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"title": "Beny Moré / Aug 24, 1919 - Feb 19, 1963",
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"body": "\n\nHappy birthday to the beloved Cuban singer/bandleader/composer **Beny Moré**! In 1942 he joined Trío Matamoros and went to Mexico with them in '45. Moré stayed in Mexico, joining the band of Perez Prado and cutting a couple dozen records with them, as well as with other orchestras. \n\nAfter touring Latin America, he returned to Cuba in '52 where he was still, at that time, an unknown. He started working in Havana with Bebo Valdés and cut a record with Orquesta Aragón before forming his sixteen-piece orchestra La Banda Gigante, becoming one of the most popular bands on the island and touring South America, the Caribbean, Mexico and the US. When many of the island's best musicians defected to the US for increased exposure, Moré stayed loyal after the Revolution. Unfortunately, rum did him in as he died of liver damage at just 43. \n\nHis career covered mambo, rhumba, son, cha cha, guajira, bolero, guaracha and more, and he is known as someone who paid his musicians fairly. He is an icon in Cuba, with a statue of him outside the famous Coppelia ice cream parlor in Cienfuegos. When I got off the plane at José Martí airport I was treated to a loop of \"Babarabatiri\"...which became torture after a five hour wait through the line and hearing it over and over and over again...",
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"html": "<p><img src=\"/images/artist_9865_8338_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the beloved Cuban singer/bandleader/composer <strong>Beny Moré</strong>! In 1942 he joined Trío Matamoros and went to Mexico with them in ‘45. Moré stayed in Mexico, joining the band of Perez Prado and cutting a couple dozen records with them, as well as with other orchestras.</p>\n<p>After touring Latin America, he returned to Cuba in ‘52 where he was still, at that time, an unknown. He started working in Havana with Bebo Valdés and cut a record with Orquesta Aragón before forming his sixteen-piece orchestra La Banda Gigante, becoming one of the most popular bands on the island and touring South America, the Caribbean, Mexico and the US. When many of the island’s best musicians defected to the US for increased exposure, Moré stayed loyal after the Revolution. Unfortunately, rum did him in as he died of liver damage at just 43.</p>\n<p>His career covered mambo, rhumba, son, cha cha, guajira, bolero, guaracha and more, and he is known as someone who paid his musicians fairly. He is an icon in Cuba, with a statue of him outside the famous Coppelia ice cream parlor in Cienfuegos. When I got off the plane at José Martí airport I was treated to a loop of “Babarabatiri”…which became torture after a five hour wait through the line and hearing it over and over and over again…</p>",
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"title": "Beny Moré / Aug 24, 1919 - Feb 19, 1963",
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"date": "August 24, 2017",
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"title": "Wynonie Harris / Aug 24, 1915 - June 14, 1969",
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"body": "\n\nOne of the fathers of rock & roll and a top blues shouter and dancer in his day, here is the guy Elvis Presley stole his stage moves from. From Omaha, **Wynonie Harris** got big locally in the '30s and took his show on the road: Kansas City, Los Angeles, Chicago, Harlem, Nashville and Texas were some key touch-down points. \n\nIn '44 he joined Lucky Millinder's band and \"Who Threw The Whiskey In The Well\" was a #1 hit in '45. After that success he signed as an artist with Philo and hired Johnny Otis to put his band together, which included Howard McGhee & Teddy Edwards. In '46 he cut records with Herman \"Sonny\" Blount (later known as Sun Ra--for those keeping score in their record rooms: \"Dig This Boogie\", \"Lightnin Struck The Poorhouse\", \"My Baby's Barrelhouse\" and \"Drinkin By Myself\" are the runes with Ra). \n\n\"Good Rockin' Tonight\" was a huge hit in '48 and he had extensive chart action in the late '40s/early '50s, around the time Elvis caught him live. He also cut several dirty songs around this time. He also recorded for King, Decca, Roulette, Atco, Chess, Aladdin, Apollo, Bullet and others.",
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"html": "<p><img src=\"/images/cdtop2-1124b_large.jpg\" alt=\"\"></p>\n<p>One of the fathers of rock & roll and a top blues shouter and dancer in his day, here is the guy Elvis Presley stole his stage moves from. From Omaha, <strong>Wynonie Harris</strong> got big locally in the ’30s and took his show on the road: Kansas City, Los Angeles, Chicago, Harlem, Nashville and Texas were some key touch-down points.</p>\n<p>In ‘44 he joined Lucky Millinder’s band and “Who Threw The Whiskey In The Well” was a #1 hit in ‘45. After that success he signed as an artist with Philo and hired Johnny Otis to put his band together, which included Howard McGhee & Teddy Edwards. In ‘46 he cut records with Herman “Sonny” Blount (later known as Sun Ra—for those keeping score in their record rooms: “Dig This Boogie”, “Lightnin Struck The Poorhouse”, “My Baby’s Barrelhouse” and “Drinkin By Myself” are the runes with Ra).</p>\n<p>“Good Rockin’ Tonight” was a huge hit in ‘48 and he had extensive chart action in the late ’40s/early ’50s, around the time Elvis caught him live. He also cut several dirty songs around this time. He also recorded for King, Decca, Roulette, Atco, Chess, Aladdin, Apollo, Bullet and others.</p>",
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"date": "August 24, 2017",
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"id": "malvina-reynolds-aug-23-1900-march-17-1978",
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"title": "Malvina Reynolds / Aug 23, 1900 - March 17, 1978",
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"body": "\n\nHappy birthday to the Gray Panther Party's inspired folkie, **Malvina Reynolds**. She was a Socialist/activist singer-songwriter who, along with her husband, was involved in left-wing causes and labor organizing for decades. She was also a writer, guitarist, social worker, feminist, civil & gay rights activist and mother. \n\nBorn into a Jewish family in San Francisco, Malvina Milder was denied a high school diploma by her school due to her parents opposition to WW1. In the '20s she played violin in a dance band before marrying labor activist Bud Reynolds in '34 and giving birth to future musician Nancy Schimmel. \n\nBeing a Jewish Socialist woman during the Depression, she found it difficult to get teaching jobs so she started writing as a columnist for Socialist newspapers. In the '40s her and her husband would start hangin' with Pete Seeger, performing at rallies and protests. In the '50s she studied music theory. She wrote several sings that would become hits for other artists, including the satirical \"Little Boxes\", which was a hit for Seeger in '63 (and featured on the recent TV show _Weeds_) and her 1957 lullaby \"Morningtown Ride\" was a hit for The Seekers in '66. \n\nHer songs have been recorded by The Searchers, Joan Baez, Judy Collins, Marianne Faithfull, Harry Belafonte, The Limelighters and more. She would perform alongside Country Joe, led sit-ins, participated in public boycotts, sang for causes, wrote children's music and recorded several albums for Columbia, Folkways and her own Cassandra label. \n\nShe became a member and booster of Maggie Kuhn's Gray Panthers Party founded in 1970, with an agenda that opposed ageism and was supportive of civil rights and feminist causes. In later years she composed songs for _Sesame Street_ , as well as playing Kate on the show. She continued to tour and sing right until the very end.",
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"html": "<p><img src=\"/images/COVER2_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the Gray Panther Party’s inspired folkie, <strong>Malvina Reynolds</strong>. She was a Socialist/activist singer-songwriter who, along with her husband, was involved in left-wing causes and labor organizing for decades. She was also a writer, guitarist, social worker, feminist, civil & gay rights activist and mother.</p>\n<p>Born into a Jewish family in San Francisco, Malvina Milder was denied a high school diploma by her school due to her parents opposition to WW1. In the ’20s she played violin in a dance band before marrying labor activist Bud Reynolds in ‘34 and giving birth to future musician Nancy Schimmel.</p>\n<p>Being a Jewish Socialist woman during the Depression, she found it difficult to get teaching jobs so she started writing as a columnist for Socialist newspapers. In the ’40s her and her husband would start hangin’ with Pete Seeger, performing at rallies and protests. In the ’50s she studied music theory. She wrote several sings that would become hits for other artists, including the satirical “Little Boxes”, which was a hit for Seeger in ‘63 (and featured on the recent TV show <em>Weeds</em>) and her 1957 lullaby “Morningtown Ride” was a hit for The Seekers in ‘66.</p>\n<p>Her songs have been recorded by The Searchers, Joan Baez, Judy Collins, Marianne Faithfull, Harry Belafonte, The Limelighters and more. She would perform alongside Country Joe, led sit-ins, participated in public boycotts, sang for causes, wrote children’s music and recorded several albums for Columbia, Folkways and her own Cassandra label.</p>\n<p>She became a member and booster of Maggie Kuhn’s Gray Panthers Party founded in 1970, with an agenda that opposed ageism and was supportive of civil rights and feminist causes. In later years she composed songs for <em>Sesame Street</em> , as well as playing Kate on the show. She continued to tour and sing right until the very end.</p>",
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"date": "August 23, 2017",
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"title": "Chuck Brown / Aug 22, 1936 - May 16, 2012",
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"body": "\n\nOne of the greatest of many, many great DC musicians, **Chuck Brown** and his band the Soul Searchers practically invented the infamous Washington DC go-go style. Hugely popular in the clubs of DC and Baltimore, go-go was a percussion heavy brand of funk (although very much informed by the gospel beat from black churches, as well as African music) that was native to DC and was very much a live music, with audience call-and-response an essential aspect to the style and never-ending percussion jams. In a way it was DC's answer to hip-hop. Chuck is widely considered the godfather of the style, which is still popular to this day in DC yet never really took off nationally. \n\nBrown grew up in DC, quit high school and lived on the streets, shining shoes. In the '50s he served eight years in jail for murder (self-defense, he claimed). It was in prison that he learned to play guitar. Before his success with music he took several jobs, including truck driver. He formed a band called Los Latinos in '66 and they played locally. \n\nShortly after he started the Soul Searchers, who starred in the late '60s DC scene with other groups like Young Senators and Black Heat. 1972 saw the release of the debut Soul Searchers album (_We The People_) and their best known song, \"Bustin' Loose\", was a #1 hit in early '79. \n\nGo-go flirted with the mainstream in the early '80s but remained a largely local phenomenon or as a cult style for British DJs and funk enthusiasts. Chuck was mentor to Rare Essence and major inspiration to Trouble Funk, two of the better known go-go bands. He died in 2012, at 75.",
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"html": "<p><img src=\"/images/RTR2M6UT_large.jpg\" alt=\"\"></p>\n<p>One of the greatest of many, many great DC musicians, <strong>Chuck Brown</strong> and his band the Soul Searchers practically invented the infamous Washington DC go-go style. Hugely popular in the clubs of DC and Baltimore, go-go was a percussion heavy brand of funk (although very much informed by the gospel beat from black churches, as well as African music) that was native to DC and was very much a live music, with audience call-and-response an essential aspect to the style and never-ending percussion jams. In a way it was DC’s answer to hip-hop. Chuck is widely considered the godfather of the style, which is still popular to this day in DC yet never really took off nationally.</p>\n<p>Brown grew up in DC, quit high school and lived on the streets, shining shoes. In the ’50s he served eight years in jail for murder (self-defense, he claimed). It was in prison that he learned to play guitar. Before his success with music he took several jobs, including truck driver. He formed a band called Los Latinos in ‘66 and they played locally.</p>\n<p>Shortly after he started the Soul Searchers, who starred in the late ’60s DC scene with other groups like Young Senators and Black Heat. 1972 saw the release of the debut Soul Searchers album (<em>We The People</em>) and their best known song, “Bustin’ Loose”, was a #1 hit in early ‘79.</p>\n<p>Go-go flirted with the mainstream in the early ’80s but remained a largely local phenomenon or as a cult style for British DJs and funk enthusiasts. Chuck was mentor to Rare Essence and major inspiration to Trouble Funk, two of the better known go-go bands. He died in 2012, at 75.</p>",
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"date": "August 22, 2017",
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"id": "john-lee-hooker-aug-22-1912-or-1917-june-21-2001",
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"title": "John Lee Hooker / Aug 22, 1912 or 1917 - June 21, 2001",
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"body": "\n\nOne of my favorite musicians was **John Lee Hooker** and his deeply entrancing boogie, a droning one-chord style that is one of the more direct links from American electric blues to an ancient African sound pool. \n\nFrom the Mississippi Delta, his exact birth year is disputed. His earliest musical experience was with spirituals before learning to play the blues from his step-father. He left home at 14 and by the '30s was playing on Memphis' Beale Street. \n\nIn 1943, after a few years in Cincinnati, he started working at the Ford Motors plant in Detroit while playing local clubs. Around this time he went electric. His first recording, \"Boogie Chillen\", was a big hit for the Modern label in '49. The '50s saw him recording under various aliases (to be able to slip out of contract for work) and both writing originals and interpreting/adapting standards. \n\nMuch of his act early on was as a solo or in duo with the few musicians that could deal with his foot-stomping beat and tempo changes, but by the '50s he started using backing players and he worked his style into R&B, folk-blues and rock settings. He embraced the blues-rock generation that embraced him and it greatly added to his opportunities. He appeared in movies, played with many greats of blues & rock and became a big concert attraction and award-winning recording artist. \n\nHooker played with the Steve Miller Band, Van Morrison, Bonnie Raitt, Eric Clapton, Canned Heat, Rolling Stones, Santana, ZZ Top and many, many more and became an American celebrity. A wise (if informally educated) man, he made a lot of good business decisions. Late in life he opened a nightclub in San Francisco, invested in real estate and cut several TV commercials. He did pretty well for himself financially.",
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"html": "<p><img src=\"/images/John-Lee-Hooker_large.jpg\" alt=\"\"></p>\n<p>One of my favorite musicians was <strong>John Lee Hooker</strong> and his deeply entrancing boogie, a droning one-chord style that is one of the more direct links from American electric blues to an ancient African sound pool.</p>\n<p>From the Mississippi Delta, his exact birth year is disputed. His earliest musical experience was with spirituals before learning to play the blues from his step-father. He left home at 14 and by the ’30s was playing on Memphis’ Beale Street.</p>\n<p>In 1943, after a few years in Cincinnati, he started working at the Ford Motors plant in Detroit while playing local clubs. Around this time he went electric. His first recording, “Boogie Chillen”, was a big hit for the Modern label in ‘49. The ’50s saw him recording under various aliases (to be able to slip out of contract for work) and both writing originals and interpreting/adapting standards.</p>\n<p>Much of his act early on was as a solo or in duo with the few musicians that could deal with his foot-stomping beat and tempo changes, but by the ’50s he started using backing players and he worked his style into R&B, folk-blues and rock settings. He embraced the blues-rock generation that embraced him and it greatly added to his opportunities. He appeared in movies, played with many greats of blues & rock and became a big concert attraction and award-winning recording artist.</p>\n<p>Hooker played with the Steve Miller Band, Van Morrison, Bonnie Raitt, Eric Clapton, Canned Heat, Rolling Stones, Santana, ZZ Top and many, many more and became an American celebrity. A wise (if informally educated) man, he made a lot of good business decisions. Late in life he opened a nightclub in San Francisco, invested in real estate and cut several TV commercials. He did pretty well for himself financially.</p>",
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"title": "Karlheinz Stockhausen / Aug 22, 1928 - Dec 5, 2007",
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"body": "****\n\n**Karlheinz Stockhausen** , a leading figure in avant-garde \"contemporary\" European music, made several records that could be enjoyed by rock & free jazz & noise fans, as well as those into experiments in orchestral music, serialism and nutty orchestral ideas. \n\nWhile the brainiac set will go off about his theories and how they apply to academic sound art, acoustics and music, the fact is that some of his music is also appealing to street jerks like me. Whether percussion pieces, chamber works, pieces for voices, pieces for piano, _musique concréte_ , operas or single instrument concepts, his ideas fleshed out pretty well on disk. \n\nHe came from the Cologne, Germany area and his mother entered an insane asylum when he was a small boy, later gassed by the Nazis for her disease (he would later utilize this as a scene in his late-period opera _Donnerstag aus Licht_). His father was killed in the war. \n\nHe studied piano, oboe and violin and in the '50s went to Paris to study with Olivier Messiaen and to work in a brand new electronic music studio. The dude wrote or produced nearly 400 works, whether tape music, multiple orchestras, \"space music\", crazy combinations of instruments, electronic works, reed ensembles, improvised music, chance composition, etc etc. His explorations in sound and various instrumentation were quite expansive and he created music that nobody ever dreamed of. \n\nWhy does an uneducated, high school drop-out piece of trash like me dig this shit? Because it is so wide-ranging and exciting to hear all the different tonalities and combinations. I am sure some snooty professor could explain the rest of his theories to you. This I do know: he was teacher to members of seminal krautrock bands Can & Kraftwerk, as well as Jon Hassell and LaMonte Young and was influential on Miles Davis, Charles Mingus, the Beatles, Frank Zappa, Grateful Dead, Cecil Taylor, Sonic Youth, Pink Floyd, Bjork and many more. Check out his shit, a true maverick composer and sound artist.",
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"html": "<p><strong><img src=\"/images/rossstockhausen300-88f9bdec19563a7eb172605212036c43ce99fc1e-s6-c30_large.jpg\" alt=\"\"></strong></p>\n<p><strong>Karlheinz Stockhausen</strong> , a leading figure in avant-garde “contemporary” European music, made several records that could be enjoyed by rock & free jazz & noise fans, as well as those into experiments in orchestral music, serialism and nutty orchestral ideas.</p>\n<p>While the brainiac set will go off about his theories and how they apply to academic sound art, acoustics and music, the fact is that some of his music is also appealing to street jerks like me. Whether percussion pieces, chamber works, pieces for voices, pieces for piano, <em>musique concréte</em> , operas or single instrument concepts, his ideas fleshed out pretty well on disk.</p>\n<p>He came from the Cologne, Germany area and his mother entered an insane asylum when he was a small boy, later gassed by the Nazis for her disease (he would later utilize this as a scene in his late-period opera <em>Donnerstag aus Licht</em>). His father was killed in the war.</p>\n<p>He studied piano, oboe and violin and in the ’50s went to Paris to study with Olivier Messiaen and to work in a brand new electronic music studio. The dude wrote or produced nearly 400 works, whether tape music, multiple orchestras, “space music”, crazy combinations of instruments, electronic works, reed ensembles, improvised music, chance composition, etc etc. His explorations in sound and various instrumentation were quite expansive and he created music that nobody ever dreamed of.</p>\n<p>Why does an uneducated, high school drop-out piece of trash like me dig this shit? Because it is so wide-ranging and exciting to hear all the different tonalities and combinations. I am sure some snooty professor could explain the rest of his theories to you. This I do know: he was teacher to members of seminal krautrock bands Can & Kraftwerk, as well as Jon Hassell and LaMonte Young and was influential on Miles Davis, Charles Mingus, the Beatles, Frank Zappa, Grateful Dead, Cecil Taylor, Sonic Youth, Pink Floyd, Bjork and many more. Check out his shit, a true maverick composer and sound artist.</p>",
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"id": "malachi-favors-aug-22-1927-jan-30-2004",
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"title": "Malachi Favors / Aug 22, 1927 - Jan 30, 2004",
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"body": "\n\nHappy earth arrival day to one of my favorite bassists, **Malachi Favors Maghostut**. Most famous for playing in my all time favorite group, the highly theatrical and musical Art Ensemble of Chicago, he's also played and recorded with all of the Art Ensemble members, as well as Kahil El'Zabar's Ritual Trio, Archie Shepp, Cheikh Tidiane Fall, Andrew Hill, Wadada Leo Smith, Sunny Murray, Dennis Gonzalez, Fred Anderson, Muhal Richard Abrams, Dewey Redman and many, many more. \n\nBorn in Mississippi, he started playing bass as a teenager and in '53 made his recording debut with Paul Bascomb after which he found himself playing with Freddie Hubbard and Dizzy Gillespie and studying with Wilbur Ware & Paul Chambers. \n\nHe was firmly entrenched in the Chicago scene both before and after his time served in the Korean war. He cut a disk with Andrew Hill in '56 (_So In Love_). In the mid-'60s, after being part of the collective Experimental Band, he was a founding member of the AACM (Association for the Advancement of Creative Musicians), a collective-member musician's rights and opportunities alliance out of Chicago that still operates strongly to this very day. \n\nIn '66 he hooked up with Roscoe Mitchell and they formed the Art Ensemble. This unit perfectly encapsulated the rich history of pan-African music into an adventurous and pleasing concept they called _Great Black Music--Ancient To The Future_ , bringing together all types and eras of jazz with African music, blues, theater, European avant-garde, funk, Eastern sounds and poetry. Favors, a major part of this collective for decades, was the one who suggested the group wear their African face paint. \n\nThe group was working out of France until 1971 and returned to the US to make several amazing records and become a big concert attraction in the jazz world. Favors played several instruments: double bass, electric bass, zither, banjo, harmonica, percussion and \"little instruments\" (as customary for all Art Ensemble folks). While he played with many artists, he always was committed to the Art Ensemble all the way til his death in 2004.",
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"html": "<p><img src=\"/images/Malachi_Favors_191_7_fs_large.jpg\" alt=\"\"></p>\n<p>Happy earth arrival day to one of my favorite bassists, <strong>Malachi Favors Maghostut</strong>. Most famous for playing in my all time favorite group, the highly theatrical and musical Art Ensemble of Chicago, he’s also played and recorded with all of the Art Ensemble members, as well as Kahil El’Zabar’s Ritual Trio, Archie Shepp, Cheikh Tidiane Fall, Andrew Hill, Wadada Leo Smith, Sunny Murray, Dennis Gonzalez, Fred Anderson, Muhal Richard Abrams, Dewey Redman and many, many more.</p>\n<p>Born in Mississippi, he started playing bass as a teenager and in ‘53 made his recording debut with Paul Bascomb after which he found himself playing with Freddie Hubbard and Dizzy Gillespie and studying with Wilbur Ware & Paul Chambers.</p>\n<p>He was firmly entrenched in the Chicago scene both before and after his time served in the Korean war. He cut a disk with Andrew Hill in ‘56 (<em>So In Love</em>). In the mid-’60s, after being part of the collective Experimental Band, he was a founding member of the AACM (Association for the Advancement of Creative Musicians), a collective-member musician’s rights and opportunities alliance out of Chicago that still operates strongly to this very day.</p>\n<p>In ‘66 he hooked up with Roscoe Mitchell and they formed the Art Ensemble. This unit perfectly encapsulated the rich history of pan-African music into an adventurous and pleasing concept they called <em>Great Black Music—Ancient To The Future</em> , bringing together all types and eras of jazz with African music, blues, theater, European avant-garde, funk, Eastern sounds and poetry. Favors, a major part of this collective for decades, was the one who suggested the group wear their African face paint.</p>\n<p>The group was working out of France until 1971 and returned to the US to make several amazing records and become a big concert attraction in the jazz world. Favors played several instruments: double bass, electric bass, zither, banjo, harmonica, percussion and “little instruments” (as customary for all Art Ensemble folks). While he played with many artists, he always was committed to the Art Ensemble all the way til his death in 2004.</p>",
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"body": "\n\nHappy birthday to the great trumpet and flugelhorn player of bop and beyond, **Art Farmer**! A player of precise control and elegant brightness, he had a long and distinguished career that was creatively giving til the end. \n\nHe grew up in Phoenix and tried out several instruments: piano, violin, tuba and cornet before settling on trumpet as a teenager. He started making his name on the Los Angeles scene of the '40s, working with his bassist twin brother Addison Farmer, Sonny Criss, Jay McShann, Roy Porter, Johnny Otis, Benny Carter, Gerald Wilson, Big Joe Turner, etc. In the early '50s he worked with Wardell Gray, including first recording his own classic tune \"Farmer's Market\". \n\nIn '52 he joined Lionel Hampton's band and went to Europe with them before moving to NYC in '53, where he found a lot of work with Gigi Gryce, Horace Silver, Gerry Mulligan, Thelonious Monk, Lester Young, Charles Mingus, George Russell, Jimmy Giuffre, Quincy Jones, Oliver Nelson and others. He also participated in [Edgard Varese's mysterious free-jazz workshop](http://blog.wfmu.org/freeform/2009/06/edgar-var%C3%A8se-and-the-jazzmen-mp3s.html) in '57. \n\nIn '59 he and Benny Golson formed The Jazztet. After it disbanded in '62 he worked with Jim Hall, Jimmy Heath and on Broadway. He permanently moved to Europe in '68 where he played with the Clarke-Boland Big Band, Don Byas, Dexter Gordon and Ben Webster. Starting in the '60s he began to feature more prominently on the flugelhorn. \n\nHe toured internationally throughout the '70s (recording with Yusef Lateef and Tommy Flanagan) and the '80s found him collaborating with Clifford Jordan, Ran Blake and others. In later years he also played his own custom-made \"flumpet\". His career was lengthy and successful and he remains a favorite of trumpeters to this day.",
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"html": "<p><img src=\"/images/4d59e9d86457c042f9ca53c595eedbe5_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the great trumpet and flugelhorn player of bop and beyond, <strong>Art Farmer</strong>! A player of precise control and elegant brightness, he had a long and distinguished career that was creatively giving til the end.</p>\n<p>He grew up in Phoenix and tried out several instruments: piano, violin, tuba and cornet before settling on trumpet as a teenager. He started making his name on the Los Angeles scene of the ’40s, working with his bassist twin brother Addison Farmer, Sonny Criss, Jay McShann, Roy Porter, Johnny Otis, Benny Carter, Gerald Wilson, Big Joe Turner, etc. In the early ’50s he worked with Wardell Gray, including first recording his own classic tune “Farmer’s Market”.</p>\n<p>In ‘52 he joined Lionel Hampton’s band and went to Europe with them before moving to NYC in ‘53, where he found a lot of work with Gigi Gryce, Horace Silver, Gerry Mulligan, Thelonious Monk, Lester Young, Charles Mingus, George Russell, Jimmy Giuffre, Quincy Jones, Oliver Nelson and others. He also participated in <a href=\"http://blog.wfmu.org/freeform/2009/06/edgar-var%C3%A8se-and-the-jazzmen-mp3s.html\">Edgard Varese’s mysterious free-jazz workshop</a> in ‘57.</p>\n<p>In ‘59 he and Benny Golson formed The Jazztet. After it disbanded in ‘62 he worked with Jim Hall, Jimmy Heath and on Broadway. He permanently moved to Europe in ‘68 where he played with the Clarke-Boland Big Band, Don Byas, Dexter Gordon and Ben Webster. Starting in the ’60s he began to feature more prominently on the flugelhorn.</p>\n<p>He toured internationally throughout the ’70s (recording with Yusef Lateef and Tommy Flanagan) and the ’80s found him collaborating with Clifford Jordan, Ran Blake and others. In later years he also played his own custom-made “flumpet”. His career was lengthy and successful and he remains a favorite of trumpeters to this day.</p>",
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"body": "\n\nHappy birthday to that great big-band leader **Count Basie**. His preserve in the history of jazz is well-documented and much loved. From New Jersey, William James Basie got his start playing in the '20s in Harlem and the Jersey Shore before touring the Vaudeville circuit. \n\nHe moved to Kansas City in '29 to play with Benny Moten, eventually taking over the band. The group was a hit with the swinging Kansas City scene for many years. After a brief stay in Chicago the band moved to NYC in '37, joining the competitive big band action the city's scene was entertaining and becoming very popular. \n\nHis bands were seriously swinging and rhythmic, and featured great players like Papa Jo Jones, Lester Young, Harry James, Chu Berry, Don Byas, Buddy Rich, Oscar Peterson and the lost-to-time saxophonist Herschel Evans, as well as singers Jimmy Rushing, Helen Humes and Joe Williams. \n\nIn the '50s Basie had yet more success collaborating with Neil Hefti before submitting to trying to make jazz sense out of Beatles tunes in the '60s. He continued touring and recording as an elder statesman/jazz legend into the early '80s, even from his wheelchair.",
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"html": "<p><img src=\"/images/e3de7003b58770a8f2e026b0d4bba3e9_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to that great big-band leader <strong>Count Basie</strong>. His preserve in the history of jazz is well-documented and much loved. From New Jersey, William James Basie got his start playing in the ’20s in Harlem and the Jersey Shore before touring the Vaudeville circuit.</p>\n<p>He moved to Kansas City in ‘29 to play with Benny Moten, eventually taking over the band. The group was a hit with the swinging Kansas City scene for many years. After a brief stay in Chicago the band moved to NYC in ‘37, joining the competitive big band action the city’s scene was entertaining and becoming very popular.</p>\n<p>His bands were seriously swinging and rhythmic, and featured great players like Papa Jo Jones, Lester Young, Harry James, Chu Berry, Don Byas, Buddy Rich, Oscar Peterson and the lost-to-time saxophonist Herschel Evans, as well as singers Jimmy Rushing, Helen Humes and Joe Williams.</p>\n<p>In the ’50s Basie had yet more success collaborating with Neil Hefti before submitting to trying to make jazz sense out of Beatles tunes in the ’60s. He continued touring and recording as an elder statesman/jazz legend into the early ’80s, even from his wheelchair.</p>",
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"body": "\n\nHappy birthday to rock hero John Graham Mellor aka **Joe Strummer**!! Thanks for the great music with one of the greatest rock bands ever, The Clash, as well as your other projects.",
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"html": "<p><img src=\"/images/th_e9894be6-808f-40b7-ada7-394de8e20888_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to rock hero John Graham Mellor aka <strong>Joe Strummer</strong>!! Thanks for the great music with one of the greatest rock bands ever, The Clash, as well as your other projects.</p>",
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"body": "\n\nBorn today in 1942: a true soul man, **Isaac Hayes**! Before his multi-platinum singing career as a psychedelic gospel-soul-jazz artist who would bring Burt Bacharach songs into the extended length stetched-out mind-trip format, he was a crucial foundational member of the Stax operation. He wrote or co-wrote, produced and/or played on many '60s hits for Sam & Dave, Carla Thomas, Johnnie Taylor, The Soul Children, Judy Clay, Rufus Thomas, Otis Redding, The Mar-Keys, William Bell and others, often times in collaboration with David Porter and Booker T & the MGs. Of particular note are \"Soul Man\", \"Hold On I'm Coming\", \"Wrap It Up\" and \"When Something Is Wrong With My Baby\". \n\nWith his smash hit albums _Hot Buttered Soul_ and _Shaft_ he entered into the realm of superstardom and helped rebuild Stax after Atlantic's corporate pilfering of their catalog. He did a lot of soundtrack composing, as well as acting in several movies and TV shows. \n\nA multi-instrumentalist, he played piano & keyboards, saxophone and organ. He has also collaborated with Charles Wright & the Watts 103rd Street Rhythm Band, Dionne Warwick, Millie Jackson, Alicia Keys and others. He is no doubt one of the most important figures in the history of Memphis music.",
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"html": "<p><img src=\"/images/gal-hayes-19-jpg_large.jpg\" alt=\"\"></p>\n<p>Born today in 1942: a true soul man, <strong>Isaac Hayes</strong>! Before his multi-platinum singing career as a psychedelic gospel-soul-jazz artist who would bring Burt Bacharach songs into the extended length stetched-out mind-trip format, he was a crucial foundational member of the Stax operation. He wrote or co-wrote, produced and/or played on many ’60s hits for Sam & Dave, Carla Thomas, Johnnie Taylor, The Soul Children, Judy Clay, Rufus Thomas, Otis Redding, The Mar-Keys, William Bell and others, often times in collaboration with David Porter and Booker T & the MGs. Of particular note are “Soul Man”, “Hold On I’m Coming”, “Wrap It Up” and “When Something Is Wrong With My Baby”.</p>\n<p>With his smash hit albums <em>Hot Buttered Soul</em> and <em>Shaft</em> he entered into the realm of superstardom and helped rebuild Stax after Atlantic’s corporate pilfering of their catalog. He did a lot of soundtrack composing, as well as acting in several movies and TV shows.</p>\n<p>A multi-instrumentalist, he played piano & keyboards, saxophone and organ. He has also collaborated with Charles Wright & the Watts 103rd Street Rhythm Band, Dionne Warwick, Millie Jackson, Alicia Keys and others. He is no doubt one of the most important figures in the history of Memphis music.</p>",
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"body": "\n\nThin Lizzy are one of my favorite classic rock bands and bassist/vocalist/songwriter **Phil Lynott** is a big reason. A black Irishmen, he was a composer, singer and poet who grew up in Dublin. \n\nHe started singing in bands in '65. In the late '60s he learned rhythm guitar and bass, forming Thin Lizzy with ex-members of Them. Thin Lizzy recorded several great albums with their twin lead guitars and Phil's poetic street-wise, yet romantic lyrics. The band mixed hard rock, heavy metal, blues, Irish folk and funk and yielded several lasting hits. Ravaged by drugs, the band called it a day in '83. \n\nHe continued on for a few years working under his own name. Other side projects throughout the years included work on Jeff Waynes' _War of the Worlds_ album, a punk band called The Greedies (with members of Sex Pistols), Johnny Thunders' solo debut album, Mark Knopfler, Huey Lewis, Paul Hardcastle and others, as well as a few volumes of published poetry. \n\nNearly leaving Lizzy in the early '70s to start a band with members of Deep Purple, Lynott ended up recording a Purple tribute album under the name of Funky Junction (who were in reality Thin Lizzy).",
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"html": "<p><img src=\"/images/Phil_Lynott-Death_Lead-Thin_Lizzy_was_born_on_this_date_in_1949_large.jpg\" alt=\"\"></p>\n<p>Thin Lizzy are one of my favorite classic rock bands and bassist/vocalist/songwriter <strong>Phil Lynott</strong> is a big reason. A black Irishmen, he was a composer, singer and poet who grew up in Dublin.</p>\n<p>He started singing in bands in ‘65. In the late ’60s he learned rhythm guitar and bass, forming Thin Lizzy with ex-members of Them. Thin Lizzy recorded several great albums with their twin lead guitars and Phil’s poetic street-wise, yet romantic lyrics. The band mixed hard rock, heavy metal, blues, Irish folk and funk and yielded several lasting hits. Ravaged by drugs, the band called it a day in ‘83.</p>\n<p>He continued on for a few years working under his own name. Other side projects throughout the years included work on Jeff Waynes’ <em>War of the Worlds</em> album, a punk band called The Greedies (with members of Sex Pistols), Johnny Thunders’ solo debut album, Mark Knopfler, Huey Lewis, Paul Hardcastle and others, as well as a few volumes of published poetry.</p>\n<p>Nearly leaving Lizzy in the early ’70s to start a band with members of Deep Purple, Lynott ended up recording a Purple tribute album under the name of Funky Junction (who were in reality Thin Lizzy).</p>",
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"body": "\n\nOne of the great figures in early psychedelic rock, **Sky Saxon** and his band The Seeds were very influential on the West Coast garage rock scene. From Salt Lake City (govt name: Richard Marsh), he moved to Los Angeles and started recording doo-wop under the name of Little Richie Marsh in the early '60s before forming a band called The Soul Rockers. \n\nThe Seeds started in '65 and \"Pushin' Too Hard\" was a big hit in '67. In the '70s he started hangin' with Father Yod and Source Family, producing music for the cult. Shortly before his death he collaborated with Smashing Pumpkins (we'll try not to hold that against him!). He can rightly be considered among the fathers of garage rock, psych and punk.",
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"html": "<p><img src=\"/images/Sky_Saxon_large.jpg\" alt=\"\"></p>\n<p>One of the great figures in early psychedelic rock, <strong>Sky Saxon</strong> and his band The Seeds were very influential on the West Coast garage rock scene. From Salt Lake City (govt name: Richard Marsh), he moved to Los Angeles and started recording doo-wop under the name of Little Richie Marsh in the early ’60s before forming a band called The Soul Rockers.</p>\n<p>The Seeds started in ‘65 and “Pushin’ Too Hard” was a big hit in ‘67. In the ’70s he started hangin’ with Father Yod and Source Family, producing music for the cult. Shortly before his death he collaborated with Smashing Pumpkins (we’ll try not to hold that against him!). He can rightly be considered among the fathers of garage rock, psych and punk.</p>",
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"title": "Baby Huey / Aug 17, 1944 - Oct 28, 1970",
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"body": "\n\nHappy birthday to James Ramey aka **Baby Huey**. He cut a great album with his Babysitters band (produced by Curtis Mayfield) but died at only 26. From Richmond, IN he moved to Chicago after high school and formed Baby Huey & his Babysitters in 1963. They played a mixture of rock and R&B and cut some singles before the classic sampladelic full length album, _The Baby Huey Story_ , which actually came out after he passed. \n\nHe rapped & rhymed during the well-remembered live shows back in the late '60s. Curtis Mayfield and Donny Hathaway took notice and agreed to put out the album. He never lived to see its release as Baby Huey got into heroin addiction and his weight ballooned to 400 pounds. His substance abuse issues led to cancelled gigs and he died of a heart attack. His music remains a crucial funk-rock document and the songs have been sampled numerous times.",
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"html": "<p><img src=\"/images/A-126236-1336838100-4575_jpeg_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to James Ramey aka <strong>Baby Huey</strong>. He cut a great album with his Babysitters band (produced by Curtis Mayfield) but died at only 26. From Richmond, IN he moved to Chicago after high school and formed Baby Huey & his Babysitters in 1963. They played a mixture of rock and R&B and cut some singles before the classic sampladelic full length album, <em>The Baby Huey Story</em> , which actually came out after he passed.</p>\n<p>He rapped & rhymed during the well-remembered live shows back in the late ’60s. Curtis Mayfield and Donny Hathaway took notice and agreed to put out the album. He never lived to see its release as Baby Huey got into heroin addiction and his weight ballooned to 400 pounds. His substance abuse issues led to cancelled gigs and he died of a heart attack. His music remains a crucial funk-rock document and the songs have been sampled numerous times.</p>",
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"post": "Baby Huey / Aug 17, 1944 - Oct 28, 1970",
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"body": "\n\nHappy birthday to the visionary Cuban trombonist/composer/producer **Juan Pablo Torres**. He made some very funky Latin jazz both in and outside of Cuba, and some of his albums stand as some of the most \"fucked-up\" or psychedelic-aligned music you'll ever hear from the island. \n\nAside from his own masterpieces, you can hear him with Paquito D'Rivera, Gilberto Santarosa, Hilton Ruiz, Arturo Sandoval, Tata Güines and others. He also led the groups Estrellas de Areito, Algo Nuevo and played in the groundbreaking Orquesta Cubana de Música Moderna.",
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"html": "<p><img src=\"/images/folder1_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the visionary Cuban trombonist/composer/producer <strong>Juan Pablo Torres</strong>. He made some very funky Latin jazz both in and outside of Cuba, and some of his albums stand as some of the most “fucked-up” or psychedelic-aligned music you’ll ever hear from the island.</p>\n<p>Aside from his own masterpieces, you can hear him with Paquito D’Rivera, Gilberto Santarosa, Hilton Ruiz, Arturo Sandoval, Tata Güines and others. He also led the groups Estrellas de Areito, Algo Nuevo and played in the groundbreaking Orquesta Cubana de Música Moderna.</p>",
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"body": "\n\nHappy birthday to **Al Hibbler** , the uniquely gifted and underrated vocalist and civil rights activist who's career was disturbed by a near-blacklist recording ban due to his arrests in the movement. \n\nBorn in Mississippi, he joined a choir at a school for the blind in Little Rock at age 12. He developed his baritone voice and started singing blues in the '30s. In the early '40s he sang in territory bands in the South and Midwest and also with Jay McShann (the same band with young Charlie Parker) where he made his first recorded appearance. \n\nIn '43 he joined the Duke Ellington band. \"Do Nothin' Til You Hear From Me\" was written as a vehicle for Hibbler and it became a pop hit in '44. \"Don't Get Around Much Anymore\" was another notable one. His stay with Ellington lasted until 1951 and he won several awards during the stint. \n\nIn the '50s he sang with Count Basie, Johnny Hodges, Gerald Wilson and others and cut albums for Norgran, Mercury and Decca, where he had a huge hit with \"Unchained Melody\" in '55. His activism in the Civil Rights and anti-segregation movements (including marching and several arrests) led to a near blacklist from the recording industry. \n\nA symbolic deal with Frank Sinatra's Reprise Records didn't yield much for his career. He sang at Louis Armstrong's funeral and cut a record with another blind original, Rahsaan Roland Kirk (_A Meeting Of The Times_ , 1972). He occasionally appeared in concert but his career mostly was stalled since the '60s.",
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"html": "<p><img src=\"/images/8fd6be8c58f737a22032b3829f6afd2a_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to <strong>Al Hibbler</strong> , the uniquely gifted and underrated vocalist and civil rights activist who’s career was disturbed by a near-blacklist recording ban due to his arrests in the movement.</p>\n<p>Born in Mississippi, he joined a choir at a school for the blind in Little Rock at age 12. He developed his baritone voice and started singing blues in the ’30s. In the early ’40s he sang in territory bands in the South and Midwest and also with Jay McShann (the same band with young Charlie Parker) where he made his first recorded appearance.</p>\n<p>In ‘43 he joined the Duke Ellington band. “Do Nothin’ Til You Hear From Me” was written as a vehicle for Hibbler and it became a pop hit in ‘44. “Don’t Get Around Much Anymore” was another notable one. His stay with Ellington lasted until 1951 and he won several awards during the stint.</p>\n<p>In the ’50s he sang with Count Basie, Johnny Hodges, Gerald Wilson and others and cut albums for Norgran, Mercury and Decca, where he had a huge hit with “Unchained Melody” in ‘55. His activism in the Civil Rights and anti-segregation movements (including marching and several arrests) led to a near blacklist from the recording industry.</p>\n<p>A symbolic deal with Frank Sinatra’s Reprise Records didn’t yield much for his career. He sang at Louis Armstrong’s funeral and cut a record with another blind original, Rahsaan Roland Kirk (<em>A Meeting Of The Times</em> , 1972). He occasionally appeared in concert but his career mostly was stalled since the ’60s.</p>",
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"date": "August 16, 2017",
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"body": "\n\nYes, I know it's the birthday today of a more famous pianist, Bill Evans, but I want to highlight **Mal Waldron** because I like his music better (it's just a matter of personal taste, pal) and I feel that he is underrated, despite a much-longer career than Evans. \n\nBorn to West Indian parents in NYC, Mal grew up in Jamaica, Queens and took piano lessons before also playing alto sax in bands as a teenager. In the '40s he was witness to the bebop explosion and after college switched permanently to piano. \n\nTurning pro in '50, he cut first record with Ike Quebec in '52 and became house pianist for Prestige in the '50s, composing the standard \"Soul Eyes\" for a record featuring a John Coltrane (_Interplay For 2 Trumpets And 2 Tenors_ , Prestige '57, credited to Prestige All-Stars). He played and recorded often with Jackie McLean, Gene Ammons, Kenny Burrell and was famously with Charles Mingus at a crucial juncture in jazz history ('54-59). \n\nHe formed his own band as a leader in '56 and was also Billie Holiday's chief accompanist for the last two years of her life. It was with her that he first toured Europe. After Billie's death he found fruitful collaborations with Abbey Lincoln/Max Roach and Booker Little/Eric Dolphy (not too mention his joining with Booker ERVIN/Dolphy as well!). \n\nA heroin overdose in '63 destroyed Waldron's memory and ability to play for a few years. Upon recovery he moved to Europe in the mid-'60s, playing with Ben Webster, Kenny Clarke, Dizzy Gillespie and joining German rock band Embryo for several years. He first toured Japan in '70, becoming a popular artist there and returning many, many times, even marrying a Japanese woman. They lived there part time. \n\nHe kicked off two brand new jazz labels around this time, _Free At Last_ was the first album on the new ECM label in '69 and in '71 Enja's debut release was Mal's _Black Glory_. The '70s saw him continuing recording and touring, playing with Joe Henderson, Charlie Rouse and others. \n\nThe '80s & '90s found him often in duo with Steve Lacy exploring the music of Thelonious Monk, as well as dates with Jeanne Lee and Johnny Dyani, while his later albums included work with Archie Shepp and David Murray. His music reached from R&B to bop to avant-garde to rock to free jazz. He also scored for films, ballet and theater. He spoke four languages fluently.",
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"html": "<p><img src=\"/images/a48042e6af1fe89d9d198e18d4d13_large.jpg\" alt=\"\"></p>\n<p>Yes, I know it’s the birthday today of a more famous pianist, Bill Evans, but I want to highlight <strong>Mal Waldron</strong> because I like his music better (it’s just a matter of personal taste, pal) and I feel that he is underrated, despite a much-longer career than Evans.</p>\n<p>Born to West Indian parents in NYC, Mal grew up in Jamaica, Queens and took piano lessons before also playing alto sax in bands as a teenager. In the ’40s he was witness to the bebop explosion and after college switched permanently to piano.</p>\n<p>Turning pro in ‘50, he cut first record with Ike Quebec in ‘52 and became house pianist for Prestige in the ’50s, composing the standard “Soul Eyes” for a record featuring a John Coltrane (<em>Interplay For 2 Trumpets And 2 Tenors</em> , Prestige ‘57, credited to Prestige All-Stars). He played and recorded often with Jackie McLean, Gene Ammons, Kenny Burrell and was famously with Charles Mingus at a crucial juncture in jazz history (‘54-59).</p>\n<p>He formed his own band as a leader in ‘56 and was also Billie Holiday’s chief accompanist for the last two years of her life. It was with her that he first toured Europe. After Billie’s death he found fruitful collaborations with Abbey Lincoln/Max Roach and Booker Little/Eric Dolphy (not too mention his joining with Booker ERVIN/Dolphy as well!).</p>\n<p>A heroin overdose in ‘63 destroyed Waldron’s memory and ability to play for a few years. Upon recovery he moved to Europe in the mid-’60s, playing with Ben Webster, Kenny Clarke, Dizzy Gillespie and joining German rock band Embryo for several years. He first toured Japan in ‘70, becoming a popular artist there and returning many, many times, even marrying a Japanese woman. They lived there part time.</p>\n<p>He kicked off two brand new jazz labels around this time, <em>Free At Last</em> was the first album on the new ECM label in ‘69 and in ‘71 Enja’s debut release was Mal’s <em>Black Glory</em>. The ’70s saw him continuing recording and touring, playing with Joe Henderson, Charlie Rouse and others.</p>\n<p>The ’80s & ’90s found him often in duo with Steve Lacy exploring the music of Thelonious Monk, as well as dates with Jeanne Lee and Johnny Dyani, while his later albums included work with Archie Shepp and David Murray. His music reached from R&B to bop to avant-garde to rock to free jazz. He also scored for films, ballet and theater. He spoke four languages fluently.</p>",
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"body": "\n\nHappy birthday to the man who James Brown owes his career to, **Bobby Byrd**. Byrd was JB's discoverer and longtime business partner, as well as a singer/composer of his own note. \n\nByrd came from a gospel music family in Georgia and sang and played piano & organ. He and his siblings would take secular jobs in South Carolina, unbeknownst to his elders, and they got to be known in the region. Professional by 1952 when he met Brown during a prison baseball game and the Byrd family helped get him paroled. Upon release, Brown immediately joined Byrd's band The Famous Flames as drummer. \n\nAfter Brown moved to lead singer they signed to Federal/King in the mid-'50s. Byrd was co-composer on their first record, the hit \"Please Please Please\". They became one of the most successful young R&B groups in the country. The JB-financed concert _Live At The Apollo_ was an inspired move. In '64 Byrd started cutting his own records (and in duo with Anna King). Brown and Byrd formed a production company called Fair Deal, which benefited both singers. \n\nIn '68 the Famous Flames broke up, but Bobby returned in 1970 when the JB band turned over into the Bootsy & Catfish Collins backing unit. At this point they started People Records and Byrd released his monster funk tune \"I Know You Got Soul\" (sampled famously by Eric B & Rakim, among others). And Lyn Collins' heavily-sampled funk smash \"Think (About It\") features Byrd on perhaps the most famous tambourine break of all time. \n\nByrd left the organization in '73, mostly due to uncredited composing and problems between Brown and Byrd's singer wife Vicki Anderson. They remained friends but JB's output clearly missed Byrd's assistance. Byrd pretty much laid low for a long time, recording an album in Germany in the '90s and making select appearances. Some financial assistance from Jay Z provided a needed boost for Byrd & Anderson in his last few years after decades of unpaid publishing.",
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"html": "<p><img src=\"/images/600x600_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the man who James Brown owes his career to, <strong>Bobby Byrd</strong>. Byrd was JB’s discoverer and longtime business partner, as well as a singer/composer of his own note.</p>\n<p>Byrd came from a gospel music family in Georgia and sang and played piano & organ. He and his siblings would take secular jobs in South Carolina, unbeknownst to his elders, and they got to be known in the region. Professional by 1952 when he met Brown during a prison baseball game and the Byrd family helped get him paroled. Upon release, Brown immediately joined Byrd’s band The Famous Flames as drummer.</p>\n<p>After Brown moved to lead singer they signed to Federal/King in the mid-’50s. Byrd was co-composer on their first record, the hit “Please Please Please”. They became one of the most successful young R&B groups in the country. The JB-financed concert <em>Live At The Apollo</em> was an inspired move. In ‘64 Byrd started cutting his own records (and in duo with Anna King). Brown and Byrd formed a production company called Fair Deal, which benefited both singers.</p>\n<p>In ‘68 the Famous Flames broke up, but Bobby returned in 1970 when the JB band turned over into the Bootsy & Catfish Collins backing unit. At this point they started People Records and Byrd released his monster funk tune “I Know You Got Soul” (sampled famously by Eric B & Rakim, among others). And Lyn Collins’ heavily-sampled funk smash “Think (About It”) features Byrd on perhaps the most famous tambourine break of all time.</p>\n<p>Byrd left the organization in ‘73, mostly due to uncredited composing and problems between Brown and Byrd’s singer wife Vicki Anderson. They remained friends but JB’s output clearly missed Byrd’s assistance. Byrd pretty much laid low for a long time, recording an album in Germany in the ’90s and making select appearances. Some financial assistance from Jay Z provided a needed boost for Byrd & Anderson in his last few years after decades of unpaid publishing.</p>",
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"body": "\n\nA true innovator, **Pierre Schaeffer** was the father of _musique-concrete_. Not a trained musician but an admirer of Luigi Russolo, Schaeffer sought to dispense with music theory early on and create a new experimental music that utilized found sounds, pitched turntables, manipulated & spliced magnetic tape, looping & sampling, noise & distortion and other revolutionary techniques that have been endlessly used by artists since. \n\nHe was Lee \"Scratch\" Perry, Christian Marclay, the Bomb Squad, Edgar Varese, Stockhausen and Pole before most of them were even born. You could also say that without Schaeffer's imagination the genres of electro-acoustic music, hiphop, noise, dub, disco and techno would not exist. He built a studio, sculpted freely improvised sound, worked with _Groupe de Recherche de Musique Concrète_ (the GRMC), collaborated with Pierre Henry, Luc Ferrari, Xenakis and others. \n\nHe was a writer, composer, musicologist, sound engineer, playwright, opera composer, educator and an anti-nukes activist. Also impressively, he led a 500-man team to rescue victims of the 1988 earthquake in Armenia. Let's thank him today for everything.",
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"html": "<p><img src=\"/images/Pierre-SCHAEFFER-dans-le-studio-de-la-rue-de-lUniversite-1963-Laszlo-Ruszka-_INA-GRM_large.jpg\" alt=\"\"></p>\n<p>A true innovator, <strong>Pierre Schaeffer</strong> was the father of <em>musique-concrete</em>. Not a trained musician but an admirer of Luigi Russolo, Schaeffer sought to dispense with music theory early on and create a new experimental music that utilized found sounds, pitched turntables, manipulated & spliced magnetic tape, looping & sampling, noise & distortion and other revolutionary techniques that have been endlessly used by artists since.</p>\n<p>He was Lee “Scratch” Perry, Christian Marclay, the Bomb Squad, Edgar Varese, Stockhausen and Pole before most of them were even born. You could also say that without Schaeffer’s imagination the genres of electro-acoustic music, hiphop, noise, dub, disco and techno would not exist. He built a studio, sculpted freely improvised sound, worked with <em>Groupe de Recherche de Musique Concrète</em> (the GRMC), collaborated with Pierre Henry, Luc Ferrari, Xenakis and others.</p>\n<p>He was a writer, composer, musicologist, sound engineer, playwright, opera composer, educator and an anti-nukes activist. Also impressively, he led a 500-man team to rescue victims of the 1988 earthquake in Armenia. Let’s thank him today for everything.</p>",
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"body": "\n\nI love jazz violin and **Stuff Smith** was a major one. He came out of the swing era but played a Louie Armstrong-influenced progressive style with beboppers and even with Sun Ra, inspiring many jazz violinists since, including Billy Bang. And he was the first person to use electronic amplification for it. \n\nFrom Cleveland, Hezekiah Leroy Gordon Smith learned the instrument from his father before studying classical music. At 15 he toured with the _Aunt Jemima Revue_ minstrel show. He played jazz professionally in Dallas starting in '26 and NYC starting in '35 after stints with Jelly Roll Morton and a stay in Buffalo. He had some hit records in the late '30s. (Check out the pot-smoking song \"You're A Viper\"!) \n\n\nHe played with Coleman Hawkins & Jonah Jones in the '30s, and in the '40s with Charlie Parker and Fats Waller and in the '50s with Nat King Cole, Dizzy Gillespie, Oscar Peterson, Shirley Horn and others. In Chicago he worked with Sun Ra in an early version of the Arkestra. In the later '50s he was in LA. He spent the last few years of his life living in Europe. He contributed several compositions to the jazz book and was a comic singer as well, sometimes with a parrot on his shoulder.",
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"html": "<p><img src=\"/images/Stuff_Smith_large.jpg\" alt=\"\"></p>\n<p>I love jazz violin and <strong>Stuff Smith</strong> was a major one. He came out of the swing era but played a Louie Armstrong-influenced progressive style with beboppers and even with Sun Ra, inspiring many jazz violinists since, including Billy Bang. And he was the first person to use electronic amplification for it.</p>\n<p>From Cleveland, Hezekiah Leroy Gordon Smith learned the instrument from his father before studying classical music. At 15 he toured with the <em>Aunt Jemima Revue</em> minstrel show. He played jazz professionally in Dallas starting in ‘26 and NYC starting in ‘35 after stints with Jelly Roll Morton and a stay in Buffalo. He had some hit records in the late ’30s. (Check out the pot-smoking song “You’re A Viper”!)</p>\n<p>He played with Coleman Hawkins & Jonah Jones in the ’30s, and in the ’40s with Charlie Parker and Fats Waller and in the ’50s with Nat King Cole, Dizzy Gillespie, Oscar Peterson, Shirley Horn and others. In Chicago he worked with Sun Ra in an early version of the Arkestra. In the later ’50s he was in LA. He spent the last few years of his life living in Europe. He contributed several compositions to the jazz book and was a comic singer as well, sometimes with a parrot on his shoulder.</p>",
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Beny Moré / Aug 24, 1919 - Feb 19, 1963
August 24, 2017
Happy birthday to the beloved Cuban singer/bandleader/composer Beny Moré! In 1942 he joined Trío Matamoros and went to Mexico with them in '45. Moré stayed in Mexico, joining the band of Perez Prado and cutting a couple dozen records with them, as well as with other orchestras. After touring Latin...
Wynonie Harris / Aug 24, 1915 - June 14, 1969
August 24, 2017
One of the fathers of rock & roll and a top blues shouter and dancer in his day, here is the guy Elvis Presley stole his stage moves from. From Omaha, Wynonie Harris got big locally in the '30s and took his show on the road: Kansas City, Los Angeles,...
Malvina Reynolds / Aug 23, 1900 - March 17, 1978
August 23, 2017
Happy birthday to the Gray Panther Party's inspired folkie, Malvina Reynolds. She was a Socialist/activist singer-songwriter who, along with her husband, was involved in left-wing causes and labor organizing for decades. She was also a writer, guitarist, social worker, feminist, civil & gay rights activist and mother. Born into a...
Chuck Brown / Aug 22, 1936 - May 16, 2012
August 22, 2017
One of the greatest of many, many great DC musicians, Chuck Brown and his band the Soul Searchers practically invented the infamous Washington DC go-go style. Hugely popular in the clubs of DC and Baltimore, go-go was a percussion heavy brand of funk (although very much informed by the gospel...
John Lee Hooker / Aug 22, 1912 or 1917 - June 21, 2001
August 22, 2017
One of my favorite musicians was John Lee Hooker and his deeply entrancing boogie, a droning one-chord style that is one of the more direct links from American electric blues to an ancient African sound pool. From the Mississippi Delta, his exact birth year is disputed. His earliest musical experience...
Karlheinz Stockhausen / Aug 22, 1928 - Dec 5, 2007
August 22, 2017
** Karlheinz Stockhausen , a leading figure in avant-garde "contemporary" European music, made several records that could be enjoyed by rock & free jazz & noise fans, as well as those into experiments in orchestral music, serialism and nutty orchestral ideas. While the brainiac set will go off about his...
Malachi Favors / Aug 22, 1927 - Jan 30, 2004
August 22, 2017
Happy earth arrival day to one of my favorite bassists, Malachi Favors Maghostut. Most famous for playing in my all time favorite group, the highly theatrical and musical Art Ensemble of Chicago, he's also played and recorded with all of the Art Ensemble members, as well as Kahil El'Zabar's Ritual...
Art Farmer / Aug 21, 1928 - Oct 4, 1999
August 21, 2017
Happy birthday to the great trumpet and flugelhorn player of bop and beyond, Art Farmer! A player of precise control and elegant brightness, he had a long and distinguished career that was creatively giving til the end. He grew up in Phoenix and tried out several instruments: piano, violin, tuba...
Count Basie / Aug 21, 1904 - April 26, 1984
August 21, 2017
Happy birthday to that great big-band leader Count Basie. His preserve in the history of jazz is well-documented and much loved. From New Jersey, William James Basie got his start playing in the '20s in Harlem and the Jersey Shore before touring the Vaudeville circuit. He moved to Kansas City...
Joe Strummer / Aug 21, 1952 - Dec 22, 2002
August 21, 2017
Happy birthday to rock hero John Graham Mellor aka Joe Strummer!! Thanks for the great music with one of the greatest rock bands ever, The Clash, as well as your other projects.
Isaac Hayes / Aug 20, 1942 - Aug 10, 2008
August 20, 2017
Born today in 1942: a true soul man, Isaac Hayes! Before his multi-platinum singing career as a psychedelic gospel-soul-jazz artist who would bring Burt Bacharach songs into the extended length stetched-out mind-trip format, he was a crucial foundational member of the Stax operation. He wrote or co-wrote, produced and/or played...
Phil Lynott / Aug 20, 1949 - Jan 4, 1986
August 20, 2017
Thin Lizzy are one of my favorite classic rock bands and bassist/vocalist/songwriter Phil Lynott is a big reason. A black Irishmen, he was a composer, singer and poet who grew up in Dublin. He started singing in bands in '65. In the late '60s he learned rhythm guitar and bass,...
Sky Saxon / Aug 20, 1937 - June 25, 2009
August 20, 2017
One of the great figures in early psychedelic rock, Sky Saxon and his band The Seeds were very influential on the West Coast garage rock scene. From Salt Lake City (govt name: Richard Marsh), he moved to Los Angeles and started recording doo-wop under the name of Little Richie Marsh...
Baby Huey / Aug 17, 1944 - Oct 28, 1970
August 17, 2017
Happy birthday to James Ramey aka Baby Huey. He cut a great album with his Babysitters band (produced by Curtis Mayfield) but died at only 26. From Richmond, IN he moved to Chicago after high school and formed Baby Huey & his Babysitters in 1963. They played a mixture of...
Juan Pablo Torres / Aug 17, 1946 - April 17, 2005
August 17, 2017
Happy birthday to the visionary Cuban trombonist/composer/producer Juan Pablo Torres. He made some very funky Latin jazz both in and outside of Cuba, and some of his albums stand as some of the most "fucked-up" or psychedelic-aligned music you'll ever hear from the island. Aside from his own masterpieces, you...
Al Hibbler / Aug 16, 1915 - April 24, 2001
August 16, 2017
Happy birthday to Al Hibbler , the uniquely gifted and underrated vocalist and civil rights activist who's career was disturbed by a near-blacklist recording ban due to his arrests in the movement. Born in Mississippi, he joined a choir at a school for the blind in Little Rock at age...
Mal Waldron / Aug 16, 1925 - Dec 2, 2002
August 16, 2017
Yes, I know it's the birthday today of a more famous pianist, Bill Evans, but I want to highlight Mal Waldron because I like his music better (it's just a matter of personal taste, pal) and I feel that he is underrated, despite a much-longer career than Evans. Born to...
Bobby Byrd / Aug 15, 1934 - Sept 12, 2007
August 15, 2017
Happy birthday to the man who James Brown owes his career to, Bobby Byrd. Byrd was JB's discoverer and longtime business partner, as well as a singer/composer of his own note. Byrd came from a gospel music family in Georgia and sang and played piano & organ. He and his...
Pierre Schaeffer / Aug 14, 1910 - Aug 19, 1995
August 14, 2017
A true innovator, Pierre Schaeffer was the father of musique-concrete. Not a trained musician but an admirer of Luigi Russolo, Schaeffer sought to dispense with music theory early on and create a new experimental music that utilized found sounds, pitched turntables, manipulated & spliced magnetic tape, looping & sampling, noise...
Stuff Smith / Aug 14, 1909 - Sept 25, 1967
August 14, 2017
I love jazz violin and Stuff Smith was a major one. He came out of the swing era but played a Louie Armstrong-influenced progressive style with beboppers and even with Sun Ra, inspiring many jazz violinists since, including Billy Bang. And he was the first person to use electronic amplification...