News & Updates

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  {
    "id": "milton-ontario-mardi-gras-klandestino-feb-18",
    "data": {
      "title": "MILTON, ONTARIO: Mardi Gras Klandestino, Feb 18",
      "slug": "milton-ontario-mardi-gras-klandestino-feb-18",
      "date": "2017-02-13T00:00:00.000Z"
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    "body": "**![](/images/16299094_10103229713400831_3148561863301021544_n_large.jpg)**\n\n**Peace & Rhythm's DJ Bongohead** continues his Ontario tour on **Sat, Feb 18** at **Danse Avec Moi Studio** in Milton, ON. \n\n**Lesson** : 8:30 to 9:30 pm with **Lucky Sipin**!  \n  \nSocial Dancing: 9:30 - 1:00 am with **DJ Bongohead** from Massachusetts, **DJ Gury Gury** and **DJ Tarek** playing salsa on vinyl!   \n  \nFully Licensed Bar! Plus Prizes: We will be giving away Full Passes to the Toronto Salsa Festival in April to the person with the most beads at the end of the night!  \n  \nCover: $10.00  \n  \n  \nPlaying the best in **salsa dura, bachata, kizomba, cha cha**  \n  \n**Danse Avec Moi Studio**  \n  \n**781 Main Street East**  \n  \n**Unit 26,27**  \n  \n**Milton, Ontario**   \n  \nTel: 905-636-0308",
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      "html": "<p><strong><img src=\"/images/16299094_10103229713400831_3148561863301021544_n_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Peace &#x26; Rhythm’s DJ Bongohead</strong> continues his Ontario tour on <strong>Sat, Feb 18</strong> at <strong>Danse Avec Moi Studio</strong> in Milton, ON.</p>\n<p><strong>Lesson</strong> : 8:30 to 9:30 pm with <strong>Lucky Sipin</strong>!</p>\n<p>Social Dancing: 9:30 - 1:00 am with <strong>DJ Bongohead</strong> from Massachusetts, <strong>DJ Gury Gury</strong> and <strong>DJ Tarek</strong> playing salsa on vinyl!</p>\n<p>Fully Licensed Bar! Plus Prizes: We will be giving away Full Passes to the Toronto Salsa Festival in April to the person with the most beads at the end of the night!</p>\n<p>Cover: $10.00</p>\n<p>Playing the best in <strong>salsa dura, bachata, kizomba, cha cha</strong></p>\n<p><strong>Danse Avec Moi Studio</strong></p>\n<p><strong>781 Main Street East</strong></p>\n<p><strong>Unit 26,27</strong></p>\n<p><strong>Milton, Ontario</strong></p>\n<p>Tel: 905-636-0308</p>",
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          "title": "MILTON, ONTARIO: Mardi Gras Klandestino, Feb 18",
          "pagination": "https://www.peaceandrhythm.com/?page=89",
          "date": "February 13, 2017",
          "post": "MILTON, ONTARIO: Mardi Gras Klandestino, Feb 18",
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    "id": "toronto-50-years-of-latin-album-cover-art-discussion-with-dj-bongohead",
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      "title": "TORONTO: 50 Years Of Latin Album Cover Art: Discussion with DJ Bongohead",
      "slug": "toronto-50-years-of-latin-album-cover-art-discussion-with-dj-bongohead",
      "date": "2017-02-13T00:00:00.000Z"
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    "body": "![](/images/16603067_10154124732807407_1631417111734149636_n_large.jpg)\n\nThis Saturday! Part of **DJ Bongohead** 's Ontario swing. Shows at Yaucca's Lounge in Toronto on Friday, this event at **Lula Lounge** on Saturday afternoon, Danse Avec Moi Studio in Milton on Sat and a private party on Sunday. An action-packed salsa weekend in the Northern land!",
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      "html": "<p><img src=\"/images/16603067_10154124732807407_1631417111734149636_n_large.jpg\" alt=\"\"></p>\n<p>This Saturday! Part of <strong>DJ Bongohead</strong> ‘s Ontario swing. Shows at Yaucca’s Lounge in Toronto on Friday, this event at <strong>Lula Lounge</strong> on Saturday afternoon, Danse Avec Moi Studio in Milton on Sat and a private party on Sunday. An action-packed salsa weekend in the Northern land!</p>",
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          "title": "TORONTO: 50 Years Of Latin Album Cover Art: Discussion with DJ Bongohead",
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          "date": "February 13, 2017",
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    "id": "toronto-la-rumba-buena-w-dj-bongohead-feb-17",
    "data": {
      "title": "TORONTO: La Rumba Buena w/ DJ Bongohead, Feb 17",
      "slug": "toronto-la-rumba-buena-w-dj-bongohead-feb-17",
      "date": "2017-02-13T00:00:00.000Z"
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    "body": "![](/images/16426277_1836414596631083_56932918342374317_n_large.jpg)\n\nTo celebrate their one-year anniversary Toronto's **La Rumba Buena** are flying up a very special guest from the US, Peace & Rhythm's own **DJ Bongohead**.  \n  \n_DJ Bongohead has been playing Latin music for more than two decades in venues large and small all across the U.S., Puerto Rico, and Spain. He has played at private parties for Fania Records, the Lincoln Center’s David Rubinstein Atrium, and Fez in NYC. He has guest DJed with DJ Turmix's_ Boogaloo _Party at Nublu in Manhattan and has opened for old-school salsa greats like Tipica ’73, Orquesta Típica Novel, The Mambo Legends Orchestra, and Orquesta Broadway, as well as contemporary salsa bands like Bio Ritmo, Grupo Fantasma, La Excelecia/Orquesta Salsa Con Conciencia, Orquesta El Macabeo, Los Hacheros, Ola Fresca and more. This is Bongohead's first time playing Toronto and he will be bringing along his famous collection of rare and dance floor friendly salsa and tropical vinyl bangers!_  \n  \nLa Rumba Buena is a night dedicated to classic Latin sounds inspired by the salsatecas in Cali, Havana, and New York. No frills, pure vibes, and a non-stop dance floor open to anyone who catches the rhythm.   \n  \n_La Rumba Buena_ just means a great party and ‘Rumber@s’ are people who love to dance. Expect to hear **salsa, boogaloo, cumbia, guaguanco, son, rumba, descargas, mambo, cha-cha-cha, bomba and plena** from the resident DJs. With a stack of vinyl collected over a decade from across the Americas, **DJs Blancon and Drumspeak** play out the sounds from the Latin Diaspora and bring _La Rumba Buena_ to Toronto.\n\n10pm-3am, $10\n\n**Yauca's Lounge**\n\n**755 Dovercourt Rd, Toronto, Ontario M6H 2X1**",
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      "html": "<p><img src=\"/images/16426277_1836414596631083_56932918342374317_n_large.jpg\" alt=\"\"></p>\n<p>To celebrate their one-year anniversary Toronto’s <strong>La Rumba Buena</strong> are flying up a very special guest from the US, Peace &#x26; Rhythm’s own <strong>DJ Bongohead</strong>.</p>\n<p><em>DJ Bongohead has been playing Latin music for more than two decades in venues large and small all across the U.S., Puerto Rico, and Spain. He has played at private parties for Fania Records, the Lincoln Center’s David Rubinstein Atrium, and Fez in NYC. He has guest DJed with DJ Turmix’s</em> Boogaloo <em>Party at Nublu in Manhattan and has opened for old-school salsa greats like Tipica ’73, Orquesta Típica Novel, The Mambo Legends Orchestra, and Orquesta Broadway, as well as contemporary salsa bands like Bio Ritmo, Grupo Fantasma, La Excelecia/Orquesta Salsa Con Conciencia, Orquesta El Macabeo, Los Hacheros, Ola Fresca and more. This is Bongohead’s first time playing Toronto and he will be bringing along his famous collection of rare and dance floor friendly salsa and tropical vinyl bangers!</em></p>\n<p>La Rumba Buena is a night dedicated to classic Latin sounds inspired by the salsatecas in Cali, Havana, and New York. No frills, pure vibes, and a non-stop dance floor open to anyone who catches the rhythm.</p>\n<p><em>La Rumba Buena</em> just means a great party and ‘Rumber@s’ are people who love to dance. Expect to hear <strong>salsa, boogaloo, cumbia, guaguanco, son, rumba, descargas, mambo, cha-cha-cha, bomba and plena</strong> from the resident DJs. With a stack of vinyl collected over a decade from across the Americas, <strong>DJs Blancon and Drumspeak</strong> play out the sounds from the Latin Diaspora and bring <em>La Rumba Buena</em> to Toronto.</p>\n<p>10pm-3am, $10</p>\n<p><strong>Yauca’s Lounge</strong></p>\n<p><strong>755 Dovercourt Rd, Toronto, Ontario M6H 2X1</strong></p>",
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          "title": "TORONTO: La Rumba Buena w/ DJ Bongohead, Feb 17",
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          "date": "February 13, 2017",
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    "id": "wardell-gray-feb-13-1921-may-25-1955",
    "data": {
      "title": "Wardell Gray / Feb 13, 1921 - May 25, 1955",
      "slug": "wardell-gray-feb-13-1921-may-25-1955",
      "date": "2017-02-13T00:00:00.000Z"
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    "body": "![](/images/f64de4f7a8855262a25036b538bf4_large.jpg)\n\nPassing just two months after Charlie Parker was another genius of the saxophone, tenor player **Wardell Gray.  **He was one of the bright lights of the West Coast scene of the late '40s/early '50s and it's a shame how relatively little-known he is compared to some of the other titans of the era, of which he surely should rank alongside. His style was flowing and melodic, not too heavy. He was one of the players who straddled the line between the swing and bop eras.\n\nHis first instrument was clarinet but he was inspired upon hearing Lester Young to switch to tenor. He came out of Detroit and got a job for three years in the Earl Hines big band (originally on alto), which included national touring. In '46 he moved to Los Angeles and cut his first disk under his own name, the classic \"One For Prez\". He worked up and down the jumping Central Ave nightclub scene where he would battle heavies like Dexter Gordon. He did some touring with Benny Carter and Billy Eckstine and cut some sessions for Dial with Parker. After the success of Gray's \"The Chase\", he found a gig in '48 with Benny Goodman, one of the biggest stars of the day. It was with the Goodman band that Gray came East and upon break-up of the group, he found some work with Count Basie, Tadd Dameron and others. Slowly, Gray found his way back West and started reducing his gigs. He found some work with Art Farmer, Al Haig, Louis Bellson, Sonny Criss, Teddy Charles and a gig in the brand new Las Vegas scene with Carter in '55. But he failed to show for the gig one night, with his body found in the desert and his neck broken. Official cause of death was ruled a drug overdose at 34. But was that the truth?\n\nHere's another famous cut by Gray, an earlier version of \"Twisted\", which would become a bigger, lasting hit by vocalist Annie Ross.\n\nHere's a clip of the Abraham Ravett documentary about Gray, titled _The Forgotten Tenor_ :",
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      "html": "<p><img src=\"/images/f64de4f7a8855262a25036b538bf4_large.jpg\" alt=\"\"></p>\n<p>Passing just two months after Charlie Parker was another genius of the saxophone, tenor player **Wardell Gray.  **He was one of the bright lights of the West Coast scene of the late ’40s/early ’50s and it’s a shame how relatively little-known he is compared to some of the other titans of the era, of which he surely should rank alongside. His style was flowing and melodic, not too heavy. He was one of the players who straddled the line between the swing and bop eras.</p>\n<p>His first instrument was clarinet but he was inspired upon hearing Lester Young to switch to tenor. He came out of Detroit and got a job for three years in the Earl Hines big band (originally on alto), which included national touring. In ‘46 he moved to Los Angeles and cut his first disk under his own name, the classic “One For Prez”. He worked up and down the jumping Central Ave nightclub scene where he would battle heavies like Dexter Gordon. He did some touring with Benny Carter and Billy Eckstine and cut some sessions for Dial with Parker. After the success of Gray’s “The Chase”, he found a gig in ‘48 with Benny Goodman, one of the biggest stars of the day. It was with the Goodman band that Gray came East and upon break-up of the group, he found some work with Count Basie, Tadd Dameron and others. Slowly, Gray found his way back West and started reducing his gigs. He found some work with Art Farmer, Al Haig, Louis Bellson, Sonny Criss, Teddy Charles and a gig in the brand new Las Vegas scene with Carter in ‘55. But he failed to show for the gig one night, with his body found in the desert and his neck broken. Official cause of death was ruled a drug overdose at 34. But was that the truth?</p>\n<p>Here’s another famous cut by Gray, an earlier version of “Twisted”, which would become a bigger, lasting hit by vocalist Annie Ross.</p>\n<p>Here’s a clip of the Abraham Ravett documentary about Gray, titled <em>The Forgotten Tenor</em> :</p>",
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          "title": "Wardell Gray / Feb 13, 1921 - May 25, 1955",
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          "date": "February 13, 2017",
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    "id": "eugene-mcdaniels-feb-12-1935-july-29-2011",
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      "title": "Eugene McDaniels / Feb 12, 1935 - July 29, 2011",
      "slug": "eugene-mcdaniels-feb-12-1935-july-29-2011",
      "date": "2017-02-12T00:00:00.000Z"
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    "body": "![](/images/1168469-gene-mcdaniels-677-409_large.jpg)\n\nThe \"left reverend\" **Eugene \"Gene\" McDaniels** is largely known for three contributions to the popular consciousness. The first is his 1961 song \"100 Pounds of Clay\" heard on oldies stations to this day (released as Gene McDaniels). The second is his notoriety as a chart-topping song-writer (\"Feel Like Makin' Love\", by Roberta Flack and \"Compared to What\", popularized by Les McCann & Eddie Harris). And the third is his rare grove LP _Headless Heroes of the Apocalypse_ , controversial at the time for songs that deeply examine the elite power structure (and the attempted banning of the album by the White House) and sampled or covered by A Tribe Called Quest, Beastie \"get it together and see what's happening\" Boys, The Roots & John Legend, among others. He lived as a hermit in Maine and died in 2011.\n\nHere are two of his greatest albums:",
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      "html": "<p><img src=\"/images/1168469-gene-mcdaniels-677-409_large.jpg\" alt=\"\"></p>\n<p>The “left reverend” <strong>Eugene “Gene” McDaniels</strong> is largely known for three contributions to the popular consciousness. The first is his 1961 song “100 Pounds of Clay” heard on oldies stations to this day (released as Gene McDaniels). The second is his notoriety as a chart-topping song-writer (“Feel Like Makin’ Love”, by Roberta Flack and “Compared to What”, popularized by Les McCann &#x26; Eddie Harris). And the third is his rare grove LP <em>Headless Heroes of the Apocalypse</em> , controversial at the time for songs that deeply examine the elite power structure (and the attempted banning of the album by the White House) and sampled or covered by A Tribe Called Quest, Beastie “get it together and see what’s happening” Boys, The Roots &#x26; John Legend, among others. He lived as a hermit in Maine and died in 2011.</p>\n<p>Here are two of his greatest albums:</p>",
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          "date": "February 12, 2017",
          "post": "Eugene McDaniels / Feb 12, 1935 - July 29, 2011",
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    "id": "gene-vincent-feb-11-1935-oct-12-1971",
    "data": {
      "title": "Gene Vincent / Feb 11, 1935 - Oct 12, 1971",
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      "date": "2017-02-11T00:00:00.000Z"
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    "body": "![](/images/7f7c497d59774e5284720666f36a7a07_large.png)\n\nThe pioneering rockabilly artist **Gene Vincent** whooped things up with the mighty \"Be-Bop-A-Lula\" in 1956 with his band The Blue-Caps, which was originally intended as a b-side. Other '50s hits included \"Race With The Devil\", \"Bluejean Bop\" and \"Lotta Lovin\". He became an ex-pat in '59 and lived in and toured Europe for several years, at one point his band included a young Ritchie Blackmore.\n\nBeset by medical problems from injuries sustained in two road crashes (a '55 crash of his brand new Triumph motorcycle and a '60 taxi crash that killed Eddie Cochran), and his subsequent self-destruction through drink & painkillers, Vincent grinded his way through the rest of his life as a has-been artist in pain. He went back to the States in the late '60s and played country and folk-rock. At one point he shot at Gary Glitter (too bad he didn't succeed in killing him!). Vincent died at 36.\n\nCheck out Gene's biggest tune here:\n\nHere's a documentary, _The Rock & Roll Singer - 1969_, about Gene returning to tour the UK in '69. He's shown being greeted by his Teddy Boy fans and coaxing music from his backing band (whom he'd just met) in a basement rehearsal. They play some gigs, talk conspiracy theories and Gene walks around with a sad vibe. Pretty interesting vid, and a must-see for his fans:",
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      "html": "<p><img src=\"/images/7f7c497d59774e5284720666f36a7a07_large.png\" alt=\"\"></p>\n<p>The pioneering rockabilly artist <strong>Gene Vincent</strong> whooped things up with the mighty “Be-Bop-A-Lula” in 1956 with his band The Blue-Caps, which was originally intended as a b-side. Other ’50s hits included “Race With The Devil”, “Bluejean Bop” and “Lotta Lovin”. He became an ex-pat in ‘59 and lived in and toured Europe for several years, at one point his band included a young Ritchie Blackmore.</p>\n<p>Beset by medical problems from injuries sustained in two road crashes (a ‘55 crash of his brand new Triumph motorcycle and a ‘60 taxi crash that killed Eddie Cochran), and his subsequent self-destruction through drink &#x26; painkillers, Vincent grinded his way through the rest of his life as a has-been artist in pain. He went back to the States in the late ’60s and played country and folk-rock. At one point he shot at Gary Glitter (too bad he didn’t succeed in killing him!). Vincent died at 36.</p>\n<p>Check out Gene’s biggest tune here:</p>\n<p>Here’s a documentary, <em>The Rock &#x26; Roll Singer - 1969</em>, about Gene returning to tour the UK in ‘69. He’s shown being greeted by his Teddy Boy fans and coaxing music from his backing band (whom he’d just met) in a basement rehearsal. They play some gigs, talk conspiracy theories and Gene walks around with a sad vibe. Pretty interesting vid, and a must-see for his fans:</p>",
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    "id": "josh-white-feb-11-1914-sept-5-1969",
    "data": {
      "title": "Josh White / Feb 11, 1914 - Sept 5, 1969",
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    "body": "![](/images/Josh_White_2372836k_large.jpg)\n\nThe activist singer **Josh White** got his start as a homeless teenager, recording his own blues and gospel sides, and cutting sessions for other singers before a period of inactivity due to a serious hand injury. Healed, he starred on Broadway, became FDR's closest friend and was a well-loved country-blues artist in the '40s. One of the most popular artists of the day, he also made some movie appearances at a time when blacks were rarely seen starring onscreen. In fact, White's career was full of \"firsts\" for black artists...until McCarthyism damaged his reputation with the American public and he was blacklisted and deported (despite being American!). This was surely due to his deep involvement in the civil rights and anti-segregationist movements of the '40s (not to mention his relations with white women). His appearance before the HUAC, despite not naming names, left many uninformed lefties full of rumors and his career took a hit, both popularly and with progressives. He spent some time in Europe during his ban and finally returned to record for Elektra Records. His ban was halted in 1963 and he got his own US postage stamp in '98.\n\nCheck him out in this live performance for Swedish television, in '62 (while still under a ban in the U.S.):",
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      "html": "<p><img src=\"/images/Josh_White_2372836k_large.jpg\" alt=\"\"></p>\n<p>The activist singer <strong>Josh White</strong> got his start as a homeless teenager, recording his own blues and gospel sides, and cutting sessions for other singers before a period of inactivity due to a serious hand injury. Healed, he starred on Broadway, became FDR’s closest friend and was a well-loved country-blues artist in the ’40s. One of the most popular artists of the day, he also made some movie appearances at a time when blacks were rarely seen starring onscreen. In fact, White’s career was full of “firsts” for black artists…until McCarthyism damaged his reputation with the American public and he was blacklisted and deported (despite being American!). This was surely due to his deep involvement in the civil rights and anti-segregationist movements of the ’40s (not to mention his relations with white women). His appearance before the HUAC, despite not naming names, left many uninformed lefties full of rumors and his career took a hit, both popularly and with progressives. He spent some time in Europe during his ban and finally returned to record for Elektra Records. His ban was halted in 1963 and he got his own US postage stamp in ‘98.</p>\n<p>Check him out in this live performance for Swedish television, in ‘62 (while still under a ban in the U.S.):</p>",
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          "post": "Josh White / Feb 11, 1914 - Sept 5, 1969",
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  {
    "id": "leon-haywood-feb-11-1942-apr-5-2016",
    "data": {
      "title": "Leon Haywood / Feb 11, 1942 - Apr 5, 2016",
      "slug": "leon-haywood-feb-11-1942-apr-5-2016",
      "date": "2017-02-11T00:00:00.000Z"
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    "body": "![](/images/Leon-Haywood-1975-billboard-650_large.jpg)\n\nHappy birthday to the recently-passed keyboardist/songwriter/producer **Leon Haywood** , the man behind that G-Funk staple \"I Wanna Do Something Freaky To You\". He came from Houston and was playing piano as a young child. He put together his first professional band in the '50s, playing locally while also backing Guitar Slim. In the early '60s he moved to Los Angeles, where he played in a band with saxophonist Big Jay McNeely, and backing Sam Cooke in his band until Cooke's death. He continued working as a session musician with Dyke & The Blazers, among others.\n\nHe had a few minor soul hits (including the Carolina \"beach music\" classic \"It's Got To Be Mellow\") in the mid-'60s and early '70s while hoppin' labels until he broke big with \"Freaky\" in '75. He had a big disco-era hit in '80 with \"Don't Push It Don't Force It\" before going into semi-retirement, save for some productions of blues artists (Jimmy McCracklin, etc) on his own EveJim label. \"Freaky\" was used as the basis for Dr Dre's \"Nuthin' But A G Thang\". Here is the OG jam, followed by the Dre hit:\n\nDre and Snoop take it from here:",
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      "html": "<p><img src=\"/images/Leon-Haywood-1975-billboard-650_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the recently-passed keyboardist/songwriter/producer <strong>Leon Haywood</strong> , the man behind that G-Funk staple “I Wanna Do Something Freaky To You”. He came from Houston and was playing piano as a young child. He put together his first professional band in the ’50s, playing locally while also backing Guitar Slim. In the early ’60s he moved to Los Angeles, where he played in a band with saxophonist Big Jay McNeely, and backing Sam Cooke in his band until Cooke’s death. He continued working as a session musician with Dyke &#x26; The Blazers, among others.</p>\n<p>He had a few minor soul hits (including the Carolina “beach music” classic “It’s Got To Be Mellow”) in the mid-’60s and early ’70s while hoppin’ labels until he broke big with “Freaky” in ‘75. He had a big disco-era hit in ‘80 with “Don’t Push It Don’t Force It” before going into semi-retirement, save for some productions of blues artists (Jimmy McCracklin, etc) on his own EveJim label. “Freaky” was used as the basis for Dr Dre’s “Nuthin’ But A G Thang”. Here is the OG jam, followed by the Dre hit:</p>\n<p>Dre and Snoop take it from here:</p>",
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          "title": "Leon Haywood / Feb 11, 1942 - Apr 5, 2016",
          "pagination": "https://www.peaceandrhythm.com/?page=90",
          "date": "February 11, 2017",
          "post": "Leon Haywood / Feb 11, 1942 - Apr 5, 2016",
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    "id": "cliff-burton-feb-10-1962-sep-27-1986",
    "data": {
      "title": "Cliff Burton / Feb 10, 1962 - Sep 27, 1986",
      "slug": "cliff-burton-feb-10-1962-sep-27-1986",
      "date": "2017-02-10T00:00:00.000Z"
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    "body": "![](/images/cliff_burton_by_bielebny-d63pryq_large.jpg)\n\n_(drawing by [Lukas Biel](http://bielebny.deviantart.com/art/Cliff-Burton-369038546))_\n\nAn icon of heavy metal, Metallica bassist **Cliff Burton** died all too young at just 24, but not before he made three amazing albums with the band, including the top-rated _Master Of Puppets_ , an album that shows this band of young drunks to possess incredible talent and song-writing chops. The bassists from the bands Black Sabbath, Rush, Thin Lizzy and Motorhead, as well as jazz bassist Stanley Clarke were his biggest influences. Check out his bass work on \"Anesthesia (Pulling Teeth)\" and \"Orion\" with Metallica.\n\nHere's that classic tune from _Master of Puppets_ , \"Orion\":\n\nAnd I can never get enough of this great dual acoustic-guitar version by Rodrigo & Gabriela:",
    "filePath": "content/posts/cliff-burton-feb-10-1962-sep-27-1986.md",
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      "html": "<p><img src=\"/images/cliff_burton_by_bielebny-d63pryq_large.jpg\" alt=\"\"></p>\n<p><em>(drawing by <a href=\"http://bielebny.deviantart.com/art/Cliff-Burton-369038546\">Lukas Biel</a>)</em></p>\n<p>An icon of heavy metal, Metallica bassist <strong>Cliff Burton</strong> died all too young at just 24, but not before he made three amazing albums with the band, including the top-rated <em>Master Of Puppets</em> , an album that shows this band of young drunks to possess incredible talent and song-writing chops. The bassists from the bands Black Sabbath, Rush, Thin Lizzy and Motorhead, as well as jazz bassist Stanley Clarke were his biggest influences. Check out his bass work on “Anesthesia (Pulling Teeth)” and “Orion” with Metallica.</p>\n<p>Here’s that classic tune from <em>Master of Puppets</em> , “Orion”:</p>\n<p>And I can never get enough of this great dual acoustic-guitar version by Rodrigo &#x26; Gabriela:</p>",
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          "title": "Cliff Burton / Feb 10, 1962 - Sep 27, 1986",
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          "date": "February 10, 2017",
          "post": "Cliff Burton / Feb 10, 1962 - Sep 27, 1986",
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  {
    "id": "luis-morais-feb-10-1935-sep-25-2002",
    "data": {
      "title": "Luis Morais Feb 10, 1935 - Sep 25, 2002",
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      "date": "2017-02-10T00:00:00.000Z"
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    "body": "![](/images/R-6219802-1414018806-6897_jpeg_large.jpg)\n\nFrom a family of musicians, **Luis Morais** was born on the island of São Vicente, Cabo Verde but grew up in Dakar, Senegal, where he was trained in music theory and composition. He started playing in Dakar nightclubs in the '50s as a tenor & alto saxophonist, flautist and clarinet player, playing in a variety of musical styles including mambo, merengue, son, boleros and cha cha, as well as Cape Verdean folk music (such as coladera & mornas.). As such, he is considered a leader of the Cape Verdean folk music scene in Senegal.\n\nAfter relocating to The Netherlands in '65, he formed La Voz de Cabo Verde, who would become one of the world's best known Cape Verdean bands, with a repertoire that included not only styles of Cabo Verde, but also cumbia, salsa, merengue, samba, bossa and pop tunes by the Beatles, played with electric instruments. The group was based first in Rotterdam, and then in Lisbon, playing, recording and touring through the '60s and '70s, even after a change in sound and personnel. The group collaborated with artists such as Abel Lima and Bana (who was a full-time member at one point in the '70s). After La Voz dissolved, Morais would often work with Cesaria Evora until his death on-stage in Massachusetts in 2002. He was also an educator in school music departments.\n\nCheck out \"Linda Melodia\", from his 1967 album _Boas Festas_ (since reissued on Lusafrica):\n\nFrom Voz de Cabo Verde's _Nova Coladera_ :\n\nAnd he often worked on the albums of Dionisio Maio. Check out his lovely sing-songy clarinet here:",
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      "html": "<p><img src=\"/images/R-6219802-1414018806-6897_jpeg_large.jpg\" alt=\"\"></p>\n<p>From a family of musicians, <strong>Luis Morais</strong> was born on the island of São Vicente, Cabo Verde but grew up in Dakar, Senegal, where he was trained in music theory and composition. He started playing in Dakar nightclubs in the ’50s as a tenor &#x26; alto saxophonist, flautist and clarinet player, playing in a variety of musical styles including mambo, merengue, son, boleros and cha cha, as well as Cape Verdean folk music (such as coladera &#x26; mornas.). As such, he is considered a leader of the Cape Verdean folk music scene in Senegal.</p>\n<p>After relocating to The Netherlands in ‘65, he formed La Voz de Cabo Verde, who would become one of the world’s best known Cape Verdean bands, with a repertoire that included not only styles of Cabo Verde, but also cumbia, salsa, merengue, samba, bossa and pop tunes by the Beatles, played with electric instruments. The group was based first in Rotterdam, and then in Lisbon, playing, recording and touring through the ’60s and ’70s, even after a change in sound and personnel. The group collaborated with artists such as Abel Lima and Bana (who was a full-time member at one point in the ’70s). After La Voz dissolved, Morais would often work with Cesaria Evora until his death on-stage in Massachusetts in 2002. He was also an educator in school music departments.</p>\n<p>Check out “Linda Melodia”, from his 1967 album <em>Boas Festas</em> (since reissued on Lusafrica):</p>\n<p>From Voz de Cabo Verde’s <em>Nova Coladera</em> :</p>\n<p>And he often worked on the albums of Dionisio Maio. Check out his lovely sing-songy clarinet here:</p>",
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          "date": "February 10, 2017",
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    "id": "joe-maneri-feb-9-1927-aug-24-2009",
    "data": {
      "title": "Joe Maneri / Feb 9, 1927 - Aug 24, 2009",
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      "date": "2017-02-09T00:00:00.000Z"
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    "body": "![](/images/4e40c8e04aa5068fbdda4590f957fe679a337f3e_large.jpg)\n\nHappy birthday to the underrated microtonal composer and reedsman **Joe Maneri**. In 1963 he recorded a demo of 12-tone music with ethnic influence and a sort-of free jazz for Atlantic Records that didn't see release until 1998 (_Paniots Nine_ , released on John Zorn's Tzadik label, and later used in the movie _American Splendor_), which would've placed him in the avant-garde of jazz had it seen the light of day at the time. Instead, nothing much happened for Maneri, outside of Boston, until his son Mat encouraged him to be more active in the 1990s. He made several records in the '90s and 2000s.\n\nHere is a cut from that '63 demo, unissued at the time. The recording is unpolished. Don Burns plays the piano, the drummer (and composer) is Pete Dolger and the bassist is John Beal.\n\nAnd here's some more rare & amazing Maneri music, live at Jordan Hall in Boston, 1981.",
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      "html": "<p><img src=\"/images/4e40c8e04aa5068fbdda4590f957fe679a337f3e_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the underrated microtonal composer and reedsman <strong>Joe Maneri</strong>. In 1963 he recorded a demo of 12-tone music with ethnic influence and a sort-of free jazz for Atlantic Records that didn’t see release until 1998 (<em>Paniots Nine</em> , released on John Zorn’s Tzadik label, and later used in the movie <em>American Splendor</em>), which would’ve placed him in the avant-garde of jazz had it seen the light of day at the time. Instead, nothing much happened for Maneri, outside of Boston, until his son Mat encouraged him to be more active in the 1990s. He made several records in the ’90s and 2000s.</p>\n<p>Here is a cut from that ‘63 demo, unissued at the time. The recording is unpolished. Don Burns plays the piano, the drummer (and composer) is Pete Dolger and the bassist is John Beal.</p>\n<p>And here’s some more rare &#x26; amazing Maneri music, live at Jordan Hall in Boston, 1981.</p>",
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          "date": "February 09, 2017",
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  {
    "id": "lonnie-johnson-feb-8-1899-june-16-1970",
    "data": {
      "title": "Lonnie Johnson / Feb 8, 1899 - June 16, 1970",
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      "date": "2017-02-08T00:00:00.000Z"
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    "body": "![](/images/Lonnie_Johnson_9_large.jpg)\n\nA pioneering guitarist and violinist (and a popular singer) in blues and jazz, **Lonnie Johnson** came from a musical family in New Orleans and learned to play several instruments. He toured the UK for two years and returned home to find that nearly his entire family, save his brother, were killed by the flu epidemic of 1918. The two brothers worked the riverboat scene and Lonnie married blues musician Mary Johnson. In the '20s he recorded several sides for Okeh and toured with Bessie Smith. In 1927 he recorded with Louis Armstrong and with Duke Ellington the following year. His 1929 work with Eddie Lang may very well be the first integrated act on recordings. After laying low and working a regular job during the Depression, he returned in the '40s as an R&B singer and later as part of the folk & blues revival. In the late '60s he moved to Toronto and opened a club. He was hit by a car in '69 and his health rapidly declined. He made his last appearance singing a couple songs onstage with Buddy Guy in February 1970, dying a few months later. He was considered an influence on Charlie Christian, T-Bone Walker, Robert Johnson and Django Reinhardt, as well as Lonnie Donnegan and Bob Dylan. In fact, he proved to be an enormously influential artist.\n\nCheck out this fine example of his talents on the 1937 solo recording of \"Swing Out Rhythm\":\n\nAnd how about this footage of him from much later in his life, 1963 to be exact, sounding as strong as ever:",
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      "html": "<p><img src=\"/images/Lonnie_Johnson_9_large.jpg\" alt=\"\"></p>\n<p>A pioneering guitarist and violinist (and a popular singer) in blues and jazz, <strong>Lonnie Johnson</strong> came from a musical family in New Orleans and learned to play several instruments. He toured the UK for two years and returned home to find that nearly his entire family, save his brother, were killed by the flu epidemic of 1918. The two brothers worked the riverboat scene and Lonnie married blues musician Mary Johnson. In the ’20s he recorded several sides for Okeh and toured with Bessie Smith. In 1927 he recorded with Louis Armstrong and with Duke Ellington the following year. His 1929 work with Eddie Lang may very well be the first integrated act on recordings. After laying low and working a regular job during the Depression, he returned in the ’40s as an R&#x26;B singer and later as part of the folk &#x26; blues revival. In the late ’60s he moved to Toronto and opened a club. He was hit by a car in ‘69 and his health rapidly declined. He made his last appearance singing a couple songs onstage with Buddy Guy in February 1970, dying a few months later. He was considered an influence on Charlie Christian, T-Bone Walker, Robert Johnson and Django Reinhardt, as well as Lonnie Donnegan and Bob Dylan. In fact, he proved to be an enormously influential artist.</p>\n<p>Check out this fine example of his talents on the 1937 solo recording of “Swing Out Rhythm”:</p>\n<p>And how about this footage of him from much later in his life, 1963 to be exact, sounding as strong as ever:</p>",
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          "date": "February 08, 2017",
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  {
    "id": "record-review-jungle-fire-jambu-nacional-records",
    "data": {
      "title": "RECORD REVIEW: Jungle Fire - Jambú  (Nacional Records)",
      "slug": "record-review-jungle-fire-jambu-nacional-records",
      "date": "2017-02-08T00:00:00.000Z"
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    "body": "**_Review by DJ Bongohead_**\n\n![](/images/d58f5518a2143ed0d69e222f2b686c20_large.jpg)  \n  \nThere’s a lot of pretenders out there when it comes to contemporary instrumental Afro-funk and Afro-Latin inspired music, but when a band knows their stuff, well, as Fela Kuti used to say, “Who no know go know,” and one thing I know: **Jungle Fire** is 100% legit, _pura candela_ , mofongo funk. If the percussion section can’t turn on a dime or do tight breaks, if the brass is limp or out of tune, if the bass has no _tumbao_ , if the players don’t know their roots or let the _orishas_ take them, well then don’t bother trying to play it for me. If, on the other hand the band has ‘ _saoco_ ’ and ‘ _afinque_ ’ – two idiomatic Afro-Latin music expressions that sum up what I’m talking about (spirit and graceful in-tune tightness) – _órale_ , _pues_ , I’m all about it. And **_Jambú_** has _saoco_ and _afinque_ in abundance!   \n  \nFrom the first needle-drop on the nas-tay opening cut ‘La Kossa’ to the beautiful geometric pattern on the album cover that recalls the connections between Africa and Latin America (textiles, chekeré beading) and the sticker that sums up their sound perfectly (Afro Latin Funk from Los Angeles), you know right from the start that this record is not suffering from the bane of many a band’s career, sophomore slump. It’s got beachy sun, it’s got urban grit, freeway breezes and car-bumpin’ beats—a whole lot of spunk, just like L.A.\n\n  \n  \nStarting their stew with a solid base of Afro-Cuban modes, plus Fela’s afrobeat, Manu Dibango’s _makossa_ , and Colombian _costeño_ sounds, the band adds a heady stream of spices and _sazón_ (seasoning), from funk, disco and soul to lowrider Latin rock (even a shake of dub-wise echo gets tossed in), with the finishing touch of _umami_ being the psychedelic garnishes and funny little elements that are sprinkled on top, like fuzzy guitars, synth swirls, and, for their spot-on cover of the head-nodding Discos Fuentes anthem ‘Cumbia de Sal,’ a children’s chorus to bring just a touch of sweetness to the salty proceedings.   \n  \nThere’s plenty to celebrate on this jam-buya, from the upbeat numbers like ‘N.U.S.A.U.’ and ‘Mofongo’ (mashed plantain) to the more dark and chill grooves heard on ‘Efori’ (which means \"headache\" in Yoruba), ‘Bele Bele’ and ‘Lamento Momposino’ – the diversity and cohesiveness make for quite a heady tropical _sancocho_ (Caribbean stew), like something your Puerto Rican cousin might bring to the table at a stoned-soul-picnic in the park. Speaking of… I can just picture myself on a Friday strolling Abbot Kinney Boulevard headed out to Venice Beach, stopping at some amazing Afro-Latin-Asian fusion food truck along the way for a bite, while this record pours forth from the speakers as the sizzling, mouthwatering smells hit my awaiting nostrils and make my stomach gurgle in anticipation…\n\n![](/images/Jungle-Fire-Press_large.jpg)\n\nIn sum, trying to explain the JF sound to a newbie is a bit tough – yes they have elements in common with War, El Chicano, Earth Wind & Fire, Nigerian Afro-funk, Antibalas, Brownout and Budos Band, but their West-Coast savory flavor is all their own and so my recommendation is to experience **_Jambú_** on a gut level for yourself. This record is every bit as dope as their debut, but perhaps even more assured and hard-hitting; like some incredible meals though, you’ll devour it so fast, it will be over before you know it and you’ll be hungry for some more, maybe a bit of flan to finish the night (it’s a shorty that clocks in at 32:15 total time). But it’s probably not a bad thing to be left wanting más y más; _Jambú_ is a five star meal that does not overstay its welcome. _¡Buen provecho!_\n\n**Nacional Records** NCL 20155LP © 2016\n\n<http://junglefiremusic.com/>\n\n<http://www.nacionalrecords.com/>\n\nHere is a little studio view into the making of the album's opening cut \"La Kossa\":",
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      "html": "<p><strong><em>Review by DJ Bongohead</em></strong></p>\n<p><img src=\"/images/d58f5518a2143ed0d69e222f2b686c20_large.jpg\" alt=\"\"></p>\n<p>There’s a lot of pretenders out there when it comes to contemporary instrumental Afro-funk and Afro-Latin inspired music, but when a band knows their stuff, well, as Fela Kuti used to say, “Who no know go know,” and one thing I know: <strong>Jungle Fire</strong> is 100% legit, <em>pura candela</em> , mofongo funk. If the percussion section can’t turn on a dime or do tight breaks, if the brass is limp or out of tune, if the bass has no <em>tumbao</em> , if the players don’t know their roots or let the <em>orishas</em> take them, well then don’t bother trying to play it for me. If, on the other hand the band has ‘ <em>saoco</em> ’ and ‘ <em>afinque</em> ’ – two idiomatic Afro-Latin music expressions that sum up what I’m talking about (spirit and graceful in-tune tightness) – <em>órale</em> , <em>pues</em> , I’m all about it. And <strong><em>Jambú</em></strong> has <em>saoco</em> and <em>afinque</em> in abundance!</p>\n<p>From the first needle-drop on the nas-tay opening cut ‘La Kossa’ to the beautiful geometric pattern on the album cover that recalls the connections between Africa and Latin America (textiles, chekeré beading) and the sticker that sums up their sound perfectly (Afro Latin Funk from Los Angeles), you know right from the start that this record is not suffering from the bane of many a band’s career, sophomore slump. It’s got beachy sun, it’s got urban grit, freeway breezes and car-bumpin’ beats—a whole lot of spunk, just like L.A.</p>\n<p>Starting their stew with a solid base of Afro-Cuban modes, plus Fela’s afrobeat, Manu Dibango’s <em>makossa</em> , and Colombian <em>costeño</em> sounds, the band adds a heady stream of spices and <em>sazón</em> (seasoning), from funk, disco and soul to lowrider Latin rock (even a shake of dub-wise echo gets tossed in), with the finishing touch of <em>umami</em> being the psychedelic garnishes and funny little elements that are sprinkled on top, like fuzzy guitars, synth swirls, and, for their spot-on cover of the head-nodding Discos Fuentes anthem ‘Cumbia de Sal,’ a children’s chorus to bring just a touch of sweetness to the salty proceedings.</p>\n<p>There’s plenty to celebrate on this jam-buya, from the upbeat numbers like ‘N.U.S.A.U.’ and ‘Mofongo’ (mashed plantain) to the more dark and chill grooves heard on ‘Efori’ (which means “headache” in Yoruba), ‘Bele Bele’ and ‘Lamento Momposino’ – the diversity and cohesiveness make for quite a heady tropical <em>sancocho</em> (Caribbean stew), like something your Puerto Rican cousin might bring to the table at a stoned-soul-picnic in the park. Speaking of… I can just picture myself on a Friday strolling Abbot Kinney Boulevard headed out to Venice Beach, stopping at some amazing Afro-Latin-Asian fusion food truck along the way for a bite, while this record pours forth from the speakers as the sizzling, mouthwatering smells hit my awaiting nostrils and make my stomach gurgle in anticipation…</p>\n<p><img src=\"/images/Jungle-Fire-Press_large.jpg\" alt=\"\"></p>\n<p>In sum, trying to explain the JF sound to a newbie is a bit tough – yes they have elements in common with War, El Chicano, Earth Wind &#x26; Fire, Nigerian Afro-funk, Antibalas, Brownout and Budos Band, but their West-Coast savory flavor is all their own and so my recommendation is to experience <strong><em>Jambú</em></strong> on a gut level for yourself. This record is every bit as dope as their debut, but perhaps even more assured and hard-hitting; like some incredible meals though, you’ll devour it so fast, it will be over before you know it and you’ll be hungry for some more, maybe a bit of flan to finish the night (it’s a shorty that clocks in at 32:15 total time). But it’s probably not a bad thing to be left wanting más y más; <em>Jambú</em> is a five star meal that does not overstay its welcome. <em>¡Buen provecho!</em></p>\n<p><strong>Nacional Records</strong> NCL 20155LP © 2016</p>\n<p><a href=\"http://junglefiremusic.com/\">http://junglefiremusic.com/</a></p>\n<p><a href=\"http://www.nacionalrecords.com/\">http://www.nacionalrecords.com/</a></p>\n<p>Here is a little studio view into the making of the album’s opening cut “La Kossa”:</p>",
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    "id": "video-premiere-klezperanto-arroz-con-coco-lucho-bermudez-tribute",
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      "title": "VIDEO PREMIERE! Klezperanto - Arroz Con Coco - (Lucho Bermúdez tribute)",
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    "body": "![](/images/Klezperanto_color_small_jpg-V2_161012__PaulTeeling_large.jpg)\n\n_(Photo, Paul Teeling)_\n\nWell here's a wonderful treat! **Peace & Rhythm** and **Klezperanto** team up to bring you the **official world premiere** of the brand new Klezperanto video for **\"Arroz Con Coco\"** , a tribute to the great **Lucho Bermúdez** of Colombia.\n\nClarinetist **Ilene Stahl** is a veteran of the Klezmer Conservatory Band (often with violinist Itzhak Perlman) and she formed the Boston-based six-piece ensemble **Klezperanto** in 1999 to stretch into other styles of dance music. \"We formed Klezperanto to play everything BUT traditional klezmer music!” she says. Indeed, the mix includes Balkan & Mediterranean styles, Eastern European, cumbia, danzas, ballads, zydeco, surf, samba, funk and \"1970's cop show music\", which is a fond memory of Ilene's childhood. The group displays a lot of \"flash & dazzle\" as she calls it. They often feature electric guitar as well.\n\nStahl and I first met several years ago due to mutual love for cumbia, which she heard me blasting on a boombox from the back room of a natural foods co-op I used to slave in. She showed up at the door trying to listen in to the sound:\n\n“I really love Latin dance music, most particularly the cumbia tradition,” said Stahl. “There was a golden age of big band dance music from Colombia in the 1950s and 1960s, and those big bands often featured clarinet and the other instruments we have in Klezperanto, so it’s a really good fit.”\n\nThis featured song was inspired by [Lucho Bermúdez,](https://www.youtube.com/watch?v=qMsiVnFDcUw) who created the original recording of it as a gaita/cumbia. This arrangement is by Klezperanto's trombonist **Mark Hamilton**.\n\nThe video was directed by Los Angeles-based [**Matt Eskew**](https://www.matteskew.net/) and features dancers **Anastasia Christie** and **Crisen Mckenzie**. It was shot in the historic art-deco style Pushkin building in Greenfield MA. We're pleased to present the video's debut here at **Peace & Rhythm**! **_Let's dance!:_**\n\n**The band:**\n\n**Ilene Stahl** , clarinet  \n**Mark Hamilton** , arranger, trombone  \n**Roberto Cassan** , accordion _(RIP)_  \n**Andrew Stern** , banjo  \n**Andrew Blickenderfer** , bass  \n**Grant Smith** , drums and percussion\n\nAudio recorded by **Klezperanto** at **The Rotary Records** , West Springfield, MA, in May 2015, **Warren Amerman** , engineer. Mixed by **Mark Wessel** and mastered by **Toby Mountain**.\n\n**_\"A dance mix so potent it should carry a warning label\"_** \\- The Boston Globe\n\n_(Special thanks to Sheryl Hunter, who conducted the interview with Ilene)_\n\n***And for Western Mass dancers, the band is making a rare concert appearance at **The Arts Block** in Greenfield MA on **Sunday, Feb 19**.!\n\n_For the first time since their sold-out, standing-room-only show over a year ago, Klezperanto returns to The Arts Block with solid klezmer roots, technical virtuosity, and a wry sense of humor.   Clarinetist Ilene Stahl and Boston's best musicians re-groove traditional klezmer and Mediterranean melodies, rip up Romanian surf tunes, cover cop show themes and cumbias, slay a few standards, and burnish it all to a funky finish.  In addition to hot dancing and cold drinks, the venue will be offering sizzling potato latkes, and chilled vodka-spiked borscht \"belts\"  Leave your expectations at the door; this is one of Greenfield's wildest parties of the year, and advance tickets are recommended._ **Purchase tickets to the concert [here](http://klezperanto.com/d/4/Ilene-Stahls-Klezperanto-is-Back).**\n\n![](/images/17_Klez_poster_WebSize-01_large.png)\n\n_(Poster by**Thom Dudley /[Sightlab](http://sightlab.com/)**)_\n\nAnd here's a general promo clip of the band:\n\n<http://klezperanto.com/>\n\n\"Like\" Klezperanto on [Facebook](https://www.facebook.com/klezperanto/)\n\n<http://theartsblock.com/>\n\n_(Below photo: Trish Crapo)_\n\n![](/images/AE-Crapo-Klez-Stahl-Spyglass_large.jpg)",
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      "html": "<p><img src=\"/images/Klezperanto_color_small_jpg-V2_161012__PaulTeeling_large.jpg\" alt=\"\"></p>\n<p><em>(Photo, Paul Teeling)</em></p>\n<p>Well here’s a wonderful treat! <strong>Peace &#x26; Rhythm</strong> and <strong>Klezperanto</strong> team up to bring you the <strong>official world premiere</strong> of the brand new Klezperanto video for <strong>“Arroz Con Coco”</strong> , a tribute to the great <strong>Lucho Bermúdez</strong> of Colombia.</p>\n<p>Clarinetist <strong>Ilene Stahl</strong> is a veteran of the Klezmer Conservatory Band (often with violinist Itzhak Perlman) and she formed the Boston-based six-piece ensemble <strong>Klezperanto</strong> in 1999 to stretch into other styles of dance music. “We formed Klezperanto to play everything BUT traditional klezmer music!” she says. Indeed, the mix includes Balkan &#x26; Mediterranean styles, Eastern European, cumbia, danzas, ballads, zydeco, surf, samba, funk and “1970’s cop show music”, which is a fond memory of Ilene’s childhood. The group displays a lot of “flash &#x26; dazzle” as she calls it. They often feature electric guitar as well.</p>\n<p>Stahl and I first met several years ago due to mutual love for cumbia, which she heard me blasting on a boombox from the back room of a natural foods co-op I used to slave in. She showed up at the door trying to listen in to the sound:</p>\n<p>“I really love Latin dance music, most particularly the cumbia tradition,” said Stahl. “There was a golden age of big band dance music from Colombia in the 1950s and 1960s, and those big bands often featured clarinet and the other instruments we have in Klezperanto, so it’s a really good fit.”</p>\n<p>This featured song was inspired by <a href=\"https://www.youtube.com/watch?v=qMsiVnFDcUw\">Lucho Bermúdez,</a> who created the original recording of it as a gaita/cumbia. This arrangement is by Klezperanto’s trombonist <strong>Mark Hamilton</strong>.</p>\n<p>The video was directed by Los Angeles-based <a href=\"https://www.matteskew.net/\"><strong>Matt Eskew</strong></a> and features dancers <strong>Anastasia Christie</strong> and <strong>Crisen Mckenzie</strong>. It was shot in the historic art-deco style Pushkin building in Greenfield MA. We’re pleased to present the video’s debut here at <strong>Peace &#x26; Rhythm</strong>! <strong><em>Let’s dance!:</em></strong></p>\n<p><strong>The band:</strong></p>\n<p><strong>Ilene Stahl</strong> , clarinet<br>\n<strong>Mark Hamilton</strong> , arranger, trombone<br>\n<strong>Roberto Cassan</strong> , accordion <em>(RIP)</em><br>\n<strong>Andrew Stern</strong> , banjo<br>\n<strong>Andrew Blickenderfer</strong> , bass<br>\n<strong>Grant Smith</strong> , drums and percussion</p>\n<p>Audio recorded by <strong>Klezperanto</strong> at <strong>The Rotary Records</strong> , West Springfield, MA, in May 2015, <strong>Warren Amerman</strong> , engineer. Mixed by <strong>Mark Wessel</strong> and mastered by <strong>Toby Mountain</strong>.</p>\n<p><strong><em>“A dance mix so potent it should carry a warning label”</em></strong> - The Boston Globe</p>\n<p><em>(Special thanks to Sheryl Hunter, who conducted the interview with Ilene)</em></p>\n<p>***And for Western Mass dancers, the band is making a rare concert appearance at <strong>The Arts Block</strong> in Greenfield MA on <strong>Sunday, Feb 19</strong>.!</p>\n<p><em>For the first time since their sold-out, standing-room-only show over a year ago, Klezperanto returns to The Arts Block with solid klezmer roots, technical virtuosity, and a wry sense of humor.   Clarinetist Ilene Stahl and Boston’s best musicians re-groove traditional klezmer and Mediterranean melodies, rip up Romanian surf tunes, cover cop show themes and cumbias, slay a few standards, and burnish it all to a funky finish.  In addition to hot dancing and cold drinks, the venue will be offering sizzling potato latkes, and chilled vodka-spiked borscht “belts”  Leave your expectations at the door; this is one of Greenfield’s wildest parties of the year, and advance tickets are recommended.</em> <strong>Purchase tickets to the concert <a href=\"http://klezperanto.com/d/4/Ilene-Stahls-Klezperanto-is-Back\">here</a>.</strong></p>\n<p><img src=\"/images/17_Klez_poster_WebSize-01_large.png\" alt=\"\"></p>\n<p><em>(Poster by<strong>Thom Dudley /<a href=\"http://sightlab.com/\">Sightlab</a></strong>)</em></p>\n<p>And here’s a general promo clip of the band:</p>\n<p><a href=\"http://klezperanto.com/\">http://klezperanto.com/</a></p>\n<p>“Like” Klezperanto on <a href=\"https://www.facebook.com/klezperanto/\">Facebook</a></p>\n<p><a href=\"http://theartsblock.com/\">http://theartsblock.com/</a></p>\n<p><em>(Below photo: Trish Crapo)</em></p>\n<p><img src=\"/images/AE-Crapo-Klez-Stahl-Spyglass_large.jpg\" alt=\"\"></p>",
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    "id": "j-dilla-feb-7-1974-feb-10-2006",
    "data": {
      "title": "J Dilla / Feb 7, 1974 - Feb 10, 2006",
      "slug": "j-dilla-feb-7-1974-feb-10-2006",
      "date": "2017-02-07T00:00:00.000Z"
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    "body": "![](/images/j_dilla_by_ethanmichael-d5ub2ow-800x600_large.jpg)\n\nJames D. Yancey aka Jay Dee aka **J Dilla** is one of a long lineage of Detroit musical geniuses. Both a producer and a rapper, he started Slum Village in '96, produced The Pharcyde, worked with Common, Erykah Badu, Talib Kweli, De La Soul, Janet Jackson, The Roots and many others, including producing, beatmaking, rapping and remixing. His partnership with Madlib produced the classic _Champion Sound_ album. He is an indie rap icon, more popular in death than ever. _(Not sure who did the very cool profile above, but respect!)_\n\nMy personal favorite is his collage-album _Donuts_ , here:",
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      "html": "<p><img src=\"/images/j_dilla_by_ethanmichael-d5ub2ow-800x600_large.jpg\" alt=\"\"></p>\n<p>James D. Yancey aka Jay Dee aka <strong>J Dilla</strong> is one of a long lineage of Detroit musical geniuses. Both a producer and a rapper, he started Slum Village in ‘96, produced The Pharcyde, worked with Common, Erykah Badu, Talib Kweli, De La Soul, Janet Jackson, The Roots and many others, including producing, beatmaking, rapping and remixing. His partnership with Madlib produced the classic <em>Champion Sound</em> album. He is an indie rap icon, more popular in death than ever. <em>(Not sure who did the very cool profile above, but respect!)</em></p>\n<p>My personal favorite is his collage-album <em>Donuts</em> , here:</p>",
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    "id": "king-curtis-feb-7-1934-aug-13-1971",
    "data": {
      "title": "King Curtis / Feb 7, 1934 - Aug 13, 1971",
      "slug": "king-curtis-feb-7-1934-aug-13-1971",
      "date": "2017-02-07T00:00:00.000Z"
    },
    "body": "![](/images/kingcurtis2_large.jpg)\n\nCurtis Ousley aka **King Curtis** , the versatile saxophonist/songwriter/arranger/producer, is a huge figure in '60s R&B. From Fort Worth TX, he was schoolmates with fellow saxophonist Ornette Coleman. He played early with Lionel Hampton and cut sessions with The Coasters, Buddy Holly, Waylon Jennings, Nat Adderley, LaVern Baker and others. In '65 he had his biggest hit \"Memphis Soul Stew\" and became musical director for Aretha Franklin. Later he recorded with John Lennon. His life was cut short in tragic fashion when he was stabbed to death on the steps to his apartment. _(In the picture above you can see Jimi Hendrix over on the right.)_\n\nStone classic tune:",
    "filePath": "content/posts/king-curtis-feb-7-1934-aug-13-1971.md",
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      "html": "<p><img src=\"/images/kingcurtis2_large.jpg\" alt=\"\"></p>\n<p>Curtis Ousley aka <strong>King Curtis</strong> , the versatile saxophonist/songwriter/arranger/producer, is a huge figure in ’60s R&#x26;B. From Fort Worth TX, he was schoolmates with fellow saxophonist Ornette Coleman. He played early with Lionel Hampton and cut sessions with The Coasters, Buddy Holly, Waylon Jennings, Nat Adderley, LaVern Baker and others. In ‘65 he had his biggest hit “Memphis Soul Stew” and became musical director for Aretha Franklin. Later he recorded with John Lennon. His life was cut short in tragic fashion when he was stabbed to death on the steps to his apartment. <em>(In the picture above you can see Jimi Hendrix over on the right.)</em></p>\n<p>Stone classic tune:</p>",
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    "id": "sex-pistols-live-at-longhorn-ballroom-dallas-jan-10-1979",
    "data": {
      "title": "Sex Pistols Live At Longhorn Ballroom, Dallas, Jan 10, 1979",
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    "body": "![](/images/16602593_1408497532525664_3791797318156491307_n_large.jpg)\n\nWell punkers, here is some glorious **Sex Pistols** footage from **The Longhorn Ballroom in Dallas** , **January 10, 1978**. No riots. Merle Haggard would roll into the venue just nine days later.\n\nA YouTube gem:",
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      "html": "<p><img src=\"/images/16602593_1408497532525664_3791797318156491307_n_large.jpg\" alt=\"\"></p>\n<p>Well punkers, here is some glorious <strong>Sex Pistols</strong> footage from <strong>The Longhorn Ballroom in Dallas</strong> , <strong>January 10, 1978</strong>. No riots. Merle Haggard would roll into the venue just nine days later.</p>\n<p>A YouTube gem:</p>",
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    "id": "bob-marley-feb-6-1945-may-11-1981",
    "data": {
      "title": "Bob Marley / Feb 6, 1945 - May 11, 1981",
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      "date": "2017-02-06T00:00:00.000Z"
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    "body": "![](/images/Bob-Marley-012_large.jpg)\n\nHappy born day to reggae's most enduring superstar and the global face of \"third world\" music, **Robert Nesta Marley**!\n\nBob and the gang at the Santa Barbara County Bowl, 1979:\n\nPositive Vibration [00:00:00 ](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=0s)Wake Up and Live [00:06:31](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=391s) I Shot the Sheriff [00:11:49](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=709s) Ambush in the Night [00:16:22](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=982s) Concrete Jungle [00:20:15](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=1215s) Running Away >  [00:25:13](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=1513s) Crazy Baldhead [00:28:55](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=1735s) Them Belly Full (But We Hungry) [00:33:22](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=2002s) The Heathen [00:36:46](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=2206s) Ride Natty Ride [00:41:19](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=2479s) Africa Unite [00:45:30](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=2730s) One Drop [00:50:00](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=3000s) Exodus [00:54:04](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=3244s) So Much Things to Say  [01:00:14](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=3614s) Zimbabwe [01:03:44](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=3824s) Jamming [01:07:47](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=4067s) Is This Love? [01:12:46](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=4366s) Kinky Reggae [01:16:05](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=4565s) Stir It Up [01:19:40](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=4780s) Get Up, Stand Up [01:23:20](https://www.youtube.com/watch?v=hiEK2j8TeiU&t=5000s)",
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      "html": "<p><img src=\"/images/Bob-Marley-012_large.jpg\" alt=\"\"></p>\n<p>Happy born day to reggae’s most enduring superstar and the global face of “third world” music, <strong>Robert Nesta Marley</strong>!</p>\n<p>Bob and the gang at the Santa Barbara County Bowl, 1979:</p>\n<p>Positive Vibration <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=0s\">00:00:00 </a>Wake Up and Live <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=391s\">00:06:31</a> I Shot the Sheriff <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=709s\">00:11:49</a> Ambush in the Night <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=982s\">00:16:22</a> Concrete Jungle <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=1215s\">00:20:15</a> Running Away >  <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=1513s\">00:25:13</a> Crazy Baldhead <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=1735s\">00:28:55</a> Them Belly Full (But We Hungry) <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=2002s\">00:33:22</a> The Heathen <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=2206s\">00:36:46</a> Ride Natty Ride <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=2479s\">00:41:19</a> Africa Unite <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=2730s\">00:45:30</a> One Drop <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=3000s\">00:50:00</a> Exodus <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=3244s\">00:54:04</a> So Much Things to Say  <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=3614s\">01:00:14</a> Zimbabwe <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=3824s\">01:03:44</a> Jamming <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=4067s\">01:07:47</a> Is This Love? <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=4366s\">01:12:46</a> Kinky Reggae <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=4565s\">01:16:05</a> Stir It Up <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=4780s\">01:19:40</a> Get Up, Stand Up <a href=\"https://www.youtube.com/watch?v=hiEK2j8TeiU&#x26;t=5000s\">01:23:20</a></p>",
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          "title": "Bob Marley / Feb 6, 1945 - May 11, 1981",
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      "title": "La Maldición del Timbal - Orquesta El Macabeo, Available Digitally on Bandcamp",
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    "body": "![](/images/macabeo-600-1_large.jpg)\n\nOur punk-salsa heroes from Puerto Rico, **Orquesta El Macabeo** , were recently featured at _**Bandcamp Daily**_ with a nice write-up and some catalog selections ([article here](https://daily.bandcamp.com/2017/01/04/the-puerto-rican-punks-in-orquesta-el-macabeo-are-shaking-up-salsa-traditions/)). The band releases many of their records in co-op fashion, with several labels from around the world helping pick up the tab. **Peace & Rhythm** have done so for three of the group's records, including the now out-of-print [_Macacoa_ 7\"](https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-macacoa-no-se-cuando-llegue-7-inch?variant=24052877637) and the vinyl edition of their 2011 release _El Entierro_ (we still have VERY limited copies remaining, [grab them here](https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-el-entierro-lp-2)) and the brand new release, **_La Maldición del Timbal_** , the band's finest effort to date. If you want the vinyl LP (which includes a compact disk), with FANTASTIC album art by iconic heavy metal/hard rock album cover artist **Joe Petagno** (Led Zeppelin, Motorhead, Pink Floyd) you may grab a copy from our webstore ([link here](https://www.peaceandrhythm.com/products/orquesta-el-macabeo-la-maldicion-del-timbal-lp)).\n\nBut the band has also made the **digital download** available from **Bandcamp** , available [right here](https://orquestaelmacabeo.bandcamp.com/releases) for your pleasure. Give it a whirl!\n\n[La Maldición del Timbal by Orquesta el Macabeo](http://orquestaelmacabeo.bandcamp.com/album/la-maldici-n-del-timbal)\n\n_Out of the depths of a nation’s sociopolitical struggle comes one of the most mature albums Puerto Rican music will see this year.**Orquesta el Macabeo** unleashes their 4th studio album, **La Maldición del Timbal** , an eight track bombshell that proves how far their spirited blend of indie salsa, punk rock attitude and afro-boricua beats have come along. Latin dance music for the head and heart as well as the feet._\n\nMacabeo will be **touring the States next month**. Full itinerary available soon.",
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      "html": "<p><img src=\"/images/macabeo-600-1_large.jpg\" alt=\"\"></p>\n<p>Our punk-salsa heroes from Puerto Rico, <strong>Orquesta El Macabeo</strong> , were recently featured at <em><strong>Bandcamp Daily</strong></em> with a nice write-up and some catalog selections (<a href=\"https://daily.bandcamp.com/2017/01/04/the-puerto-rican-punks-in-orquesta-el-macabeo-are-shaking-up-salsa-traditions/\">article here</a>). The band releases many of their records in co-op fashion, with several labels from around the world helping pick up the tab. <strong>Peace &#x26; Rhythm</strong> have done so for three of the group’s records, including the now out-of-print <a href=\"https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-macacoa-no-se-cuando-llegue-7-inch?variant=24052877637\"><em>Macacoa</em> 7”</a> and the vinyl edition of their 2011 release <em>El Entierro</em> (we still have VERY limited copies remaining, <a href=\"https://www.peaceandrhythm.com/collections/store/products/orquesta-el-macabeo-el-entierro-lp-2\">grab them here</a>) and the brand new release, <strong><em>La Maldición del Timbal</em></strong> , the band’s finest effort to date. If you want the vinyl LP (which includes a compact disk), with FANTASTIC album art by iconic heavy metal/hard rock album cover artist <strong>Joe Petagno</strong> (Led Zeppelin, Motorhead, Pink Floyd) you may grab a copy from our webstore (<a href=\"https://www.peaceandrhythm.com/products/orquesta-el-macabeo-la-maldicion-del-timbal-lp\">link here</a>).</p>\n<p>But the band has also made the <strong>digital download</strong> available from <strong>Bandcamp</strong> , available <a href=\"https://orquestaelmacabeo.bandcamp.com/releases\">right here</a> for your pleasure. Give it a whirl!</p>\n<p><a href=\"http://orquestaelmacabeo.bandcamp.com/album/la-maldici-n-del-timbal\">La Maldición del Timbal by Orquesta el Macabeo</a></p>\n<p><em>Out of the depths of a nation’s sociopolitical struggle comes one of the most mature albums Puerto Rican music will see this year.<strong>Orquesta el Macabeo</strong> unleashes their 4th studio album, <strong>La Maldición del Timbal</strong> , an eight track bombshell that proves how far their spirited blend of indie salsa, punk rock attitude and afro-boricua beats have come along. Latin dance music for the head and heart as well as the feet.</em></p>\n<p>Macabeo will be <strong>touring the States next month</strong>. Full itinerary available soon.</p>",
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      "title": "Welcome to Peace & Rhythm",
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      "date": "2017-02-06T00:00:00.000Z"
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    "body": "We've just  migrated our website and online store to Shopify, making it more accessible and secure. Thank you for visiting!",
    "filePath": "content/posts/welcome-to-peace-rhythm.md",
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      "html": "<p>We’ve just  migrated our website and online store to Shopify, making it more accessible and secure. Thank you for visiting!</p>",
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