for dancers and lovers of Latin music. This coming <strong>Thursday, March 9</strong> , 10pm.</p>\n<p><strong><a href=\"https://www.facebook.com/rob.suave.96\">Rob Suave</a></strong> (Boston, MA’s #1 salsa DJ) joins <strong><a href=\"https://www.facebook.com/Peace-Rhythm-1419359794984720/\">Peace& Rhythm</a> DJs Bongohead and Studebaker Hawk</strong>, spinning the finest in old-school, classic and hard salsa, cumbia, bachata, merengue, timba, cha cha, boogaloo and more keeping the rhythms alive on the dance floor.</p>\n<p><strong>Free entry</strong> , full bar, join the party!</p>\n<p>Facebook event page: <a href=\"https://www.facebook.com/events/1763038127358188/\">https://www.facebook.com/events/1763038127358188/</a></p>\n<p><a href=\"http://www.sevenstrongavenue.com/\">http://www.sevenstrongavenue.com/</a></p>",
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"body": "\n\nThe first \"folk\" guitarist I got really into was **John Fahey** and his curious Takoma albums. Fahey's music combined blues, country, classical, avant-garde and finger-pickin' roots styles and other international folk musics all together. From dissonant to haunting, country blues to modal epics, it covered a lot worth hearing. Takoma was his label, started with money saved from his gas-pumping gig and it went on to be a very influential independent label, releasing many classics not only by Fahey, but also records by Bukka White, Robbie Basho, Leo Kottke, Canned Heat, Charlie Nothing, Bola Sete, George Winston and others.\n\nHe was from Washington DC (and it's Takoma Park suburb) and started learning piano from his mother. Bill Monroe's music was inspirational to him, as was Blind Willie Johnson's. He picked up guitar at 13 and started collecting 78s of country, blues & bluegrass. He was also digging into contemporary classical. In '58 he cut some sides as Blind Thomas. He put out his first self-produced Takoma album, _Blind Joe Death_ , in '59. He released several albums of far-reaching quality and diversity of styles for Takoma and Vanguard. In the late '60s he started experimenting with tape samples and ambient sounds. He also collaborated with the Red Krayola in '67. He continued recording and running Takoma through the '70s. Health, as well as personal problems really brought him down. By the time the '90s blew in, he was on the streets of Oregon and in deep poverty.\n\nA resurgence of interest in his work came and he played to a new generation of fans. He recovered enough to collaborate with noise artists and do some touring. He played with Cul de Sac and spent a lot of time writing & painting. Although he sold Takoma in the late '70s he later founded Revenant in '95, which released material by Charley Patton, Dock Boggs, Cecil Taylor, Derek Bailey and others. He passed in winter 2001, myself hearing about it from that of a newspaper in a Boston supermarket at midnight. His X-mas albums are still perennially popular and he is considered the father of the American Primitive style of guitar. \n\nDr Demento said that Fahey \"was the first to demonstrate that the finger-picking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas.\"\n\nListen to this early classic by the man, 1965's _The Transfiguration of Blind Joe Death_ :\n\nThe very first Fahey album I ever had was _The Yellow Princess_. A great album all the way through, I always got a little chuckle out of this diddie:\n\nThe man in action:\n\nAnd if you are like me, then you also want to hear him and Terry Robb in duo playing Clapton's \"Layla\":",
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"html": "<p><img src=\"/images/c6c90a78_large.jpg\" alt=\"\"></p>\n<p>The first “folk” guitarist I got really into was <strong>John Fahey</strong> and his curious Takoma albums. Fahey’s music combined blues, country, classical, avant-garde and finger-pickin’ roots styles and other international folk musics all together. From dissonant to haunting, country blues to modal epics, it covered a lot worth hearing. Takoma was his label, started with money saved from his gas-pumping gig and it went on to be a very influential independent label, releasing many classics not only by Fahey, but also records by Bukka White, Robbie Basho, Leo Kottke, Canned Heat, Charlie Nothing, Bola Sete, George Winston and others.</p>\n<p>He was from Washington DC (and it’s Takoma Park suburb) and started learning piano from his mother. Bill Monroe’s music was inspirational to him, as was Blind Willie Johnson’s. He picked up guitar at 13 and started collecting 78s of country, blues & bluegrass. He was also digging into contemporary classical. In ‘58 he cut some sides as Blind Thomas. He put out his first self-produced Takoma album, <em>Blind Joe Death</em> , in ‘59. He released several albums of far-reaching quality and diversity of styles for Takoma and Vanguard. In the late ’60s he started experimenting with tape samples and ambient sounds. He also collaborated with the Red Krayola in ‘67. He continued recording and running Takoma through the ’70s. Health, as well as personal problems really brought him down. By the time the ’90s blew in, he was on the streets of Oregon and in deep poverty.</p>\n<p>A resurgence of interest in his work came and he played to a new generation of fans. He recovered enough to collaborate with noise artists and do some touring. He played with Cul de Sac and spent a lot of time writing & painting. Although he sold Takoma in the late ’70s he later founded Revenant in ‘95, which released material by Charley Patton, Dock Boggs, Cecil Taylor, Derek Bailey and others. He passed in winter 2001, myself hearing about it from that of a newspaper in a Boston supermarket at midnight. His X-mas albums are still perennially popular and he is considered the father of the American Primitive style of guitar.</p>\n<p>Dr Demento said that Fahey “was the first to demonstrate that the finger-picking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas.”</p>\n<p>Listen to this early classic by the man, 1965’s <em>The Transfiguration of Blind Joe Death</em> :</p>\n<p>The very first Fahey album I ever had was <em>The Yellow Princess</em>. A great album all the way through, I always got a little chuckle out of this diddie:</p>\n<p>The man in action:</p>\n<p>And if you are like me, then you also want to hear him and Terry Robb in duo playing Clapton’s “Layla”:</p>",
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"title": "TWISTED: Super Hi-Fi covers \"Love Buzz\"",
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"body": "\n\nOur old friends in **Super Hi-Fi** have delivered another treat! The Brooklyn-based **heavy dub/jazz** outfit have been rumbling their way into our ears and hearts for a few years now. An instrumental ensemble (at least on recordings), their unique twin-trombone attack adds a jazzy melodicism to their bass-heavy dub attack with rock power.\n\nBorn out of the legendary Afro-Dub Sessions parties in Williamsburg, Brooklyn starting in 2011, they have delivered several solid platters: the full-length [_Dub To The Bone_](http://electriccowbell.bigcartel.com/product/super-hi-fi-dub-to-the-bone-ecr706-12-140-gram-vinyl-inlcudes-download-card-and-remixes) and two 45s on the eclectic Electric Cowbell label, as well as a couple of dubby X-mas themed releases that were a hit at SantaCON. And, of course, **Peace & Rhythm** paired Super Hi-Fi with Big Mean Sound Machine for a power single on superthick 7\", adorned on the sleeve with a WALL of boom-boxes. (Grab it [here](https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7), before it's gone!)\n\nThe new joint from the group, **_Super Hi-Fi Plays Nirvana_** , is an instrumental affair of all tunes associated with **Nirvana**. It's released as a **cassette** for the physical (grab it from [Very Special Recordings](https://vsrmusic.bandcamp.com/)) and available as a [digi-DL](https://superhi-fi1.bandcamp.com/album/super-hi-fi-plays-nirvana). Hits like \"Polly\", \"Something In The Way\" and \"Heart Shaped Box\" get the sweet treatment, with dubsters like Prince Polo, Victor Rice, Doctor Sub and 9 Lives on hand to mix & remix the tunes. They also do what is an old Appalachian folk tune called \"In The Pines\" that has mutated its way through Leadbelly (\"Black Gal\") and found a version on Nirvana's _Unplugged_ album with the title \"Where Did You Sleep Last Night?\". In the hands of SHF it becomes a squishy Vin Gordon-inspired number that would make the [Super Ape](https://www.discogs.com/The-Upsetters-Super-Ape/master/129942) proud. And there's also two versions of an original tune, penned by SHF bandleader/bassist **Ezra Gale** (Aphrodisia, [Beninghove's Hangman](https://beninghoveshangmen.bandcamp.com/), Molly Tigre, etc), called \"Space Needle\" that is a riddim as tuff as dreadlocked bred'ren smoking collie weed atop the Needle, overlooking the city of Seattle and hearing grunge guitars upon inhaling. A perfect meeting point between different worlds.\n\n\n\nBut the tune we are featuring here today is also a tune that Nirvana didn't write. In fact it's a tune by the '60s Dutch teenage psych rock band **The Shocking Blue**. Perhaps most famous for the original version of \"Venus\" (later a huge '80s hit with Bananarama) and quite an excellent group on the whole. They wrote [the original](https://www.youtube.com/watch?v=5x4DExYv35c) (and, in my opinion, superior) version of **\"Love Buzz\"** , a tune Nirvana [covered](https://www.youtube.com/watch?v=IkKu3rDl0yw) on _Bleach_ (and probably one of it's best tunes).\n\nAlready sporting an exotic-sounding bassline from Krist Novoselic on the Nirvana cut, Super Hi-Fi's version brings us further into Arabesque territory with their take on it. **Jon Lipscob's** guitar is a true delight (as it is on the entire release) and **Madhu Siddappa's** drumming propels it toward something different, yet still in respect to the foundational versions. **Doctor Sub** is on the remix and the entire tune is a too-short, but oh-so-gorgeous experience that curries the flavors and makes for my favorite tune on this set. I think \"Love Buzz\" and \"Polly\" would make a killer 45! But ALL of the tunes are ace! Whatever this band is smoking before they make their music must be pretty good shit.\n\nAnother good one from our friends in Super Hi-Fi! Check out \"Love Buzz\". As well, I recommend you give the whole album a listen:\n\n<a href=\"http://superhi-fi1.bandcamp.com/album/super-hi-fi-plays-nirvana\">Super Hi-Fi Plays Nirvana by Super Hi-Fi</a>\n\n_**Love Buzz** _line-up:\n\n**Rick Parker** \\- trombone \n**Alex Asher** \\- trombone \n**Jon Lipscomb** \\- guitar \n**Ezra Gale** \\- bass \n**Madhu Siddappa** \\- drums\n\nRemix by **Doctor Sub**\n\n<https://vsrmusic.bandcamp.com/>\n\n<http://superhifimusic.com/>\n\n<https://www.peaceandrhythm.com/pages/super-hi-fi>\n\n**_TWISTED features left-field cover versions of popular songs._**",
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"html": "<p><img src=\"/images/superhi_fi_pressphotosleeve_100dpi_large.jpg\" alt=\"\"></p>\n<p>Our old friends in <strong>Super Hi-Fi</strong> have delivered another treat! The Brooklyn-based <strong>heavy dub/jazz</strong> outfit have been rumbling their way into our ears and hearts for a few years now. An instrumental ensemble (at least on recordings), their unique twin-trombone attack adds a jazzy melodicism to their bass-heavy dub attack with rock power.</p>\n<p>Born out of the legendary Afro-Dub Sessions parties in Williamsburg, Brooklyn starting in 2011, they have delivered several solid platters: the full-length <a href=\"http://electriccowbell.bigcartel.com/product/super-hi-fi-dub-to-the-bone-ecr706-12-140-gram-vinyl-inlcudes-download-card-and-remixes\"><em>Dub To The Bone</em></a> and two 45s on the eclectic Electric Cowbell label, as well as a couple of dubby X-mas themed releases that were a hit at SantaCON. And, of course, <strong>Peace & Rhythm</strong> paired Super Hi-Fi with Big Mean Sound Machine for a power single on superthick 7”, adorned on the sleeve with a WALL of boom-boxes. (Grab it <a href=\"https://www.peaceandrhythm.com/collections/store/products/big-mean-sound-machine-super-hi-fi-ltd-ed-split-7\">here</a>, before it’s gone!)</p>\n<p>The new joint from the group, <strong><em>Super Hi-Fi Plays Nirvana</em></strong> , is an instrumental affair of all tunes associated with <strong>Nirvana</strong>. It’s released as a <strong>cassette</strong> for the physical (grab it from <a href=\"https://vsrmusic.bandcamp.com/\">Very Special Recordings</a>) and available as a <a href=\"https://superhi-fi1.bandcamp.com/album/super-hi-fi-plays-nirvana\">digi-DL</a>. Hits like “Polly”, “Something In The Way” and “Heart Shaped Box” get the sweet treatment, with dubsters like Prince Polo, Victor Rice, Doctor Sub and 9 Lives on hand to mix & remix the tunes. They also do what is an old Appalachian folk tune called “In The Pines” that has mutated its way through Leadbelly (“Black Gal”) and found a version on Nirvana’s <em>Unplugged</em> album with the title “Where Did You Sleep Last Night?”. In the hands of SHF it becomes a squishy Vin Gordon-inspired number that would make the <a href=\"https://www.discogs.com/The-Upsetters-Super-Ape/master/129942\">Super Ape</a> proud. And there’s also two versions of an original tune, penned by SHF bandleader/bassist <strong>Ezra Gale</strong> (Aphrodisia, <a href=\"https://beninghoveshangmen.bandcamp.com/\">Beninghove’s Hangman</a>, Molly Tigre, etc), called “Space Needle” that is a riddim as tuff as dreadlocked bred’ren smoking collie weed atop the Needle, overlooking the city of Seattle and hearing grunge guitars upon inhaling. A perfect meeting point between different worlds.</p>\n<p><img src=\"/images/shf-tapes_1024x1024.jpg\" alt=\"\"></p>\n<p>But the tune we are featuring here today is also a tune that Nirvana didn’t write. In fact it’s a tune by the ’60s Dutch teenage psych rock band <strong>The Shocking Blue</strong>. Perhaps most famous for the original version of “Venus” (later a huge ’80s hit with Bananarama) and quite an excellent group on the whole. They wrote <a href=\"https://www.youtube.com/watch?v=5x4DExYv35c\">the original</a> (and, in my opinion, superior) version of <strong>“Love Buzz”</strong> , a tune Nirvana <a href=\"https://www.youtube.com/watch?v=IkKu3rDl0yw\">covered</a> on <em>Bleach</em> (and probably one of it’s best tunes).</p>\n<p>Already sporting an exotic-sounding bassline from Krist Novoselic on the Nirvana cut, Super Hi-Fi’s version brings us further into Arabesque territory with their take on it. <strong>Jon Lipscob’s</strong> guitar is a true delight (as it is on the entire release) and <strong>Madhu Siddappa’s</strong> drumming propels it toward something different, yet still in respect to the foundational versions. <strong>Doctor Sub</strong> is on the remix and the entire tune is a too-short, but oh-so-gorgeous experience that curries the flavors and makes for my favorite tune on this set. I think “Love Buzz” and “Polly” would make a killer 45! But ALL of the tunes are ace! Whatever this band is smoking before they make their music must be pretty good shit.</p>\n<p>Another good one from our friends in Super Hi-Fi! Check out “Love Buzz”. As well, I recommend you give the whole album a listen:</p>\n<p><a href=“<a href=\"http://superhi-fi1.bandcamp.com/album/super-hi-fi-plays-nirvana%22&gt;Super\">http://superhi-fi1.bandcamp.com/album/super-hi-fi-plays-nirvana”&gt;Super</a> Hi-Fi Plays Nirvana by Super Hi-Fi</a></p>\n<p>_<strong>Love Buzz</strong> _line-up:</p>\n<p><strong>Rick Parker</strong> - trombone<br>\n<strong>Alex Asher</strong> - trombone<br>\n<strong>Jon Lipscomb</strong> - guitar<br>\n<strong>Ezra Gale</strong> - bass<br>\n<strong>Madhu Siddappa</strong> - drums</p>\n<p>Remix by <strong>Doctor Sub</strong></p>\n<p><a href=\"https://vsrmusic.bandcamp.com/\">https://vsrmusic.bandcamp.com/</a></p>\n<p><a href=\"http://superhifimusic.com/\">http://superhifimusic.com/</a></p>\n<p><a href=\"https://www.peaceandrhythm.com/pages/super-hi-fi\">https://www.peaceandrhythm.com/pages/super-hi-fi</a></p>\n<p><strong><em>TWISTED features left-field cover versions of popular songs.</em></strong></p>",
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"title": "Willie Bobo / Feb 28, 1934 - Sept 15, 1983",
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"body": "\n\nOne of the key figures in bridging the Afro-Cuban/mambo worlds with pop & soul, **Willie Bobo **was a major player long before he made records under his own name. He played congas, timbales, drum kit and was a charming singer and born performer. His '50s success with the likes of George Shearing, Tito Puente and Cal Tjader led to visibility for his own groups in the '60s. Those bands often featured electric guitar instead of piano, a sound that could range from bang-heavy descargas to sweet schmaltz, ultimately creating the template for boogaloo and Latin jazz to come.\n\nWilliam Correa grew up in Spanish Harlem to Puerto Rican parents. As a teen in NYC he studied percussion with Armando Peraza. He was playing bongos in Perez Prado's band by 15, as well as with Machito. A gig in Puente's band followed from about '53-57. Around this time he befriended Cuban icon Mongo Santamaría, whom he would remain close to. He taught Mongo English and Mongo taught him deeper percussion secrets. The pair teamed up with Tito and then as key members of Tjader's Latin-jazz band in the late '50s, even recording together in Cuba in 1960.\n\nHis nickname \"Bobo\" was stuck to him by pianist Mary Lou Williams, with whom he played drum kit for in the mid-'50s. He also cut many a jazz session with the likes of Miles Davis, Herbie Hancock, Cannonball Adderley, Herbie Mann, Stan Getz, Sonny Stitt, Chico Hamilton and others. He even played drumkit with Thelonious Monk at a San Francisco gig in '59. He also recorded with Tito Rodriguez.\n\nHe cut his first records as a leader for Tico and Roulette ('63/64) before working on Tjader's smash hit LP _Soul Sauce_ (Verve Records). Riding off that success Verve signed him in the mid-'60s and the band cranked out a string of hits such as \"Spanish Grease\", \"Fried Neckbones\" and other gems. \"Evil Ways\" was later covered by Santana. In the '70s he was based out West and worked for several labels, such as Blue Note, Columbia, A&M and Sussex, with whom he released some funky tunes. He played off and on with the Santana band and worked in television as well.\n\nHis son, Eric Bobo, plays percussion with Cypress Hill and the Beastie Boys. In 2006, Eric put together a collection of unearthed recordings (_Lost & Found_) that showed the range of Willie's music. Of course, there was some supreme funk on there too! All said, the man's music crossed a lot of genres: pop, jazz, mambo, disco, funk, samba, ballads, boogaloo, soul and rock. Beathead/acid jazz culture has treated him to a solid representation on re-discovery. The man's grooves are available and totally recommended.\n\nHere's one of Bobo's big hits, the proto-boogaloo \"Spanish Grease\", with it's heavy reverb and scintillating guitar line. You can find it on 1965's _Spanish Grease_ album. (Note: the album pictured in the video does not actually contain the song).:\n\nIn case you've never heard the OG version of \"Evil Ways\", here you are:\n\nHere's a funky one from '71, off of _Do What You Want To Do..._ (Sussex):\n\nHere's one of my personal favorites:\n\nAnd here Masters At Work stretch and tweak \"Descarga del Bobo\", smoothing it out a bit. Listen to that tasty sax by Bobby Brown! You can catch the OG on the '67 album _Juicy_ , on Verve.",
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"html": "<p><img src=\"/images/2ecae92020a951db3d270b7b90fda735_large.jpg\" alt=\"\"></p>\n<p>One of the key figures in bridging the Afro-Cuban/mambo worlds with pop & soul, **Willie Bobo **was a major player long before he made records under his own name. He played congas, timbales, drum kit and was a charming singer and born performer. His ’50s success with the likes of George Shearing, Tito Puente and Cal Tjader led to visibility for his own groups in the ’60s. Those bands often featured electric guitar instead of piano, a sound that could range from bang-heavy descargas to sweet schmaltz, ultimately creating the template for boogaloo and Latin jazz to come.</p>\n<p>William Correa grew up in Spanish Harlem to Puerto Rican parents. As a teen in NYC he studied percussion with Armando Peraza. He was playing bongos in Perez Prado’s band by 15, as well as with Machito. A gig in Puente’s band followed from about ‘53-57. Around this time he befriended Cuban icon Mongo Santamaría, whom he would remain close to. He taught Mongo English and Mongo taught him deeper percussion secrets. The pair teamed up with Tito and then as key members of Tjader’s Latin-jazz band in the late ’50s, even recording together in Cuba in 1960.</p>\n<p>His nickname “Bobo” was stuck to him by pianist Mary Lou Williams, with whom he played drum kit for in the mid-’50s. He also cut many a jazz session with the likes of Miles Davis, Herbie Hancock, Cannonball Adderley, Herbie Mann, Stan Getz, Sonny Stitt, Chico Hamilton and others. He even played drumkit with Thelonious Monk at a San Francisco gig in ‘59. He also recorded with Tito Rodriguez.</p>\n<p>He cut his first records as a leader for Tico and Roulette (‘63/64) before working on Tjader’s smash hit LP <em>Soul Sauce</em> (Verve Records). Riding off that success Verve signed him in the mid-’60s and the band cranked out a string of hits such as “Spanish Grease”, “Fried Neckbones” and other gems. “Evil Ways” was later covered by Santana. In the ’70s he was based out West and worked for several labels, such as Blue Note, Columbia, A&M and Sussex, with whom he released some funky tunes. He played off and on with the Santana band and worked in television as well.</p>\n<p>His son, Eric Bobo, plays percussion with Cypress Hill and the Beastie Boys. In 2006, Eric put together a collection of unearthed recordings (<em>Lost & Found</em>) that showed the range of Willie’s music. Of course, there was some supreme funk on there too! All said, the man’s music crossed a lot of genres: pop, jazz, mambo, disco, funk, samba, ballads, boogaloo, soul and rock. Beathead/acid jazz culture has treated him to a solid representation on re-discovery. The man’s grooves are available and totally recommended.</p>\n<p>Here’s one of Bobo’s big hits, the proto-boogaloo “Spanish Grease”, with it’s heavy reverb and scintillating guitar line. You can find it on 1965’s <em>Spanish Grease</em> album. (Note: the album pictured in the video does not actually contain the song).:</p>\n<p>In case you’ve never heard the OG version of “Evil Ways”, here you are:</p>\n<p>Here’s a funky one from ‘71, off of <em>Do What You Want To Do…</em> (Sussex):</p>\n<p>Here’s one of my personal favorites:</p>\n<p>And here Masters At Work stretch and tweak “Descarga del Bobo”, smoothing it out a bit. Listen to that tasty sax by Bobby Brown! You can catch the OG on the ‘67 album <em>Juicy</em> , on Verve.</p>",
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"title": "Willie Bobo / Feb 28, 1934 - Sept 15, 1983",
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"date": "February 28, 2017",
"post": "Willie Bobo / Feb 28, 1934 - Sept 15, 1983",
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"body": "\n\n_(Photo by Herman Leonard, 1948)_\n\nTenor genius, Oscar-nominated actor and cigarette fetishist **Dexter Gordon** had an incredible sound that inspired Sonny Rollins, John Coltrane and Jack Kerouac. Out of Los Angeles, he started on the clarinet as a teen before moving to alto. He finally switched to tenor around 1940. He was greatly influenced by Lester Young, whom he encountered in '43 in a jam session with Ben Webster.\n\nHe received training from Illinois Jacquet as he toured early with the Lionel Hampton band. They made some recordings in Chicago in '41, Gordon's first. He worked in the bands of Fletcher Henderson, Louis Armstrong (who profoundly inspired him) and Nat King Cole. He played in that important Billy Eckstine orchestra, a group whose kinetic energy spawned bebop with bandmates Dizzy, Bird and the rest of them. Back in the West, he battled it out on the bandstand with Wardell Gray (see \"The Chase\") and Teddy Edwards, during those epic cuts that helped make L.A. such a thriving spot for jazz in the '40s & '50s. However, he spent a lot of the '50s locked up for dope.\n\nBeing released from Folsom County Jail in '59, he was back on the jazz scene, eventually relocating to the Big Apple. After an early '60s run in NYC with Blue Note he went to Europe in the mid-'60s and stayed for a long time (he is godfather to Metallica's Lars Ulrich!). He continued to record post-bop and modal material for Prestige and SteepleChase before returning to the States. His star turn in Clint Eastwood's _Bird_ garnered him an Academy Award nomination. He was a fan favorite to be sure. Indeed, Swingin' Dex remains a popular jazz seller long after his death.\n\n_Go!_ (Blue Note, '62) was Dexter's personal favorite recording: “I would have to say it is _Go!_ The perfect rhythm section which made it possible for me to play whatever I wanted to play.”",
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"html": "<p><img src=\"/images/leonard1_48638c_large.jpg\" alt=\"\"></p>\n<p><em>(Photo by Herman Leonard, 1948)</em></p>\n<p>Tenor genius, Oscar-nominated actor and cigarette fetishist <strong>Dexter Gordon</strong> had an incredible sound that inspired Sonny Rollins, John Coltrane and Jack Kerouac. Out of Los Angeles, he started on the clarinet as a teen before moving to alto. He finally switched to tenor around 1940. He was greatly influenced by Lester Young, whom he encountered in ‘43 in a jam session with Ben Webster.</p>\n<p>He received training from Illinois Jacquet as he toured early with the Lionel Hampton band. They made some recordings in Chicago in ‘41, Gordon’s first. He worked in the bands of Fletcher Henderson, Louis Armstrong (who profoundly inspired him) and Nat King Cole. He played in that important Billy Eckstine orchestra, a group whose kinetic energy spawned bebop with bandmates Dizzy, Bird and the rest of them. Back in the West, he battled it out on the bandstand with Wardell Gray (see “The Chase”) and Teddy Edwards, during those epic cuts that helped make L.A. such a thriving spot for jazz in the ’40s & ’50s. However, he spent a lot of the ’50s locked up for dope.</p>\n<p>Being released from Folsom County Jail in ‘59, he was back on the jazz scene, eventually relocating to the Big Apple. After an early ’60s run in NYC with Blue Note he went to Europe in the mid-’60s and stayed for a long time (he is godfather to Metallica’s Lars Ulrich!). He continued to record post-bop and modal material for Prestige and SteepleChase before returning to the States. His star turn in Clint Eastwood’s <em>Bird</em> garnered him an Academy Award nomination. He was a fan favorite to be sure. Indeed, Swingin’ Dex remains a popular jazz seller long after his death.</p>\n<p><em>Go!</em> (Blue Note, ‘62) was Dexter’s personal favorite recording: “I would have to say it is <em>Go!</em> The perfect rhythm section which made it possible for me to play whatever I wanted to play.”</p>",
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"body": "\n\nDespite never being what I would call \"an acoustic guitar guy\", I always dug the ever-reaching and even educational style of **John Fahey's** music. An early \"world music\" blender, his records covered country blues, gospel, Indian ragas, ambient sounds, classical, avant-garde and various international folk styles, documented on a classic run of '60s & '70s sides.\n\nI can't say as much for **Eric Clapton** , although I like his music enough, I just don't enjoy it as much as I enjoy Fahey's. Certainly, Clapton also scoped wide influences: blues, country, jazz, psychedelic rock, Arabic, reggae, etc. One of my favorite tunes from Clapton was his sufi-inspired heart-wrencher for Pattie Boyd, George Harrison's wife at the time he wrote **\"Layla\"**. Co-written with **Jim Gordon** , the song is part of the **Derek & The Dominoes** album _Layla And Other Assorted Love Songs,_ released in 1970. (Boyd and Clapton would marry in '79).\n\nFahey was more known for either his own deeply-charged and unique compositions, or his adaptation of styles of yesteryears. And his Christmas albums are perennial sellers. But once in awhile he could flirt with pop. Check out his brilliant and faithful cover of \"Layla\", played by Fahey and his picking partner **Terry Robb** , ca. '84. While some critics have panned this choice of song, I think it's gorgeous. It's stripped down to just the two players but it tells the story.\n\nJudge for yourself:\n\n**_TWISTED features left-field cover versions of popular songs._**",
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"html": "<p><img src=\"/images/R-2216566-1270390107_jpeg_large.jpg\" alt=\"\"></p>\n<p>Despite never being what I would call “an acoustic guitar guy”, I always dug the ever-reaching and even educational style of <strong>John Fahey’s</strong> music. An early “world music” blender, his records covered country blues, gospel, Indian ragas, ambient sounds, classical, avant-garde and various international folk styles, documented on a classic run of ’60s & ’70s sides.</p>\n<p>I can’t say as much for <strong>Eric Clapton</strong> , although I like his music enough, I just don’t enjoy it as much as I enjoy Fahey’s. Certainly, Clapton also scoped wide influences: blues, country, jazz, psychedelic rock, Arabic, reggae, etc. One of my favorite tunes from Clapton was his sufi-inspired heart-wrencher for Pattie Boyd, George Harrison’s wife at the time he wrote <strong>“Layla”</strong>. Co-written with <strong>Jim Gordon</strong> , the song is part of the <strong>Derek & The Dominoes</strong> album <em>Layla And Other Assorted Love Songs,</em> released in 1970. (Boyd and Clapton would marry in ‘79).</p>\n<p>Fahey was more known for either his own deeply-charged and unique compositions, or his adaptation of styles of yesteryears. And his Christmas albums are perennial sellers. But once in awhile he could flirt with pop. Check out his brilliant and faithful cover of “Layla”, played by Fahey and his picking partner <strong>Terry Robb</strong> , ca. ‘84. While some critics have panned this choice of song, I think it’s gorgeous. It’s stripped down to just the two players but it tells the story.</p>\n<p>Judge for yourself:</p>\n<p><strong><em>TWISTED features left-field cover versions of popular songs.</em></strong></p>",
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"body": "\n\nIt's the return of the **'70s Funk Rock** party! For those that like their rock funky and their funk rocking. It's a Mothership connection and long-hairs are welcome. \n\nCome to **The Rendezvous, Wednesday March 1** to hear **Peace & Rhythm DJs** (Andujar, Studebaker Hawk & Bongohead) selecting groovy cuts all from vinyl. Spanning the late '60s to the early '80s we'll be spinning funk rock & heavy funk in all its glory: **popular and obscure cuts, psycofunkadelia, the funkiest classic rock, danceable post-punk, groovy psych from around the world, Latin-rock, Afro-rock, native rock, hard rock breaks, fusion and more**. Funkadelic, Betty Davis, Malo, Stones, Bar-Kays, Jimi Hendrix, Mandrill, ZZ Top, Sly Stone, The Funkees, Redbone, Alex Harvey Band, Led Zep, Gang of Four, Black Merda, Prince, Bowie, etc. \nBring your denim. \n**Music pumps at 9pm, 21+, FREE ADMISSION**\n\nFacebook [event page](https://www.facebook.com/events/131676127350079/) \n\n\n[http://rendezvoustfma.com/](http://rendezvoustfma.com/)\n\nHere are a few of our jams, to give you an idea of what you might be hearing:",
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"html": "<p><img src=\"/images/16708287_1847472085506820_474651327037446495_n_large.jpg\" alt=\"\"></p>\n<p>It’s the return of the <strong>’70s Funk Rock</strong> party! For those that like their rock funky and their funk rocking. It’s a Mothership connection and long-hairs are welcome.</p>\n<p>Come to <strong>The Rendezvous, Wednesday March 1</strong> to hear <strong>Peace & Rhythm DJs</strong> (Andujar, Studebaker Hawk & Bongohead) selecting groovy cuts all from vinyl. Spanning the late ’60s to the early ’80s we’ll be spinning funk rock & heavy funk in all its glory: <strong>popular and obscure cuts, psycofunkadelia, the funkiest classic rock, danceable post-punk, groovy psych from around the world, Latin-rock, Afro-rock, native rock, hard rock breaks, fusion and more</strong>. Funkadelic, Betty Davis, Malo, Stones, Bar-Kays, Jimi Hendrix, Mandrill, ZZ Top, Sly Stone, The Funkees, Redbone, Alex Harvey Band, Led Zep, Gang of Four, Black Merda, Prince, Bowie, etc.<br>\nBring your denim.<br>\n<strong>Music pumps at 9pm, 21+, FREE ADMISSION</strong></p>\n<p>Facebook <a href=\"https://www.facebook.com/events/131676127350079/\">event page</a></p>\n<p><a href=\"http://rendezvoustfma.com/\">http://rendezvoustfma.com/</a></p>\n<p>Here are a few of our jams, to give you an idea of what you might be hearing:</p>",
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"body": "\n\nA birthday shout-out to the Man In Black, **Johnny Cash**! He was the first \"country\" artist I ever respected and I always loved his baritone voice and shuffling-yet-soulful '50s tunes. The fact that he did concerts for incarcerated people, opposed the Vietnam war and included topics (and actions) in respect to indigenous culture gave him a lot of real cred, in my opinion. His music had just the right amounts of country, rockabilly, gospel, blues, folk and even mariachi and he totally OWNED that Nine Inch Nails song. There was nothing artsy about his style, just a direct approach with his stories and words that many could relate to.\n\nBorn and raised in Arkansas, he was singing on the radio by 12. In 1950 he moved to Detroit to work in the auto factories but started playing guitar while in the Air Force. After moving to Memphis he got his career rolling with his '55 hit single for Sun Records, \"Cry Cry Cry\"/\"Hey Porter\". The first of several successful singles for Sun, this string of tunes made Cash a star. In '58 he signed to Columbia and was finally able to make his gospel album he'd always wanted to do in '59 (_Hymns By Johnny Cash_).\n\nWhile he still shone big star in the '60s, he was increasingly dogged by drug abuse and run-ins with the law. His '64 mariachi-inspired tune \"Ring Of Fire\" was a success, co-written by June Carter, and stands as one of my personal favorites. (It was also a hit in Jamaica, with several ska versions!). June helped raise Johnny's fortunes and the two were married in '68. The late '60s also saw the release of his two mega-popular prison albums and he appeared on Bob Dylan's _Nashville Skyline_ album. _The Johnny Cash Show_ debuted on television in '69.\n\nHe started doing some acting and was an outspoken advocate for human rights. His autobiography, _Man In Black_ , came out in '75. Although his chart hits started to dry up a bit, he remained a popular artist. His signing with Rick Rubin's American label in '93 brought him a whole new generation of fans. His cover of NIN's \"Hurt\" in 2003 was a last blast of spotlight. His wife June died shortly thereafter and Johnny survived another four months past her, but not before completing another 60 songs, many of which may still see the light of day.\n\nThis clip speaks a lot:\n\nFrom Cash's '57 appearance on the Tex Ritter Ranch Party tv show:",
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"html": "<p><img src=\"/images/cashfingerbw_slide-c29c8b17224e210e8991fb6eeb3e19fc5ca3ed47-s800-c15_large.jpg\" alt=\"\"></p>\n<p>A birthday shout-out to the Man In Black, <strong>Johnny Cash</strong>! He was the first “country” artist I ever respected and I always loved his baritone voice and shuffling-yet-soulful ’50s tunes. The fact that he did concerts for incarcerated people, opposed the Vietnam war and included topics (and actions) in respect to indigenous culture gave him a lot of real cred, in my opinion. His music had just the right amounts of country, rockabilly, gospel, blues, folk and even mariachi and he totally OWNED that Nine Inch Nails song. There was nothing artsy about his style, just a direct approach with his stories and words that many could relate to.</p>\n<p>Born and raised in Arkansas, he was singing on the radio by 12. In 1950 he moved to Detroit to work in the auto factories but started playing guitar while in the Air Force. After moving to Memphis he got his career rolling with his ‘55 hit single for Sun Records, “Cry Cry Cry”/“Hey Porter”. The first of several successful singles for Sun, this string of tunes made Cash a star. In ‘58 he signed to Columbia and was finally able to make his gospel album he’d always wanted to do in ‘59 (<em>Hymns By Johnny Cash</em>).</p>\n<p>While he still shone big star in the ’60s, he was increasingly dogged by drug abuse and run-ins with the law. His ‘64 mariachi-inspired tune “Ring Of Fire” was a success, co-written by June Carter, and stands as one of my personal favorites. (It was also a hit in Jamaica, with several ska versions!). June helped raise Johnny’s fortunes and the two were married in ‘68. The late ’60s also saw the release of his two mega-popular prison albums and he appeared on Bob Dylan’s <em>Nashville Skyline</em> album. <em>The Johnny Cash Show</em> debuted on television in ‘69.</p>\n<p>He started doing some acting and was an outspoken advocate for human rights. His autobiography, <em>Man In Black</em> , came out in ‘75. Although his chart hits started to dry up a bit, he remained a popular artist. His signing with Rick Rubin’s American label in ‘93 brought him a whole new generation of fans. His cover of NIN’s “Hurt” in 2003 was a last blast of spotlight. His wife June died shortly thereafter and Johnny survived another four months past her, but not before completing another 60 songs, many of which may still see the light of day.</p>\n<p>This clip speaks a lot:</p>\n<p>From Cash’s ‘57 appearance on the Tex Ritter Ranch Party tv show:</p>",
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"body": "****\n\n**Sandy Bull** was one of my favorites of the '60s/'70s \"folk\" musicians, although his music was much, much more than your typical \"folkie\" thing. Playing a variety of stringed instruments (guitar, banjo, oud, pedal steel, etc), his music was informed by various international folk traditions, modal jazz, Indian ragas, classical, blues, gospel, psychedelia and even Chuck Berry! He sometimes had percussionists (such as Billy Higgins or Denis Charles) as well as his own system of live tape overdubs and rhythm-machines. Check out his early Vanguard albums for some early excursions into psychedelic world fusion!\n\nBull's 1963 debut, _Fantasias For Guitar and Banjo_ , was ahead of its time with it's psychedelic side-long raga-inspired modal number with Ornette Coleman's drummer Billy Higgins (\"Blend\") and its adaptations of Renaissance composer William Byrd, plus Carl Orff's \"Carmina Burana\" and a couple of gospel-inspired numbers. The lengthy \"Blend\" was as certifiably classic as any recording ever made and predicted the trend of Western pop artists looking East (and to modal jazz) for influence. Here is that side-long masterpiece:\n\nHere's his reading of Chuck Berry's \"Memphis, Tennesssee\", from _Inventions_ :",
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"html": "<p><strong><img src=\"/images/sandybull_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Sandy Bull</strong> was one of my favorites of the ’60s/’70s “folk” musicians, although his music was much, much more than your typical “folkie” thing. Playing a variety of stringed instruments (guitar, banjo, oud, pedal steel, etc), his music was informed by various international folk traditions, modal jazz, Indian ragas, classical, blues, gospel, psychedelia and even Chuck Berry! He sometimes had percussionists (such as Billy Higgins or Denis Charles) as well as his own system of live tape overdubs and rhythm-machines. Check out his early Vanguard albums for some early excursions into psychedelic world fusion!</p>\n<p>Bull’s 1963 debut, <em>Fantasias For Guitar and Banjo</em> , was ahead of its time with it’s psychedelic side-long raga-inspired modal number with Ornette Coleman’s drummer Billy Higgins (“Blend”) and its adaptations of Renaissance composer William Byrd, plus Carl Orff’s “Carmina Burana” and a couple of gospel-inspired numbers. The lengthy “Blend” was as certifiably classic as any recording ever made and predicted the trend of Western pop artists looking East (and to modal jazz) for influence. Here is that side-long masterpiece:</p>\n<p>Here’s his reading of Chuck Berry’s “Memphis, Tennesssee”, from <em>Inventions</em> :</p>",
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"body": "\n\nHappy birthday to **Louie Ramirez** , one of the great figures in salsa as a producer, arranger, vibraphone player, percussionist, composer and mentor to many. He's been called \"the Quincy Jones of salsa\" for the diversity of his work and because he worked with many of the biggest names in salsa including Johnny Pacheco, Charlie Palmieri, Joe Cuba, Tito Rodriguez, Willie Colón, Jimmy Sabater, Hector Lavoe, Fania All Stars,Tipica 73, Sonora Ponceña, Ray Barretto, Sabu Martinez, Ralfi Pagan and many more.\n\nIf rare grooves of funky salsa and boogaloo is what you want then surely you'll find him working on deep items by Azuquita, Moon People, Benitez & Nebula, The Real Thing, The Nitty Gritty Sextet and \"Hot Chocolate\" by Chocolate Armenteros. And that says nothing of his version of the all-time disco smash \"Do It Any Way You Want\", found on his excellent LP _A Different Shade of Black_. All told, his records included salsa, funk, disco, boogaloo, jazz and more, from rootsy to slick to weird to groovy. Gringos may not know who he is but if you are a deep-digging DJ you no doubt have picked up one of his productions without even knowing it.\n\nFrom his 1965 album on Alegre, _Vibes Galore_ :\n\nHere's his version of the Leon Huff/People's Choice disco hit:\n\n\"Land of Love\":\n\nThe rare 12\" version of \"Salsa\"\n\nIn '72 he teamed with Tito Rodríguez for an album:",
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"html": "<p><img src=\"/images/louie_ramirezA_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to <strong>Louie Ramirez</strong> , one of the great figures in salsa as a producer, arranger, vibraphone player, percussionist, composer and mentor to many. He’s been called “the Quincy Jones of salsa” for the diversity of his work and because he worked with many of the biggest names in salsa including Johnny Pacheco, Charlie Palmieri, Joe Cuba, Tito Rodriguez, Willie Colón, Jimmy Sabater, Hector Lavoe, Fania All Stars,Tipica 73, Sonora Ponceña, Ray Barretto, Sabu Martinez, Ralfi Pagan and many more.</p>\n<p>If rare grooves of funky salsa and boogaloo is what you want then surely you’ll find him working on deep items by Azuquita, Moon People, Benitez & Nebula, The Real Thing, The Nitty Gritty Sextet and “Hot Chocolate” by Chocolate Armenteros. And that says nothing of his version of the all-time disco smash “Do It Any Way You Want”, found on his excellent LP <em>A Different Shade of Black</em>. All told, his records included salsa, funk, disco, boogaloo, jazz and more, from rootsy to slick to weird to groovy. Gringos may not know who he is but if you are a deep-digging DJ you no doubt have picked up one of his productions without even knowing it.</p>\n<p>From his 1965 album on Alegre, <em>Vibes Galore</em> :</p>\n<p>Here’s his version of the Leon Huff/People’s Choice disco hit:</p>\n<p>“Land of Love”:</p>\n<p>The rare 12” version of “Salsa”</p>\n<p>In ‘72 he teamed with Tito Rodríguez for an album:</p>",
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"body": "\n\nThe \"Jimi Hendrix of the accordion\", **Steve Jordan** in fact claimed to play 35 instruments (he even played guitar in Willie Bobo's band in the mid-'60s!). He was also a good singer and could even play the cello.\n\nHe was born to migrant farm workers in Texas and learned accordion as a partially-blind kid, becoming professional at a very young age although he didn't record until the late '50s. He recorded some great soul, blues and even doo-wop early on ([check out his version](https://www.youtube.com/watch?v=DIw6PFx_2kk) of \"Ain't No Big Thing\" by The Radiants).\n\nHe took his conjunto's music and fused it with rock, jazz, soul, mambo, country, polka, cumbia and blues. He put his accordion through electronic effects to get new sounds and eventually the Hohner corporation designed an instrument to his specifications. His music often involved his whole family playing in the band. \"El Parche\" (he has an eye-patch) is one of the greats of Tex-Mex music.\n\nCheck out his cover of War's \"Why Can't We Be Friends\":\n\nAnother fun one:\n\nAnd here's the aforementioned Radiants [cover](https://www.youtube.com/watch?v=dSwmlK_k_XE):\n\nAnd check out this live performance of George Benson's \"Clockwise\":",
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"html": "<p><img src=\"/images/jordan_300-102dfe28e699076ac7d835c0115a3bb2c247a4c5-s6-c30_large.jpg\" alt=\"\"></p>\n<p>The “Jimi Hendrix of the accordion”, <strong>Steve Jordan</strong> in fact claimed to play 35 instruments (he even played guitar in Willie Bobo’s band in the mid-’60s!). He was also a good singer and could even play the cello.</p>\n<p>He was born to migrant farm workers in Texas and learned accordion as a partially-blind kid, becoming professional at a very young age although he didn’t record until the late ’50s. He recorded some great soul, blues and even doo-wop early on (<a href=\"https://www.youtube.com/watch?v=DIw6PFx_2kk\">check out his version</a> of “Ain’t No Big Thing” by The Radiants).</p>\n<p>He took his conjunto’s music and fused it with rock, jazz, soul, mambo, country, polka, cumbia and blues. He put his accordion through electronic effects to get new sounds and eventually the Hohner corporation designed an instrument to his specifications. His music often involved his whole family playing in the band. “El Parche” (he has an eye-patch) is one of the greats of Tex-Mex music.</p>\n<p>Check out his cover of War’s “Why Can’t We Be Friends”:</p>\n<p>Another fun one:</p>\n<p>And here’s the aforementioned Radiants <a href=\"https://www.youtube.com/watch?v=dSwmlK_k_XE\">cover</a>:</p>\n<p>And check out this live performance of George Benson’s “Clockwise”:</p>",
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"body": "\n\nOur man **Ray Lugo** has a new **solo album** out! Ray is one of the talents behind **Terrificos** (2xLP available now on Peace & Rhythm, [order here ](https://www.peaceandrhythm.com/collections/store/products/los-terrificos-go-south-vaya-pal-sur-2xlp-45rpm)for vinyl, and [here](http://www.terrificos.com/music) for digital), Kokolo and Boogaloo Destroyers.\n\nHis brand new release, **_Now_** , is available from **Little Boat Records**. The beautiful **\"Hold You\"** is the sixth song on the album. The album is available on [ITunes](https://itunes.apple.com/au/album/now/id1178149651), [Amazon](https://www.amazon.com/Now-Ray-Lugo/dp/B01N7CNXIM/ref=sr_1_1?ie=UTF8&qid=1484913801&sr=8-1&keywords=ray+lugo+now), [Spotify](https://play.spotify.com/album/0CC9MzCaMXeHslBRW8K4hW?play=true&utm_source=open.spotify.com&utm_medium=open), [Google Play](https://play.google.com/store/music/album/Ray_Lugo_Now?id=B3lu2oukdv27hnlfrklarvl5hhq). Check out all of Ray's videos on his [YouTube channel](https://www.youtube.com/channel/UC0s5dCN3SI9Ni5sT3LvdasQ).\n\n<http://raylugo.com/>\n\nCheck out \"Hold You\":\n\nRelated: <https://www.peaceandrhythm.com/blogs/news/video-ray-lugo-now>\n\nAnd check out our 2014 interview with the man [here](http://peaceandrhythm.blogspot.com/2014/09/peace-rhythms-interview-with-producer.html).\n\n",
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"html": "<p><img src=\"/images/16265908_10154770689486113_8664998923995010630_n_large.jpg\" alt=\"\"></p>\n<p>Our man <strong>Ray Lugo</strong> has a new <strong>solo album</strong> out! Ray is one of the talents behind <strong>Terrificos</strong> (2xLP available now on Peace & Rhythm, <a href=\"https://www.peaceandrhythm.com/collections/store/products/los-terrificos-go-south-vaya-pal-sur-2xlp-45rpm\">order here </a>for vinyl, and <a href=\"http://www.terrificos.com/music\">here</a> for digital), Kokolo and Boogaloo Destroyers.</p>\n<p>His brand new release, <strong><em>Now</em></strong> , is available from <strong>Little Boat Records</strong>. The beautiful <strong>“Hold You”</strong> is the sixth song on the album. The album is available on <a href=\"https://itunes.apple.com/au/album/now/id1178149651\">ITunes</a>, <a href=\"https://www.amazon.com/Now-Ray-Lugo/dp/B01N7CNXIM/ref=sr_1_1?ie=UTF8&qid=1484913801&sr=8-1&keywords=ray+lugo+now\">Amazon</a>, <a href=\"https://play.spotify.com/album/0CC9MzCaMXeHslBRW8K4hW?play=true&utm_source=open.spotify.com&utm_medium=open\">Spotify</a>, <a href=\"https://play.google.com/store/music/album/Ray_Lugo_Now?id=B3lu2oukdv27hnlfrklarvl5hhq\">Google Play</a>. Check out all of Ray’s videos on his <a href=\"https://www.youtube.com/channel/UC0s5dCN3SI9Ni5sT3LvdasQ\">YouTube channel</a>.</p>\n<p><a href=\"http://raylugo.com/\">http://raylugo.com/</a></p>\n<p>Check out “Hold You”:</p>\n<p>Related: <a href=\"https://www.peaceandrhythm.com/blogs/news/video-ray-lugo-now\">https://www.peaceandrhythm.com/blogs/news/video-ray-lugo-now</a></p>\n<p>And check out our 2014 interview with the man <a href=\"http://peaceandrhythm.blogspot.com/2014/09/peace-rhythms-interview-with-producer.html\">here</a>.</p>\n<p><img src=\"/images/Ray_Lugo_-_Now_4000_DPI_Album_Cover_large.png\" alt=\"\"></p>",
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"body": "\n\nWe are excited to be joining the Hartford-based funk band **West End Blend** for a groovy party at **The Root Cellar** in Greenfield MA on Friday, March 3. **Peace & Rhythm's DJ Andujar and Studebaker Hawk** will be spinning funky vinyl before and between band sets. Grab your [tickets here](https://tickets.vendini.com/ticket-software.html?e=33fd40d7e5bdeedaa39a68f602ff9dc4&t=tix&vqitq=008a3022-84eb-4f7b-9b69-62d7f9f3440d&vqitp=5bc98699-9690-4796-a972-7a987a94bcf2&vqitts=1487874153&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=11425db7a16ec3d93a98ba9f2cf91ebf).\n\n**West End Blend** are a critically-acclaimed ten-piece group who have toured all over the Eastern US. Fronted by the supremely talented vocalist **Erica Bryan** , the band's sound is rooted in '70s soul and funk. If you are a fan of groups like Orgone, Diplomats of Solid Sounds, The Dap-Kings and the likes, then this band will be right up your alley.\n\nHere's some fresh tunes by the band:\n\n[Say Hey! by West End Blend](http://westendblend.bandcamp.com/album/say-hey)\n\nTake a view of their **brand new video** to their song **\"Smile\"** and come out to The Root Cellar on March 3 for the party!\n\nWest End Blend official [Facebook page](https://www.facebook.com/WestEndBlend)\n\n<http://www.westendblend.com/>\n\nRoot Cellar official [Facebook page](https://www.facebook.com/therootcellarbar)\n\n<http://www.rootcellarbar.com/>",
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"html": "<p><img src=\"/images/1_large.jpg\" alt=\"\"></p>\n<p>We are excited to be joining the Hartford-based funk band <strong>West End Blend</strong> for a groovy party at <strong>The Root Cellar</strong> in Greenfield MA on Friday, March 3. <strong>Peace & Rhythm’s DJ Andujar and Studebaker Hawk</strong> will be spinning funky vinyl before and between band sets. Grab your <a href=\"https://tickets.vendini.com/ticket-software.html?e=33fd40d7e5bdeedaa39a68f602ff9dc4&t=tix&vqitq=008a3022-84eb-4f7b-9b69-62d7f9f3440d&vqitp=5bc98699-9690-4796-a972-7a987a94bcf2&vqitts=1487874153&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=11425db7a16ec3d93a98ba9f2cf91ebf\">tickets here</a>.</p>\n<p><strong>West End Blend</strong> are a critically-acclaimed ten-piece group who have toured all over the Eastern US. Fronted by the supremely talented vocalist <strong>Erica Bryan</strong> , the band’s sound is rooted in ’70s soul and funk. If you are a fan of groups like Orgone, Diplomats of Solid Sounds, The Dap-Kings and the likes, then this band will be right up your alley.</p>\n<p>Here’s some fresh tunes by the band:</p>\n<p><a href=\"http://westendblend.bandcamp.com/album/say-hey\">Say Hey! by West End Blend</a></p>\n<p>Take a view of their <strong>brand new video</strong> to their song <strong>“Smile”</strong> and come out to The Root Cellar on March 3 for the party!</p>\n<p>West End Blend official <a href=\"https://www.facebook.com/WestEndBlend\">Facebook page</a></p>\n<p><a href=\"http://www.westendblend.com/\">http://www.westendblend.com/</a></p>\n<p>Root Cellar official <a href=\"https://www.facebook.com/therootcellarbar\">Facebook page</a></p>\n<p><a href=\"http://www.rootcellarbar.com/\">http://www.rootcellarbar.com/</a></p>",
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Miriam Makeba / March 4, 1932 - Nov 9, 2008
March 4, 2017
Happy birthday to "Mama Africa" Miriam Makeba , civil rights and anti-apartheid activist, singer, actress, UN delegate, Black Panther and warrior. From her birth in jail (where she spent the first six months of her life with her incarcerated mother) to her death immediately following a concert to raise awareness...
Jackie Mittoo / March 3, 1948 - Dec 16, 1990
March 3, 2017
One of the most important Jamaican musical figures was the keyboardist/composer Jackie Mittoo. He was a child prodigy who learned piano at four years old, was leading popular club bands recording sessions for Studio One as a teenager. He became the label's Musical Director and was a founding member of...
Jimmy Garrison / March 3, 1934 - April 7, 1976
March 3, 2017
One of my favorite bassists (and a major piece of the Coltrane groups of the '60s), Jimmy Garrison came out of the Philly jazz scene, working and/or recording with a host of greats such as Kenny Dorham, Calvin Massey, Jackie McLean, Ornette Coleman, Lee Konitz, Philly Joe Jones and others...
Tommy McCook / March 3, 1927 - May 5, 1998
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The great Cuban-born saxophonist Tommy McCook came out of the important Kingston JA-based Alpha Boys School (home to many great Jamaican musicians) and worked on a gazillion sessions of ska, reggae, jazz, rocksteady and soul, and was a founding (and long-time) member of The Skatalites (along with Jackie Mittoo--whose born...
Lou Reed / March 2, 1942 - Oct 27, 2013
March 2, 2017
Here's a birthday shout to Lou Reed , urban storyteller, composer, guitarist, avant-rocker and NYC icon. The Velvet Underground are one of my all time favorite rock bands, and although his solo work is very hit-or-miss he displays heart and passion through all of it. He was a drug-using, free-jazz...
Scott La Rock / March 2, 1962 - Aug 27, 1987
March 2, 2017
The social worker-turned-rap producer/DJ Scott La Rock formed Boogie Down Productions with homeless teen KRS-One in the South Bronx in 1986 and the act brought the art of rap to a new level of poetry. Their first album, the proto-gangsta Criminal Minded , was a heavy blast of borough pride,...
Willie Mitchell / March 1, 1928 - Jan 5, 2010
March 1, 2017
He produced Al Green and was an owner, engineer and staff producer for the Memphis-based soul label Hi Records. He also produced albums for Syl Johnson, Ann Peebles, O.V. Wright, Otis Clay and others. Papa Willie Mitchell was a major part of the Southern soul scene and his Hi Records...
Discoteca Latina Returns To Sevenstrong, March 9
February 28, 2017
__ Discoteca Latina is back! Join us at Sevenstrong for Discoteca Latina! A night for dancers and lovers of Latin music. This coming Thursday, March 9 , 10pm. Rob Suave (Boston, MA's #1 salsa DJ) joins Peace& Rhythm DJs Bongohead and Studebaker Hawk, spinning the finest in old-school, classic and...
John Fahey / Feb 28, 1939 - Feb 22, 2001
February 28, 2017
The first "folk" guitarist I got really into was John Fahey and his curious Takoma albums. Fahey's music combined blues, country, classical, avant-garde and finger-pickin' roots styles and other international folk musics all together. From dissonant to haunting, country blues to modal epics, it covered a lot worth hearing. Takoma...
TWISTED: Super Hi-Fi covers "Love Buzz"
February 28, 2017
Our old friends in Super Hi-Fi have delivered another treat! The Brooklyn-based heavy dub/jazz outfit have been rumbling their way into our ears and hearts for a few years now. An instrumental ensemble (at least on recordings), their unique twin-trombone attack adds a jazzy melodicism to their bass-heavy dub attack...
Willie Bobo / Feb 28, 1934 - Sept 15, 1983
February 28, 2017
One of the key figures in bridging the Afro-Cuban/mambo worlds with pop & soul, *Willie Bobo *was a major player long before he made records under his own name. He played congas, timbales, drum kit and was a charming singer and born performer. His '50s success with the likes of...
Dexter Gordon / Feb 27, 1923 - April 25, 1990
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(Photo by Herman Leonard, 1948) Tenor genius, Oscar-nominated actor and cigarette fetishist Dexter Gordon had an incredible sound that inspired Sonny Rollins, John Coltrane and Jack Kerouac. Out of Los Angeles, he started on the clarinet as a teen before moving to alto. He finally switched to tenor around 1940....
TWISTED: John Fahey covers "Layla"
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Despite never being what I would call "an acoustic guitar guy", I always dug the ever-reaching and even educational style of John Fahey's music. An early "world music" blender, his records covered country blues, gospel, Indian ragas, ambient sounds, classical, avant-garde and various international folk styles, documented on a classic...
70s Funk Rock party at The Rendezvous, March 1
February 26, 2017
It's the return of the '70s Funk Rock party! For those that like their rock funky and their funk rocking. It's a Mothership connection and long-hairs are welcome. Come to The Rendezvous, Wednesday March 1 to hear Peace & Rhythm DJs (Andujar, Studebaker Hawk & Bongohead) selecting groovy cuts all...
Johnny Cash / Feb 26, 1932 - Sept 12, 2003
February 26, 2017
A birthday shout-out to the Man In Black, Johnny Cash! He was the first "country" artist I ever respected and I always loved his baritone voice and shuffling-yet-soulful '50s tunes. The fact that he did concerts for incarcerated people, opposed the Vietnam war and included topics (and actions) in respect...
Sandy Bull / Feb 25, 1941 - Apr 11, 2001
February 25, 2017
** Sandy Bull was one of my favorites of the '60s/'70s "folk" musicians, although his music was much, much more than your typical "folkie" thing. Playing a variety of stringed instruments (guitar, banjo, oud, pedal steel, etc), his music was informed by various international folk traditions, modal jazz, Indian ragas,...
Louie Ramirez / Feb 24, 1938 - June 7, 1993
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Happy birthday to Louie Ramirez , one of the great figures in salsa as a producer, arranger, vibraphone player, percussionist, composer and mentor to many. He's been called "the Quincy Jones of salsa" for the diversity of his work and because he worked with many of the biggest names in...
Esteban "Steve" Jordan / Feb 23, 1939 - Aug 13, 2010
February 23, 2017
The "Jimi Hendrix of the accordion", Steve Jordan in fact claimed to play 35 instruments (he even played guitar in Willie Bobo's band in the mid-'60s!). He was also a good singer and could even play the cello. He was born to migrant farm workers in Texas and learned accordion...
VIDEO: Ray Lugo - Hold You
February 23, 2017
Our man Ray Lugo has a new solo album out! Ray is one of the talents behind Terrificos (2xLP available now on Peace & Rhythm, order here for vinyl, and here for digital), Kokolo and Boogaloo Destroyers. His brand new release, Now , is available from Little Boat Records. The...
VIDEO: West End Blend - Smile
February 23, 2017
We are excited to be joining the Hartford-based funk band West End Blend for a groovy party at The Root Cellar in Greenfield MA on Friday, March 3. Peace & Rhythm's DJ Andujar and Studebaker Hawk will be spinning funky vinyl before and between band sets. Grab your tickets here....