News & Updates

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  {
    "id": "homer-banks-aug-2-1941-april-3-2003",
    "data": {
      "title": "Homer Banks / Aug 2, 1941 - April 3, 2003",
      "slug": "homer-banks-aug-2-1941-april-3-2003",
      "date": "2017-08-02T00:00:00.000Z"
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    "body": "![](/images/A-270013-1124967030_jpg_large.jpg)\n\nAn unsung name in the world of soul music, **Homer Banks** was a singer, songwriter and producer who wrote a lot of great tunes for the Stax stable of artists. His twin brother James Banks is also a songwriter.\n\nMemphis-born, he started touring in a gospel group in the late '50s and cut some soul records for the Genie label starting in '64. It was working there that he met future Stax chums Isaac Hayes and David Porter. He cut \"A Lot Of Love\" (later stolen by Spencer Davis Group for \"Gimme Some Lovin\"), one of five singles he did for the Minit label.\n\nHe signed on as a songwriter with Stax and a few of his bigger hits (as sole or co-composer) included \"Who's Making Love\" by Johnnie Taylor, \"Long Walk To DC\" and \"If You're Ready Come Go With Me\" by The Staple Singers, \"I Can't Stand Up For Falling Down\" by Sam & Dave (famously covered by Elvis Costello) and \"If Loving You Is Wrong I Don't Want To Be Right\" (a hit with Luther Ingram). He produced records for Albert King and The Soul Children, among others.\n\nAfter Stax folded he continued writing for various R&B labels into the '80s. His songs have been recorded or covered by a wide range of artists: Rolling Stones, Rod Stewart, U-Roy, Taj Mahal, Isaac Hayes, Tom Jones and many others. Ironically, he never once recorded as a vocalist with Stax.",
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      "html": "<p><img src=\"/images/A-270013-1124967030_jpg_large.jpg\" alt=\"\"></p>\n<p>An unsung name in the world of soul music, <strong>Homer Banks</strong> was a singer, songwriter and producer who wrote a lot of great tunes for the Stax stable of artists. His twin brother James Banks is also a songwriter.</p>\n<p>Memphis-born, he started touring in a gospel group in the late ’50s and cut some soul records for the Genie label starting in ‘64. It was working there that he met future Stax chums Isaac Hayes and David Porter. He cut “A Lot Of Love” (later stolen by Spencer Davis Group for “Gimme Some Lovin”), one of five singles he did for the Minit label.</p>\n<p>He signed on as a songwriter with Stax and a few of his bigger hits (as sole or co-composer) included “Who’s Making Love” by Johnnie Taylor, “Long Walk To DC” and “If You’re Ready Come Go With Me” by The Staple Singers, “I Can’t Stand Up For Falling Down” by Sam &#x26; Dave (famously covered by Elvis Costello) and “If Loving You Is Wrong I Don’t Want To Be Right” (a hit with Luther Ingram). He produced records for Albert King and The Soul Children, among others.</p>\n<p>After Stax folded he continued writing for various R&#x26;B labels into the ’80s. His songs have been recorded or covered by a wide range of artists: Rolling Stones, Rod Stewart, U-Roy, Taj Mahal, Isaac Hayes, Tom Jones and many others. Ironically, he never once recorded as a vocalist with Stax.</p>",
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          "title": "Homer Banks / Aug 2, 1941 - April 3, 2003",
          "pagination": "https://www.peaceandrhythm.com/?page=33",
          "date": "August 02, 2017",
          "post": "Homer Banks / Aug 2, 1941 - April 3, 2003",
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  {
    "id": "juan-formell-aug-2-1942-may-1-2014",
    "data": {
      "title": "Juan Formell / Aug 2, 1942 - May 1, 2014",
      "slug": "juan-formell-aug-2-1942-may-1-2014",
      "date": "2017-08-02T00:00:00.000Z"
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    "body": "![](/images/51c70ab386afa6b21daeac4a974db13d_large.jpg)\n\nThe great Cuban bassist and composer **Juan Formell** is best known for being the leader of Los Van Van, and for being the creator of the _songo_ , a fusion of Afro-Cuban, són, charanga, jazz, salsa, soul, classical and pop.\n\nBorn into a musical family in Havana, he started his career in the late '50s, eventually playing with Elena Burke. He formed Van Van in 1969 after leading Orchestra Revé (and turning them into Changüí '68) and set about becoming one of the most important figures in the history of Cuban music.\n\nLos Van Van were the leading band on the island for decades and they helped popularized the use of electronics in Cuban music, updating and fusing the old into new concepts. By the '80s Van Van had become a famous attraction around the globe and one of the most popular Latin bands in the world. They had to wait until the late '90s to play in the US but ended up winning a Grammy. His son Juan Carlos now leads the band (and plays on [Peace & Rhythm LP-001](https://www.peaceandrhythm.com/collections/store/products/ola-fresca-elixir-ltd-ed-lp), Ola Fresca's _Elixir_).",
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      "html": "<p><img src=\"/images/51c70ab386afa6b21daeac4a974db13d_large.jpg\" alt=\"\"></p>\n<p>The great Cuban bassist and composer <strong>Juan Formell</strong> is best known for being the leader of Los Van Van, and for being the creator of the <em>songo</em> , a fusion of Afro-Cuban, són, charanga, jazz, salsa, soul, classical and pop.</p>\n<p>Born into a musical family in Havana, he started his career in the late ’50s, eventually playing with Elena Burke. He formed Van Van in 1969 after leading Orchestra Revé (and turning them into Changüí ‘68) and set about becoming one of the most important figures in the history of Cuban music.</p>\n<p>Los Van Van were the leading band on the island for decades and they helped popularized the use of electronics in Cuban music, updating and fusing the old into new concepts. By the ’80s Van Van had become a famous attraction around the globe and one of the most popular Latin bands in the world. They had to wait until the late ’90s to play in the US but ended up winning a Grammy. His son Juan Carlos now leads the band (and plays on <a href=\"https://www.peaceandrhythm.com/collections/store/products/ola-fresca-elixir-ltd-ed-lp\">Peace &#x26; Rhythm LP-001</a>, Ola Fresca’s <em>Elixir</em>).</p>",
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          "title": "Juan Formell / Aug 2, 1942 - May 1, 2014",
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  {
    "id": "nana-vasconcelos-aug-2-1944-march-9-2016",
    "data": {
      "title": "Naná Vasconcelos / Aug 2, 1944 - March 9, 2016",
      "slug": "nana-vasconcelos-aug-2-1944-march-9-2016",
      "date": "2017-08-02T00:00:00.000Z"
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    "body": "![](/images/nanavascon3_large.jpg)\n\nBrazilian percussionist **Naná Vasconcelos** was a steady figure in the world of experimental/improvised/\"ethnic\" jazz for decades. His work with Codona, Don Cherry, Egberto Gismonti, Milton Nascimento and others show a great contribution, especially in bringing the berimbau into a progressive jazz context.\n\nBorn in Recife, he came from a musical family and participated in samba bands as a teenager and started playing in professional groups in his early 20s. Early appearances included recordings and performances with Os Mutantes, Gato Barbieri, Nascimento and Herb Alpert.\n\nIn the mid-'70s, he made a great trio album with Perry Robinson and Badal Roy (_Kundalini_) and started working with Gismonti and with Cherry and Colin Wolcott in Codona, who released three incredible classics for the ECM label. The '80s brought fruitful collaborations with Jan Garbarek, Jon Hassell/Brian Eno, Pat Metheny and a tour with a break-dance troup.\n\nThrough the years he has appeared with a wide variety of artists and styles: Cyro Baptista, Arto Lindsay, BB King, Talking Heads, Paul Simon, Chaka Khan, Sergio Mendes, Jim Pepper, John Zorn, Caetano Veloso, Jean-Luc Ponty, Debbie Harry and many, many more. Samba schools, rock bands, tropicalistas, symphonies, avant-jazz, new age, film music, pop...he has brought the berimbau into many contexts. Sometimes he would play his own body as percussion and played bongos, maracas, congas, drum kit, electronic drum machines, Indian percussion, and various other Brazilian percussion instruments. He was also an activist, working with disadvantaged children worldwide.",
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      "html": "<p><img src=\"/images/nanavascon3_large.jpg\" alt=\"\"></p>\n<p>Brazilian percussionist <strong>Naná Vasconcelos</strong> was a steady figure in the world of experimental/improvised/“ethnic” jazz for decades. His work with Codona, Don Cherry, Egberto Gismonti, Milton Nascimento and others show a great contribution, especially in bringing the berimbau into a progressive jazz context.</p>\n<p>Born in Recife, he came from a musical family and participated in samba bands as a teenager and started playing in professional groups in his early 20s. Early appearances included recordings and performances with Os Mutantes, Gato Barbieri, Nascimento and Herb Alpert.</p>\n<p>In the mid-’70s, he made a great trio album with Perry Robinson and Badal Roy (<em>Kundalini</em>) and started working with Gismonti and with Cherry and Colin Wolcott in Codona, who released three incredible classics for the ECM label. The ’80s brought fruitful collaborations with Jan Garbarek, Jon Hassell/Brian Eno, Pat Metheny and a tour with a break-dance troup.</p>\n<p>Through the years he has appeared with a wide variety of artists and styles: Cyro Baptista, Arto Lindsay, BB King, Talking Heads, Paul Simon, Chaka Khan, Sergio Mendes, Jim Pepper, John Zorn, Caetano Veloso, Jean-Luc Ponty, Debbie Harry and many, many more. Samba schools, rock bands, tropicalistas, symphonies, avant-jazz, new age, film music, pop…he has brought the berimbau into many contexts. Sometimes he would play his own body as percussion and played bongos, maracas, congas, drum kit, electronic drum machines, Indian percussion, and various other Brazilian percussion instruments. He was also an activist, working with disadvantaged children worldwide.</p>",
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          "title": "Naná Vasconcelos / Aug 2, 1944 - March 9, 2016",
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          "date": "August 02, 2017",
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  {
    "id": "jerry-garcia-aug-1-1942-aug-9-1995",
    "data": {
      "title": "Jerry Garcia / Aug 1, 1942 - Aug 9, 1995",
      "slug": "jerry-garcia-aug-1-1942-aug-9-1995",
      "date": "2017-08-01T00:00:00.000Z"
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    "body": "![](/images/th_8340ecd9-6f4a-45e6-bff4-0a954343e274_large.jpg)\n\nI must give respect to that counter-cultural icon of The Grateful Dead, **Jerry Garcia** , on his day of birth. I was never a big fan of the Dead, although they certainly have their fine moments and I have a lot of respect for what they built and accomplished.\n\nBut one of the best aspects of the band had always been Jerry's presence and his beautiful psychedelic guitar style. He could play also pedal steel and banjo, had a distinct singing voice, and his love for music allowed him to dip into many different styles, from folk-rock to garage punk, free jazz to blues & soul, country & old-timey to funk rock.\n\nHe worked as a musician or producer with several bands such as Jefferson Airplane, Crosby Stills Nash &Young, It's A Beautiful Day, Howard Wales, New Riders of the Purple Sage, David Grisman, Merl Saunders, Ornette Coleman and his own Jerry Garcia Band. Much respect.",
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      "html": "<p><img src=\"/images/th_8340ecd9-6f4a-45e6-bff4-0a954343e274_large.jpg\" alt=\"\"></p>\n<p>I must give respect to that counter-cultural icon of The Grateful Dead, <strong>Jerry Garcia</strong> , on his day of birth. I was never a big fan of the Dead, although they certainly have their fine moments and I have a lot of respect for what they built and accomplished.</p>\n<p>But one of the best aspects of the band had always been Jerry’s presence and his beautiful psychedelic guitar style. He could play also pedal steel and banjo, had a distinct singing voice, and his love for music allowed him to dip into many different styles, from folk-rock to garage punk, free jazz to blues &#x26; soul, country &#x26; old-timey to funk rock.</p>\n<p>He worked as a musician or producer with several bands such as Jefferson Airplane, Crosby Stills Nash &#x26;Young, It’s A Beautiful Day, Howard Wales, New Riders of the Purple Sage, David Grisman, Merl Saunders, Ornette Coleman and his own Jerry Garcia Band. Much respect.</p>",
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          "title": "Jerry Garcia / Aug 1, 1942 - Aug 9, 1995",
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          "date": "August 01, 2017",
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  {
    "id": "lloyd-brevett-aug-1-1931-may-3-2012",
    "data": {
      "title": "Lloyd Brevett / Aug 1, 1931 - May 3, 2012",
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      "date": "2017-08-01T00:00:00.000Z"
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    "body": "![](/images/lloyd-brevett-skatalites-bass-player-died-on-may-3-2012-21639891_large.jpg)\n\nHappy born day to the ex-Skatalite bassist **Lloyd Brevett**. He played the upright and was a founding member of the Skatalites, one of the most important bands the planet has ever known. One of their best albums came under the leadership of Brevett, the amazingly funky 1975 classic _African Roots_.\n\nHe was a trained jazz bassist and knew how to build & repair them. With the Skatalites he provided backing to early recordings by The Wailers, as well as early Lee Perry and Alton Ellis records. He played with The Soul Vendors and Herbie Mann while the Skatalites were broken up, before rejoining the legends for several decades.\n\nHe was the uncle of Tony Brevett of the Melodians. Brevett died from a series of strokes in 2012, just two weeks after the murder of his son. Brevett was a rastafarian and had earned a Jamaican Order of Distinction.",
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      "html": "<p><img src=\"/images/lloyd-brevett-skatalites-bass-player-died-on-may-3-2012-21639891_large.jpg\" alt=\"\"></p>\n<p>Happy born day to the ex-Skatalite bassist <strong>Lloyd Brevett</strong>. He played the upright and was a founding member of the Skatalites, one of the most important bands the planet has ever known. One of their best albums came under the leadership of Brevett, the amazingly funky 1975 classic <em>African Roots</em>.</p>\n<p>He was a trained jazz bassist and knew how to build &#x26; repair them. With the Skatalites he provided backing to early recordings by The Wailers, as well as early Lee Perry and Alton Ellis records. He played with The Soul Vendors and Herbie Mann while the Skatalites were broken up, before rejoining the legends for several decades.</p>\n<p>He was the uncle of Tony Brevett of the Melodians. Brevett died from a series of strokes in 2012, just two weeks after the murder of his son. Brevett was a rastafarian and had earned a Jamaican Order of Distinction.</p>",
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  {
    "id": "uzziah-sticky-thompson-aug-1-1936-aug-25-2014",
    "data": {
      "title": "Uzziah \"Sticky\" Thompson / Aug 1, 1936 - Aug 25, 2014",
      "slug": "uzziah-sticky-thompson-aug-1-1936-aug-25-2014",
      "date": "2017-08-01T00:00:00.000Z"
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    "body": "![](/images/uzziah-sticky-thompson-21_large.jpg)\n\nOne of Jamaica's great drummers, **Sticky Thompson** played on many, many reggae sessions with The Wailers, Lee \"Scratch\" Perry, Jimmy Cliff, Dennis Brown, Junior Byles, Grace Jones, Culture, Gregory Isaacs, Black Uhuru, The Techniques, Mighty Diamonds, Alton Ellis, Ken Boothe, Ziggy Marley, John Holt, Soul Syndicate, Yabby You, Tommy McCook, Burning Spear, Tom Tom Club and many, many others.\n\nA few of his catalogue credits: \"Beat Down Babylon\", \"Soul Rebel\", \"Duppy Conqueror\", \"I Need A Roof\", \"Pull Up To The Bumper\" and other classics. He was a member of the Compass Point Studio band for Island Records. He was also a dee-jay in his early years, toasting over ska records.",
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      "html": "<p><img src=\"/images/uzziah-sticky-thompson-21_large.jpg\" alt=\"\"></p>\n<p>One of Jamaica’s great drummers, <strong>Sticky Thompson</strong> played on many, many reggae sessions with The Wailers, Lee “Scratch” Perry, Jimmy Cliff, Dennis Brown, Junior Byles, Grace Jones, Culture, Gregory Isaacs, Black Uhuru, The Techniques, Mighty Diamonds, Alton Ellis, Ken Boothe, Ziggy Marley, John Holt, Soul Syndicate, Yabby You, Tommy McCook, Burning Spear, Tom Tom Club and many, many others.</p>\n<p>A few of his catalogue credits: “Beat Down Babylon”, “Soul Rebel”, “Duppy Conqueror”, “I Need A Roof”, “Pull Up To The Bumper” and other classics. He was a member of the Compass Point Studio band for Island Records. He was also a dee-jay in his early years, toasting over ska records.</p>",
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          "title": "Uzziah \"Sticky\" Thompson / Aug 1, 1936 - Aug 25, 2014",
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  {
    "id": "roy-porter-july-30-1923-jan-24-1998",
    "data": {
      "title": "Roy Porter / July 30, 1923 - Jan 24, 1998",
      "slug": "roy-porter-july-30-1923-jan-24-1998",
      "date": "2017-07-30T00:00:00.000Z"
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    "body": "![](//cdn.shopify.com/s/files/1/1521/8838/files/front_large.JPG?v=1501273820)\n\nBop drummer **Roy Porter** was a heavy cat on the West Coast scene of the late '40s, famously recording with Charlie Parker and leading an forward-pointing big band that featured young musicians such as Eric Dolphy, Charles Mingus, Art Farmer and others. Drugs destroyed his career but his '70s mini-comeback material remains sought after by funk collectors.\n\nA Colorado native, he went to college with Kenny Dorham in Texas. He was touring with Milt Larkin in '43 and landed in Los Angeles. His first recordings were with Howard McGhee in '45. In '46 he recorded with Bird for Dial (among them \"Moose the Mooche\", \"Ornithology\", \"Yardbird Suite\", \"Night In Tunisia\" - classics!).\n\nA fixture on the bumping Central Avenue bop scene in Los Angeles, he regularly worked with Dexter Gordon, Teddy Edwards and Wardell Gray. Young Dolphy cut his first sides with Porter's band in '49. He also cut sessions as a sideman with Miles Davis, Leo Parker and others, as well as work in the Bay Area with Sonny Criss and others.\n\nPorter ended up off the scene due to drugs for much of the '50s & '60s, although some studio work was still gettable. He cut some funk records in the '70s with his Sound Machine band before retiring. His memoirs, _There And Back_ , came out in '91. He is remembered for his stature in the West Coast scene that proved an inspiration to the next generation of musicians such as Don Cherry, Dolphy and Mingus.",
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      "html": "<p><img src=\"//cdn.shopify.com/s/files/1/1521/8838/files/front_large.JPG?v=1501273820\" alt=\"\"></p>\n<p>Bop drummer <strong>Roy Porter</strong> was a heavy cat on the West Coast scene of the late ’40s, famously recording with Charlie Parker and leading an forward-pointing big band that featured young musicians such as Eric Dolphy, Charles Mingus, Art Farmer and others. Drugs destroyed his career but his ’70s mini-comeback material remains sought after by funk collectors.</p>\n<p>A Colorado native, he went to college with Kenny Dorham in Texas. He was touring with Milt Larkin in ‘43 and landed in Los Angeles. His first recordings were with Howard McGhee in ‘45. In ‘46 he recorded with Bird for Dial (among them “Moose the Mooche”, “Ornithology”, “Yardbird Suite”, “Night In Tunisia” - classics!).</p>\n<p>A fixture on the bumping Central Avenue bop scene in Los Angeles, he regularly worked with Dexter Gordon, Teddy Edwards and Wardell Gray. Young Dolphy cut his first sides with Porter’s band in ‘49. He also cut sessions as a sideman with Miles Davis, Leo Parker and others, as well as work in the Bay Area with Sonny Criss and others.</p>\n<p>Porter ended up off the scene due to drugs for much of the ’50s &#x26; ’60s, although some studio work was still gettable. He cut some funk records in the ’70s with his Sound Machine band before retiring. His memoirs, <em>There And Back</em> , came out in ‘91. He is remembered for his stature in the West Coast scene that proved an inspiration to the next generation of musicians such as Don Cherry, Dolphy and Mingus.</p>",
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    "id": "charlie-christian-july-29-1916-march-2-1942",
    "data": {
      "title": "Charlie Christian / July 29, 1916 - March 2, 1942",
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      "date": "2017-07-29T00:00:00.000Z"
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    "body": "![](/images/3657c7e178de6e4731756c18a7d7f643_large.jpg)\n\nJuly 29, 2016 would've been the 100th birthday of the innovative guitarist **Charlie Christian**. (A year ago...but I wrote this a year ago). He was one of the earliest guitar soloists in jazz (first in a long line of guitarists who wanted their instrument to sound like a sax) and an early pioneer of the electric guitar, a major contributor to the bebop revolution as well as a huge influence on Chuck Berry.\n\nHe grew up in a musical family in Oklahoma City, and was a baseball star as a youth. He started out busking in the street before playing in the clubs as a teenager. He backed several visiting musicians (Teddy Wilson, Mary Lou Williams, Art Tatum and others) and began touring throughout the Midwest in swing bands.\n\nIn 1936 he started playing electric, and in '39 started playing in Benny Goodman's integrated band (alongside Lionel Hampton and Fletcher Henderson), Goodman being among the first white bandleaders to hire black musicians. After Goodman downsized to a sextet, Christian made the cut and the band (with Count Basie at the piano) was quite successful.\n\nChristian was involved in the Minton's Playhouse bebop incubator sessions from which the revolution rose from, alongside the likes of Thelonious Monk, Miles Davis, Dizzy Gillespie, Charlie Parker, Don Byas, Oscar Pettiford, Kenny Clarke and the rest. He was never afforded the opportunity to record as a leader but a few collections have appeared throughout the years highlighting his harmonic genius and influence.\n\nHe battled health problems his last few years, tuberculosis greatly affecting him, before dying of pneumonia at just 25. He has been cited as a major influence by a wide variety of players on guitar and other instruments: Berry, Monk, Miles, Jimi Hendrix, Bird, Carlos Santana, Dizzy, Wes Montgomery, George Benson, Toni Iommi and many others. As such, he stands as a major architect of the bebop revolution and the liberated guitarists that helped usher in the rock era. That is why he is in the Rock & Roll Hall of Fame, inducted as an innovator.",
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      "html": "<p><img src=\"/images/3657c7e178de6e4731756c18a7d7f643_large.jpg\" alt=\"\"></p>\n<p>July 29, 2016 would’ve been the 100th birthday of the innovative guitarist <strong>Charlie Christian</strong>. (A year ago…but I wrote this a year ago). He was one of the earliest guitar soloists in jazz (first in a long line of guitarists who wanted their instrument to sound like a sax) and an early pioneer of the electric guitar, a major contributor to the bebop revolution as well as a huge influence on Chuck Berry.</p>\n<p>He grew up in a musical family in Oklahoma City, and was a baseball star as a youth. He started out busking in the street before playing in the clubs as a teenager. He backed several visiting musicians (Teddy Wilson, Mary Lou Williams, Art Tatum and others) and began touring throughout the Midwest in swing bands.</p>\n<p>In 1936 he started playing electric, and in ‘39 started playing in Benny Goodman’s integrated band (alongside Lionel Hampton and Fletcher Henderson), Goodman being among the first white bandleaders to hire black musicians. After Goodman downsized to a sextet, Christian made the cut and the band (with Count Basie at the piano) was quite successful.</p>\n<p>Christian was involved in the Minton’s Playhouse bebop incubator sessions from which the revolution rose from, alongside the likes of Thelonious Monk, Miles Davis, Dizzy Gillespie, Charlie Parker, Don Byas, Oscar Pettiford, Kenny Clarke and the rest. He was never afforded the opportunity to record as a leader but a few collections have appeared throughout the years highlighting his harmonic genius and influence.</p>\n<p>He battled health problems his last few years, tuberculosis greatly affecting him, before dying of pneumonia at just 25. He has been cited as a major influence by a wide variety of players on guitar and other instruments: Berry, Monk, Miles, Jimi Hendrix, Bird, Carlos Santana, Dizzy, Wes Montgomery, George Benson, Toni Iommi and many others. As such, he stands as a major architect of the bebop revolution and the liberated guitarists that helped usher in the rock era. That is why he is in the Rock &#x26; Roll Hall of Fame, inducted as an innovator.</p>",
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          "title": "Charlie Christian / July 29, 1916 - March 2, 1942",
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          "date": "July 29, 2017",
          "post": "Charlie Christian / July 29, 1916 - March 2, 1942",
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    "id": "junior-kimbrough-july-28-1930-jan-17-1998",
    "data": {
      "title": "Junior Kimbrough / July 28, 1930 - Jan 17, 1998",
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      "date": "2017-07-28T00:00:00.000Z"
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    "body": "![](/images/th_271a6874-1364-4aa5-a5a8-c27b53f83a1c_large.jpg)\n\nHappy birthday to one of my very favorite bluesmen, David **\"Junior\" Kimbrough**. He wasn't recorded too much in his early days, toiling for decades playing his \"cottonpatch blues\" at his roadside shack venue in Holly Springs, MS. He cut his first recordings in Memphis in '66 but they lay unreleased until long after Kimbrough's death.\n\nHis first actual release (erroneously \"Junior Kimbell\") was his version of \"Tramp\", a 45 cut for the Philwood label in '67. In '69 he cut duets with rockabilly artist Charlie Feathers. He recorded scantly in the '70s and '80s but made his NYC debut at the esteemed Lincoln Center, after a \"discovery\" by Bob Palmer. He made a few albums in the '90s, including the tremendous _Sad Days Lonely Nights_ (one of my all time favorite albums). He got to tour Europe in the '90s.\n\nHis style had his thumb on the bass strings, creating that mystical droning effect in his music, and modal runs. His music tapped into a sound that seems very ancient, African, not unlike the music of Ali Farka Toure. He was lifelong friends with RL Burnside (RL's son Gary Burnside played bass in Kimbrough's band).\n\nDespite limited output, Kimbrough has influenced several prominent artists (including Feathers, Buddy Guy and others) and attracted fandom from some of the biggest superstars in music. He continued playing at his roadside venue for the rest of his life. He died of a heart attack in '98, not long after I MISSED him at the Iron Horse. Fuck.",
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      "html": "<p><img src=\"/images/th_271a6874-1364-4aa5-a5a8-c27b53f83a1c_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of my very favorite bluesmen, David <strong>“Junior” Kimbrough</strong>. He wasn’t recorded too much in his early days, toiling for decades playing his “cottonpatch blues” at his roadside shack venue in Holly Springs, MS. He cut his first recordings in Memphis in ‘66 but they lay unreleased until long after Kimbrough’s death.</p>\n<p>His first actual release (erroneously “Junior Kimbell”) was his version of “Tramp”, a 45 cut for the Philwood label in ‘67. In ‘69 he cut duets with rockabilly artist Charlie Feathers. He recorded scantly in the ’70s and ’80s but made his NYC debut at the esteemed Lincoln Center, after a “discovery” by Bob Palmer. He made a few albums in the ’90s, including the tremendous <em>Sad Days Lonely Nights</em> (one of my all time favorite albums). He got to tour Europe in the ’90s.</p>\n<p>His style had his thumb on the bass strings, creating that mystical droning effect in his music, and modal runs. His music tapped into a sound that seems very ancient, African, not unlike the music of Ali Farka Toure. He was lifelong friends with RL Burnside (RL’s son Gary Burnside played bass in Kimbrough’s band).</p>\n<p>Despite limited output, Kimbrough has influenced several prominent artists (including Feathers, Buddy Guy and others) and attracted fandom from some of the biggest superstars in music. He continued playing at his roadside venue for the rest of his life. He died of a heart attack in ‘98, not long after I MISSED him at the Iron Horse. Fuck.</p>",
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          "date": "July 28, 2017",
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    "id": "johnny-hodges-july-25-1906-may-11-1970",
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      "title": "Johnny Hodges / July 25, 1906 - May 11, 1970",
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    "body": "![](/images/johnny-hodges_large.jpg)\n\nHappy birthday to the great swing-jazz alto saxophonist John Cornelius Hodges!! A crucial member of Duke Ellington's band from 1928 until his death in 1970 (save for a few off-and-on years), **Johnny Hodges** was a Boston native. He also played with Sidney Bechet, Chick Webb, Billy Taylor and others, as well as a few records under his own leadership.\n\nNicknamed \"the Rabbit\" and \"Jeep\", he played both soprano and alto and served as a mentor for many younger players coming through the orchestra. He supplied some seriously sultry sax that was just a perfect fit in the Ellington band. His final appearance would be on Duke's _New Orleans Suite_ , of which Hodges passed away before completion.",
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      "html": "<p><img src=\"/images/johnny-hodges_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the great swing-jazz alto saxophonist John Cornelius Hodges!! A crucial member of Duke Ellington’s band from 1928 until his death in 1970 (save for a few off-and-on years), <strong>Johnny Hodges</strong> was a Boston native. He also played with Sidney Bechet, Chick Webb, Billy Taylor and others, as well as a few records under his own leadership.</p>\n<p>Nicknamed “the Rabbit” and “Jeep”, he played both soprano and alto and served as a mentor for many younger players coming through the orchestra. He supplied some seriously sultry sax that was just a perfect fit in the Ellington band. His final appearance would be on Duke’s <em>New Orleans Suite</em> , of which Hodges passed away before completion.</p>",
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          "title": "Johnny Hodges / July 25, 1906 - May 11, 1970",
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          "date": "July 25, 2017",
          "post": "Johnny Hodges / July 25, 1906 - May 11, 1970",
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    "id": "steve-lacy-july-23-1934-june-4-2004",
    "data": {
      "title": "Steve Lacy / July 23, 1934 - June 4, 2004",
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      "date": "2017-07-23T00:00:00.000Z"
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    "body": "![](/images/bef67dc3af8b8de59bebbba522494465_large.jpg)\n\nHappy birthday to the world's greatest soprano saxophone artist, Steven Lackritz aka **Steve Lacy**. Polish-American and born in NYC, Lacy played in dixieland bands before helping launch the out-jazz revolution.\n\nHe played early on with Pee Wee Russell, Jimmy Rushing, Gil Evans and others before joining Cecil Taylor's group, with their first album appearing in 1956. Lacy's 1958 album _Reflections_ was the first all-Thelonious Monk program on an album. One of the planet's deepest diggers into the catalogue of Monk, the great composer of whom Lacy used to work with in the early '60s, he went on to produce several albums exploring Monk's music. He was also a champion of the music of the fascinating pianist Herbie Nichols.\n\nIn '65 Lacy went to Europe with Kenny Drew, and formed an awesome band featuring Enrico Rava, Johnny Dyani and Louis Moholo, recording the classic _The Forest And The Zoo_ for the ESP-Disk label. Settling in his new home of France, he married singer/musician Irene Aebi and performed in a variety of settings, from big band to solo soprano, all the while including literary and dance collaborations and inspirations in his work.\n\nHe received a MacArthur genius grant in 1992 and continued his musical explorations until his death. In his long career he also played with Mal Waldron, Roswell Rudd, Miles Davis, Bill Dixon, Derek Bailey, Max Roach, Dave Douglas, Roy Haynes, Danilo Perez, Carla Bley, Don Cherry, Kenny Burrell, MEV, Globe Unity Orchestra, Bobby Few, Evan Parker and many others. And John Coltrane cited him as an inspiration on Trane's decision to play soprano.",
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      "html": "<p><img src=\"/images/bef67dc3af8b8de59bebbba522494465_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the world’s greatest soprano saxophone artist, Steven Lackritz aka <strong>Steve Lacy</strong>. Polish-American and born in NYC, Lacy played in dixieland bands before helping launch the out-jazz revolution.</p>\n<p>He played early on with Pee Wee Russell, Jimmy Rushing, Gil Evans and others before joining Cecil Taylor’s group, with their first album appearing in 1956. Lacy’s 1958 album <em>Reflections</em> was the first all-Thelonious Monk program on an album. One of the planet’s deepest diggers into the catalogue of Monk, the great composer of whom Lacy used to work with in the early ’60s, he went on to produce several albums exploring Monk’s music. He was also a champion of the music of the fascinating pianist Herbie Nichols.</p>\n<p>In ‘65 Lacy went to Europe with Kenny Drew, and formed an awesome band featuring Enrico Rava, Johnny Dyani and Louis Moholo, recording the classic <em>The Forest And The Zoo</em> for the ESP-Disk label. Settling in his new home of France, he married singer/musician Irene Aebi and performed in a variety of settings, from big band to solo soprano, all the while including literary and dance collaborations and inspirations in his work.</p>\n<p>He received a MacArthur genius grant in 1992 and continued his musical explorations until his death. In his long career he also played with Mal Waldron, Roswell Rudd, Miles Davis, Bill Dixon, Derek Bailey, Max Roach, Dave Douglas, Roy Haynes, Danilo Perez, Carla Bley, Don Cherry, Kenny Burrell, MEV, Globe Unity Orchestra, Bobby Few, Evan Parker and many others. And John Coltrane cited him as an inspiration on Trane’s decision to play soprano.</p>",
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          "date": "July 23, 2017",
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    "id": "charles-tyler-july-20-1941-june-27-1992",
    "data": {
      "title": "Charles Tyler / July 20, 1941 - June 27, 1992",
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    "body": "![](/images/th-2_df5058a6-c462-4f78-aec3-9080595776b9_large.jpg)\n\nHere's a birthday shout-out to the underrated free-jazz saxophonist **Charles Tyler**. Best known for his work with Albert Ayler and his own ESP-Disk albums, he also recorded several highly-regarded records for Nessa, Silkheart, Bleu Regard, Adelphi, Storyville and a few on his own Ak-Ba label. His fiery style on the baritone is quite recognizable, and he also played alto, clarinet and piano.\n\nFrom Indianapolis, he worked often with Ayler's groups in both Cleveland and NYC in the early to mid '60s, and an encounter with Ornette Coleman was also a highlight for the young artist. He cut a couple of classic albums as a leader for the iconoclastic ESP, 1966's _Charles Tyler Ensemble_ and 1967's _Eastern Man Alone_ , a unique approach which groups Tyler's alto with three string players.\n\nA brief stint in Los Angeles found him playing with David Murray, Arthur Blythe and others before his return to NYC in the mid-'70s. He played with Cecil Taylor, Dewey Redman and a particularly fruitful association with violinist Billy Bang in the early '80s. Tyler's 1980 LP _Sixty Minute Man_ is a solo baritone showcase. He also can be heard with Sun Ra, Eugene Chadbourne, Steve Lacy, Hal Russell, Steve Reid, Khan Jamal, Mark Whitecage, Wilber Morris and others.\n\nHe moved to Europe for good in the '80s. He is not well-known but he worked well in various types of ensembles and his sound could go from heavy fire to romantic, with some Eastern, bop and doo-wop influences.",
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      "html": "<p><img src=\"/images/th-2_df5058a6-c462-4f78-aec3-9080595776b9_large.jpg\" alt=\"\"></p>\n<p>Here’s a birthday shout-out to the underrated free-jazz saxophonist <strong>Charles Tyler</strong>. Best known for his work with Albert Ayler and his own ESP-Disk albums, he also recorded several highly-regarded records for Nessa, Silkheart, Bleu Regard, Adelphi, Storyville and a few on his own Ak-Ba label. His fiery style on the baritone is quite recognizable, and he also played alto, clarinet and piano.</p>\n<p>From Indianapolis, he worked often with Ayler’s groups in both Cleveland and NYC in the early to mid ’60s, and an encounter with Ornette Coleman was also a highlight for the young artist. He cut a couple of classic albums as a leader for the iconoclastic ESP, 1966’s <em>Charles Tyler Ensemble</em> and 1967’s <em>Eastern Man Alone</em> , a unique approach which groups Tyler’s alto with three string players.</p>\n<p>A brief stint in Los Angeles found him playing with David Murray, Arthur Blythe and others before his return to NYC in the mid-’70s. He played with Cecil Taylor, Dewey Redman and a particularly fruitful association with violinist Billy Bang in the early ’80s. Tyler’s 1980 LP <em>Sixty Minute Man</em> is a solo baritone showcase. He also can be heard with Sun Ra, Eugene Chadbourne, Steve Lacy, Hal Russell, Steve Reid, Khan Jamal, Mark Whitecage, Wilber Morris and others.</p>\n<p>He moved to Europe for good in the ’80s. He is not well-known but he worked well in various types of ensembles and his sound could go from heavy fire to romantic, with some Eastern, bop and doo-wop influences.</p>",
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          "date": "July 20, 2017",
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    "id": "karen-dalton-july-19-1937-march-19-1993",
    "data": {
      "title": "Karen Dalton / July 19, 1937 - March 19, 1993",
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      "date": "2017-07-19T00:00:00.000Z"
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    "body": "![](/images/th-1_bc092712-a6b5-4793-bf49-61abe30f7ab9_large.jpg)\n\nCherokee folk singer **Karen Dalton** was a tragic story, a talent underheard and another tale of harsh and damaging substance abuse. Her sad, world-weary voice brings to mind Billie Holiday and her own compositions took a backseat to cover tunes.\n\nShe came from Oklahoma, ditching a husband & children for who knows why, and came to NYC where she was on the Greenwich Village folk scene along with Bob Dylan, the Holy Modal Rounders and her good friend Fred Neil. She played a twelve-string guitar and banjo and mentioned Bessie Smith as her biggest influence as a singer.\n\nShe made very few recordings, yet her repertoire included folk, blues, country, soul and pop with many cover versions. She sometimes played in a trio with Tim Hardin and her then-husband Richard Tucker. Her albums failed to sell and she was into heroin, eventually hitting the streets, where she died of AIDS in '93.\n\nNick Cave called her his \"favorite female blues singer\" and said Dylan: \"My favorite singer...was Karen Dalton. Karen had a voice like Billie Holiday and played guitar like Jimmy Reed\". Thankfully her music has been catching a revival these days, including some unreleased sessions. She stands as one of the most powerfully unique of the '60s folkies.",
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      "html": "<p><img src=\"/images/th-1_bc092712-a6b5-4793-bf49-61abe30f7ab9_large.jpg\" alt=\"\"></p>\n<p>Cherokee folk singer <strong>Karen Dalton</strong> was a tragic story, a talent underheard and another tale of harsh and damaging substance abuse. Her sad, world-weary voice brings to mind Billie Holiday and her own compositions took a backseat to cover tunes.</p>\n<p>She came from Oklahoma, ditching a husband &#x26; children for who knows why, and came to NYC where she was on the Greenwich Village folk scene along with Bob Dylan, the Holy Modal Rounders and her good friend Fred Neil. She played a twelve-string guitar and banjo and mentioned Bessie Smith as her biggest influence as a singer.</p>\n<p>She made very few recordings, yet her repertoire included folk, blues, country, soul and pop with many cover versions. She sometimes played in a trio with Tim Hardin and her then-husband Richard Tucker. Her albums failed to sell and she was into heroin, eventually hitting the streets, where she died of AIDS in ‘93.</p>\n<p>Nick Cave called her his “favorite female blues singer” and said Dylan: “My favorite singer…was Karen Dalton. Karen had a voice like Billie Holiday and played guitar like Jimmy Reed”. Thankfully her music has been catching a revival these days, including some unreleased sessions. She stands as one of the most powerfully unique of the ’60s folkies.</p>",
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    "id": "peggy-jones-aka-lady-bo-july-19-1940-sept-16-2015",
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      "title": "Peggy Jones aka \"Lady Bo\" / July 19, 1940 - Sept 16, 2015",
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    "body": "![](/images/Lady-Bo_large.jpg)\n\nOne of the first ladies of rock & roll, Peggy Jones Malone aka \"**Lady Bo** \" was a guitarist and occasional songwriter & arranger for Bo Diddley. A Harlem native, she started playing guitar at 15, influenced by Wes Montgomery, Kenny Burrell and Charlie Parker. She was a doo wop singer with the Bop Chords and a professional dancer. She played on several of Bo's '50s and early '60s tunes, such as \"Hey! Bo Diddley\", \"Roadrunner\", \"Say Man\", \"Bo Diddley's A Gunslinger\", \"Crackin' Up\" and others.\n\nShe played mostly rhythm but her and Bo would sometimes alternate leads on stage. (Later in her career she also played the Roland guitar synth). She wrote and played all the guitar parts on \"Aztec\", although Bo got the credit (the label's fault, not his). When she left the band in '63 (to concentrate on her own career) she recruited Norma Jean Wofford (aka \"The Duchess\") to replace her.\n\nShe went on to work with her group the Fabulous Jewels, while also playing on records by Eric Burdon & the Animals, the Continentals and Les Cooper, as well as performing with James Brown and Sam & Dave. She also contributed music for films. She composed songs for Frank Sinatra, Rufus & Chaka Khan and others. She would return time and time again to the Bo Diddley show, while also leading her own Lady Bo and the BC Horns until her death.",
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      "html": "<p><img src=\"/images/Lady-Bo_large.jpg\" alt=\"\"></p>\n<p>One of the first ladies of rock &#x26; roll, Peggy Jones Malone aka “<strong>Lady Bo</strong> ” was a guitarist and occasional songwriter &#x26; arranger for Bo Diddley. A Harlem native, she started playing guitar at 15, influenced by Wes Montgomery, Kenny Burrell and Charlie Parker. She was a doo wop singer with the Bop Chords and a professional dancer. She played on several of Bo’s ’50s and early ’60s tunes, such as “Hey! Bo Diddley”, “Roadrunner”, “Say Man”, “Bo Diddley’s A Gunslinger”, “Crackin’ Up” and others.</p>\n<p>She played mostly rhythm but her and Bo would sometimes alternate leads on stage. (Later in her career she also played the Roland guitar synth). She wrote and played all the guitar parts on “Aztec”, although Bo got the credit (the label’s fault, not his). When she left the band in ‘63 (to concentrate on her own career) she recruited Norma Jean Wofford (aka “The Duchess”) to replace her.</p>\n<p>She went on to work with her group the Fabulous Jewels, while also playing on records by Eric Burdon &#x26; the Animals, the Continentals and Les Cooper, as well as performing with James Brown and Sam &#x26; Dave. She also contributed music for films. She composed songs for Frank Sinatra, Rufus &#x26; Chaka Khan and others. She would return time and time again to the Bo Diddley show, while also leading her own Lady Bo and the BC Horns until her death.</p>",
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          "title": "Peggy Jones aka \"Lady Bo\" / July 19, 1940 - Sept 16, 2015",
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    "id": "dudu-pukwana-july-18-1938-june-30-1990",
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      "title": "Dudu Pukwana / July 18, 1938 - June 30, 1990",
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    "body": "![](/images/dudu_large.jpg)\n\nHappy birthday to one of my very favorites, the soulful saxophonist **Dudu Pukwana** , an exile from apartheid South Africa and a major contributor to the '70s creative jazz landscape.\n\nHe started playing professionally in the '50s with Kippie Moeketsi and Nik Moyake. Pukwana and Moyake became members (along with Johnny Dyani, Mongezi Feza and Louis Moholo) of the Blue Notes, a group led nominally by white pianist Chris McGregor, but were essentially a collective. They became a sensation for both the quality of their music as well as the fact that they were a mixed-race band, something that was illegal under apartheid. Routine harrassment led the band members to move to Europe.\n\nDudu not only played in McGregor's Brotherhood of Breath band, but also with his groups Spear, Zila and the very fun Afro-rock band Assagai. He blows sax on \"Funky Kingston\" by Toots & the Maytalls, appears on my favorite Hugh Masekela album (_Home Is Where The Music Is_), plays on Matata's super funky album, joins Don Cherry & John Tchicai in Dyani's Witchdoctor's Son group, made a couple of albums with John Martyn (one of which remains unreleased) etc etc.\n\nHis career stylistically included kwela, mbaqanga, bop, free jazz, afrobeat, prog, Brit-folk, rock, reggae and funk, making several appearances in concert or on record with groups like Centipede, Incredible String Band, King Crimson, ICP Orchestra, Gwigwi Mrwebi, John Stevens, Jonas Gwangwa's African Explosion, Jabula, Gary Windo, Traffic, Eddie Quansah, Tunji Oyelana and many others.\n\nPukwana died before he ever got the chance to go back home. His sound is quite unique, mixing kwela and bop influences, and he could get really funky or blast searing free jazz. Check him out if you've never heard him.",
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      "html": "<p><img src=\"/images/dudu_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of my very favorites, the soulful saxophonist <strong>Dudu Pukwana</strong> , an exile from apartheid South Africa and a major contributor to the ’70s creative jazz landscape.</p>\n<p>He started playing professionally in the ’50s with Kippie Moeketsi and Nik Moyake. Pukwana and Moyake became members (along with Johnny Dyani, Mongezi Feza and Louis Moholo) of the Blue Notes, a group led nominally by white pianist Chris McGregor, but were essentially a collective. They became a sensation for both the quality of their music as well as the fact that they were a mixed-race band, something that was illegal under apartheid. Routine harrassment led the band members to move to Europe.</p>\n<p>Dudu not only played in McGregor’s Brotherhood of Breath band, but also with his groups Spear, Zila and the very fun Afro-rock band Assagai. He blows sax on “Funky Kingston” by Toots &#x26; the Maytalls, appears on my favorite Hugh Masekela album (<em>Home Is Where The Music Is</em>), plays on Matata’s super funky album, joins Don Cherry &#x26; John Tchicai in Dyani’s Witchdoctor’s Son group, made a couple of albums with John Martyn (one of which remains unreleased) etc etc.</p>\n<p>His career stylistically included kwela, mbaqanga, bop, free jazz, afrobeat, prog, Brit-folk, rock, reggae and funk, making several appearances in concert or on record with groups like Centipede, Incredible String Band, King Crimson, ICP Orchestra, Gwigwi Mrwebi, John Stevens, Jonas Gwangwa’s African Explosion, Jabula, Gary Windo, Traffic, Eddie Quansah, Tunji Oyelana and many others.</p>\n<p>Pukwana died before he ever got the chance to go back home. His sound is quite unique, mixing kwela and bop influences, and he could get really funky or blast searing free jazz. Check him out if you’ve never heard him.</p>",
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          "title": "Dudu Pukwana / July 18, 1938 - June 30, 1990",
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          "date": "July 18, 2017",
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    "id": "locobeach-at-barbes-7-24-17",
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      "title": "Locobeach at Barbès 7/24/17",
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      "date": "2017-07-18T00:00:00.000Z"
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    "body": "![](/images/Locobeach_TROPICAL_VORTEX_w_large.jpg)\n\nOn Monday July 24, at 9:30 pm come see LOCOBEACH in Brooklyn! Every Monday night at Barbès the Tropical Vortex series showcases bands and DJs who specialize in variations on tropical sounds from Latinolandia and elsewhere. This week Peace & Rhythm recording artist Locobeach brings a new tropical hybrid of psychedelic cumbia & disco (with a little electro, dub, funk, chicha & surf thrown in for good measure) featuring members of Los Crema Paraíso, La Muy Bestia Pop, and Chicha Libre. Plus Peace & Rhythm DJ Crew Andujar & Bongohead will spin a Rumba Sicodélica set between sets and after! \n\nBarbès 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn NY 11215 Tel: 347 422 0248",
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      "html": "<p><img src=\"/images/Locobeach_TROPICAL_VORTEX_w_large.jpg\" alt=\"\"></p>\n<p>On Monday July 24, at 9:30 pm come see LOCOBEACH in Brooklyn! Every Monday night at Barbès the Tropical Vortex series showcases bands and DJs who specialize in variations on tropical sounds from Latinolandia and elsewhere. This week Peace &#x26; Rhythm recording artist Locobeach brings a new tropical hybrid of psychedelic cumbia &#x26; disco (with a little electro, dub, funk, chicha &#x26; surf thrown in for good measure) featuring members of Los Crema Paraíso, La Muy Bestia Pop, and Chicha Libre. Plus Peace &#x26; Rhythm DJ Crew Andujar &#x26; Bongohead will spin a Rumba Sicodélica set between sets and after!</p>\n<p>Barbès 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn NY 11215 Tel: 347 422 0248</p>",
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          "date": "July 18, 2017",
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      "title": "Screamin' Jay Hawkins / July 18, 1929 - Feb 12, 2000",
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    "body": "![](/images/3634707f865d655d11801e614332cb55_large.jpg)\n\nHappy birthday to one of the original shock-rockers, the awesome **Screamin' Jay Hawkins**!! He busted out of coffins, scared the shit out of his audiences and belted out insane tunes like \"I Put A Spell On You\", \"Feast Of The Mau-Mau\", \"Constipation Blues\" (a song about \"real pain\") and the fucking nutso \"Africa Gone Funky\".",
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      "html": "<p><img src=\"/images/3634707f865d655d11801e614332cb55_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of the original shock-rockers, the awesome <strong>Screamin’ Jay Hawkins</strong>!! He busted out of coffins, scared the shit out of his audiences and belted out insane tunes like “I Put A Spell On You”, “Feast Of The Mau-Mau”, “Constipation Blues” (a song about “real pain”) and the fucking nutso “Africa Gone Funky”.</p>",
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          "title": "Screamin' Jay Hawkins / July 18, 1929 - Feb 12, 2000",
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          "date": "July 18, 2017",
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    "id": "guru-july-17-1961-april-19-2010",
    "data": {
      "title": "Guru / July 17, 1961 - April 19, 2010",
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    "body": "![](/images/GuruGangStarr_large.jpg)\n\nHappy birthday to Keith \"**Guru** \" Elam, Boston native, great MC, excellent lyricist, founder of Gang Starr, creator of Jazzmatazz, with which he brought jazz samples into rap.\n\nI got to meet him once, in Boston, in the mid-90s. Too bad Premier and he couldn't patch up their beef before Guru's death from post-cancer heart attack. Gang Starr were one of the great hiphop groups. And with his Jazzmatazz project he collaborated with Roy Ayers, Herbie Hancock, Donald Byrd, Ramsey Lewis, Lonnie Liston Smith and others, helping bridge jazz and rap.",
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      "html": "<p><img src=\"/images/GuruGangStarr_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to Keith “<strong>Guru</strong> ” Elam, Boston native, great MC, excellent lyricist, founder of Gang Starr, creator of Jazzmatazz, with which he brought jazz samples into rap.</p>\n<p>I got to meet him once, in Boston, in the mid-90s. Too bad Premier and he couldn’t patch up their beef before Guru’s death from post-cancer heart attack. Gang Starr were one of the great hiphop groups. And with his Jazzmatazz project he collaborated with Roy Ayers, Herbie Hancock, Donald Byrd, Ramsey Lewis, Lonnie Liston Smith and others, helping bridge jazz and rap.</p>",
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          "date": "July 17, 2017",
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      "title": "Bola Sete / July 16, 1923 - Feb 14, 1987",
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    "body": "![](/images/hqdefault_d5bb4129-4710-441e-83b0-6a7db4572a48_large.jpg)\n\nFeliz aniversario to Djalma de Andrade aka \"**Bola Sete** \" (\"seven ball\"), a great Brazilian guitarist. In Brazilian billiards, the seven ball is the only black ball, his name was given due to being the only black guy in his early jazz group. Born in Rio, he studied guitar and had a love of jazz, catching many visiting American big bands in Brazil. In 1945 he won a prestigious guitar competition and formed a jazz combo, also playing samba.\n\nHe played in Italy for a few years in the mid-'50s and toured with an orchestra through South America before moving to the US. In '62 he played in Dizzy Gillespie's band (old friend Lalo Schifrin was in the ensemble), recording the _New Wave_ album, and soonafter joined Vince Guaraldi's group in San Fransico.\n\nHe formed his own Brazilian jazz trio in '66 and they were quite successful in the States and beyond. A fantastic solo set full of saudade, _Ocean_ , was released in the '70s on John Fahey's label Takoma. All told, he made several albums from the '50s to the '80s, from solo to combos to larger ensembles. His tune \"Bettina\" was famously [sampled](https://www.youtube.com/watch?v=KU1aVvP4f-E) by A Tribe Called Quest.",
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      "html": "<p><img src=\"/images/hqdefault_d5bb4129-4710-441e-83b0-6a7db4572a48_large.jpg\" alt=\"\"></p>\n<p>Feliz aniversario to Djalma de Andrade aka “<strong>Bola Sete</strong> ” (“seven ball”), a great Brazilian guitarist. In Brazilian billiards, the seven ball is the only black ball, his name was given due to being the only black guy in his early jazz group. Born in Rio, he studied guitar and had a love of jazz, catching many visiting American big bands in Brazil. In 1945 he won a prestigious guitar competition and formed a jazz combo, also playing samba.</p>\n<p>He played in Italy for a few years in the mid-’50s and toured with an orchestra through South America before moving to the US. In ‘62 he played in Dizzy Gillespie’s band (old friend Lalo Schifrin was in the ensemble), recording the <em>New Wave</em> album, and soonafter joined Vince Guaraldi’s group in San Fransico.</p>\n<p>He formed his own Brazilian jazz trio in ‘66 and they were quite successful in the States and beyond. A fantastic solo set full of saudade, <em>Ocean</em> , was released in the ’70s on John Fahey’s label Takoma. All told, he made several albums from the ’50s to the ’80s, from solo to combos to larger ensembles. His tune “Bettina” was famously <a href=\"https://www.youtube.com/watch?v=KU1aVvP4f-E\">sampled</a> by A Tribe Called Quest.</p>",
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    "id": "cal-tjader-july-16-1925-may-5-1982",
    "data": {
      "title": "Cal Tjader / July 16, 1925 - May 5, 1982",
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      "date": "2017-07-16T00:00:00.000Z"
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    "body": "![](/images/th_ad3a333a-ebf2-43bf-b7eb-a85a9400bf5a_large.jpg)\n\nHappy birthday to the great vibraphonist **Cal Tjader**! A gringo who contributed greatly to the development and popularity of Latin-jazz and was an architect of what became known as \"Latin rock\". He grew up in the San Francisco Bay Area and learned to tap-dance and play piano & drum kit at an early age. He played Dixieland as a teenager and formed a group with then-unknown Dave Brubeck and Paul Desmond, with Tjader playing kit.\n\nHe cut his first disk with Fantasy in '52 and soonafter joined George Shearing's group. Tjader and bassist Al McKibbon encouraged Shearing to hire percussionists to augment the group. Tjader played vibes and bongos in the unit. In '54 he caught the mambo bug while visiting NYC and upon return to San Fran he formed a mambo band. He poached Mongo Santamaria and Willie Bobo from Tito Puente's group and they hit it big on the West Coast jazz scene.\n\nHe signed to Verve in the '60s and had a huge hit with \"Soul Sauce\", a Dizzy Gillespie tune known previously as \"Guachiguara\", a song Tjader had been playing for ten years before recording it. He teamed with Eddie Palmieri for two KILLER albums, released on Verve and Tico, in '66. Both are classics of Latin-jazz. Several experiments in exotica and bossa nova were released on Verve, with rock, Asian and Mexican influences in some of the music.\n\nIn '68 he teamed with Gabor Szabo and Gary McFarland to found Skye Records. Tjader fell off a bit in popularity in the '70s but came back strong with an excellent Latin-jazz band in the late '70s on the Concord label, the group often featuring Poncho Sanchez. Tjader died on tour in '82 after collapsing from a heart attack. His best records have been reissued and his status as a commercial-jazz great is cemented. Sure, he made some cheesy records down the road but he had some great-sounding ones too!",
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      "html": "<p><img src=\"/images/th_ad3a333a-ebf2-43bf-b7eb-a85a9400bf5a_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the great vibraphonist <strong>Cal Tjader</strong>! A gringo who contributed greatly to the development and popularity of Latin-jazz and was an architect of what became known as “Latin rock”. He grew up in the San Francisco Bay Area and learned to tap-dance and play piano &#x26; drum kit at an early age. He played Dixieland as a teenager and formed a group with then-unknown Dave Brubeck and Paul Desmond, with Tjader playing kit.</p>\n<p>He cut his first disk with Fantasy in ‘52 and soonafter joined George Shearing’s group. Tjader and bassist Al McKibbon encouraged Shearing to hire percussionists to augment the group. Tjader played vibes and bongos in the unit. In ‘54 he caught the mambo bug while visiting NYC and upon return to San Fran he formed a mambo band. He poached Mongo Santamaria and Willie Bobo from Tito Puente’s group and they hit it big on the West Coast jazz scene.</p>\n<p>He signed to Verve in the ’60s and had a huge hit with “Soul Sauce”, a Dizzy Gillespie tune known previously as “Guachiguara”, a song Tjader had been playing for ten years before recording it. He teamed with Eddie Palmieri for two KILLER albums, released on Verve and Tico, in ‘66. Both are classics of Latin-jazz. Several experiments in exotica and bossa nova were released on Verve, with rock, Asian and Mexican influences in some of the music.</p>\n<p>In ‘68 he teamed with Gabor Szabo and Gary McFarland to found Skye Records. Tjader fell off a bit in popularity in the ’70s but came back strong with an excellent Latin-jazz band in the late ’70s on the Concord label, the group often featuring Poncho Sanchez. Tjader died on tour in ‘82 after collapsing from a heart attack. His best records have been reissued and his status as a commercial-jazz great is cemented. Sure, he made some cheesy records down the road but he had some great-sounding ones too!</p>",
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