 Dr. Herman Green (1930 - November 26, 2020). The 90-year-old saxophonist died peacefully surrounded by his family, the post states.
MEMPHIS, Tenn. (WMC) - Memphis Jazz and Blues icon Dr. Herman Green passed away at his home on Thanksgiving, according to a Facebook post made by Freeworld bandmate Richard Cushing. He played with giants from B.B. King to John Coltrane. A visitation for Green is planned to be held sometime in the next week, followed by the ceremonial walking of his ashes down Beale Street, and possibly a funeral parade in the near future. A Memorial Jam will be planned for sometime in the Spring of 2021. Cushing’s Facebook post describes Green as a great musician, mentor, teacher, and friend. The two founded the band Freeworld in 1987. Green’s longtime bandmate in FreeWorld, Richard Cushing, hailed him as "a truly amazing musician, caring patriarch to his family, mentor and teacher to many, and friend to everyone he met. A true treasure to all he touched with his deep musical knowledge and skill, his infectious laugh, and his zest for life and love,” noted Cushing. “The City of Memphis will never be the same without his energy in the mix.”
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 Comfortabel op je bank genieten van de grootste kersthits in een nieuw bigbandjasje: van Wonderful Christmastime en It's The Most Wonderful Time Of The Year tot Winter Wonderland en All I Want For Christmas.
Baby, It's Cold Outside, maar niet bij jou thuis! Met een mok warme chocomel of een heerlijk glas glühwein genieten van je eigen swingende kerstfeest. Meezingen en dansen mag (zolang je familieleden er geen last van hebben)! Het legendarische jazzlabel Blue Note brengt op 27 november het kerstalbum Wonderful Christmastime van Trijntje Oosterhuis en het Jazz Orchestra of the Concertgebouw uit. Op 23 december hoort u de kerstkrakers van dit album live uit de Grote Zaal van Het Concertgebouw in Amsterdam. De livestream wordt opgenomen met zeven camera’s op HD-beeldkwaliteit en met high resolution audiokwaliteit. Woensdag 23 december, aanvang: 20:30 uur Kaartprijs: 10 euro voor één persoon / 15 euro voor twee of meer personen. Meer info en kaarten via www.concertgebouw.nl/christmastime  De succesvolle podcastserie Jazziness, opgestart en geproduceerd door Brussels Jazz Weekend, viert op 1 december zijn 26ste en voorlopig laatste editie. De festivalpodcast zag het licht op 16 april 2019, met Ellen Leemans als gastvrouw en Frederik Goossens als jazzkenner van dienst. De serie bespreekt chronologisch de geschiedenis van het jazzgenre en is inmiddels aanbeland bij, onder meer, muzikanten als Esperanza Spalding, die social media interactief weten in te zetten bij de creatie van hun muziek. In 2020 won ze nog een Grammy Award in de categorie ‘Best Vocal Jazz Album’. Met net geen 50.000 plays prijkt Jazziness al enige tijd op de tweede plaats in de Spotify-charts wat betreft Music Podcasts. De Nederlandstalige podcast behandelt 'all things jazz' van de afgelopen eeuw en is hiermee voor iedereen die de jazzmuziek een warm hart toedraagt verplichte kost. Maar ook voor een eerste kennismaking met het genre is de serie heel geschikt: de luisteraar wordt niet alleen meegevoerd langs de jazzhistorie, maar krijgt dankzij de inzichten van Goossens en de gesprekken met Leemans ook anekdotes ,trivia en mooie muziekfragementen mee. Deze luchtige aanpak van een genre dat soms toch als 'deftig' te boek staat blijkt succesvol. De serie is onder meer al bejubelend berecenseerd door de NPO. Het is dan ook zeker mogelijk dat Jazziness een vervolg krijgt. “Naast een Franstalige versie van de podcast overwegen we ook een intieme concertserie”, vertelt producer Gert Claes, tevens organisator van Brussels Jazz Weekend. “Voor of na het concert plannen we dan interviews met jazzmusici over hun inspiratie en de rol van Brussel daarin.” Het is dus duidelijk dat de organisatoren van het Brussels Jazz Weekend, ondanks de barre tijden, nog lang niet zijn uitgezongen. Wilt u zelf op ontdekkingsreis gaan in de wondere wereld van de jazz? Beluister Jazziness dan via Spotify, SoundCloud of Apple Podcasts.
 5LP/3CD edition includes highlights from Zappa’s catalog, interview clips and a dozen unreleased tracks from the composer’s vault In tandem with the arrival of the long-awaited authorized Frank Zappa documentary, UMe and Zappa Records have digitally released the official soundtrack for Zappa, featuring highlights from the composer’s catalog, live recordings, interview clips and a dozen unreleased tracks from Zappa’s vaults. The 3CD/5-LP version of Zappa Original Motion Picture Soundtrack — out digitally now — boasts 68 tracks spanning from the Mothers of Invention’s Freak Out to Zappa’s final orchestral work The Yellow Shark. The deluxe version of the soundtrack also includes offerings from Zappa’s Bizarre Records — Alice Cooper’s “No Longer Umpire,” the GTO’s “The Captain’s Fat Theresa Shoes” — as well as pieces by Edgard Varese and Igor Stravinsky and 26 original Zappa score cues by John Frizzell. From the Zappa Family Trust vaults, the soundtrack includes the Mothers performing the Zappa-penned doo-wop track “Memories of El Monte” and other unheard recordings from 1968 Whisky A Go-Go concert, a live rehearsal of “Apostrophe,” Zappa’s rendition of “Dancin’ Fool” from a 1978 episode of Saturday Night Live, excerpts from a 1970 Fillmore West concert and more.  Physical editions of the soundtrack are available to preorder now, with the 5-LP version — available on both 180-gram black vinyl as well as limited edition 180-gram smoke vinyl — due out May 7th, 2021 and the 3CD version expected January 19th, 2021. A 2-LP edition on 180-gram clear vinyl will also be available. Zappa Original Motion Picture Soundtrack Track List CD1:
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 Gwendolyn Wesley (21 July 1949 - 27 November 2020) has passed away. She was a singer who was part of the duo Gwen and Bruce, of the band Honey and the Bees and of the original lineup of the Ritchie Family from 1975 to 1978. She married trumpeter Fred Wesley. Gwen was a member of the first incarnation of the iconic disco act The Ritchie Family, remember ‘The Best Disco in Town’. The group was conceived by producer team Jacques Morali, Henri Belolo and Richie Rome, who also were behind the Village People. Some quarrels in 1977 actually led to the entire group being replaced by three new girls, which also resulted in different sound. Even though they still had hits ("American Generation") they were never quite as successful as the original trio".
 Rising country artist Tera Lynne Fister has teamed up with fellow Nashville artists Kennedy Fitzsimmons and Cassandra Sotos to showcase their love for the classics with their rendition of If We Make It Through December. This holiday song is now available on all digital streaming platforms, including Spotify, Apple Music, and more.
“I met these fellow artists Kennedy and Cassandra after moving to Nashville, and we’ve been friends since then,” says Tera. “So, when we decided to record this song, we were all so excited. We had so much fun in the studio and I can’t wait for all of our fans to hear this one.” Made famous by country legend Merle Haggard in 1973, this somber, atypical Christmas song is fitting for the unprecedented year we have had. With everything 2020 has hit us with, most just want to get through the year to hopefully get a fresh start. “We were trying to figure out what song to choose for this holiday release, and we figured this song would be perfect because it describes how most of us are feeling right now or what people are going through whether it be unemployment, loneliness or economic hardship,” says Tera. “Even though the song was originally released over 40 years ago, it still rings true for us today.” About Tera Lynne Fister: After quickly gaining momentum with her debut release Hell Raiser, followed by SCARS and her current powerful, poignant and moving single, I Understand (I Will Never Understand), this tatted artist is well on her way to showcasing her “psychedelic honky-tonk sass,” style. With her bright pink hair bouncing around on stage, her sassy banter, distressed yet powerful vocals and edgy guitar licks, she describes her sound as “sassy, honest, raw and healing.” With a family line of musical talent and exposure to a wide variety of genres since childhood, Tera Lynne Fister is now making her music her way in the heart of Music City. Always one to collaborate, the St. Louis native lent her talents as rhythm guitarist and background vocalist for Kelsey Hickman, opening for acts like Alabama, Jo Dee Messina and Neal McCoy. She can also be seen singing BGVs on tapings of “Real Country,” a singing competition that aired on the USA Network, which featured judges Shania Twain, Travis Tritt, and Jake Owen. That same year, she did a one-week stint in Switzerland playing the Loschwasserbecken Baden (LWB). Endorsed by Cole Clark guitars and a seasoned Nashville performer for over eight has reiterated the importance of growth, community, and perseverance. Tera Lynne’s creative input and gifts of empathy and compassion are just the right combinations for communicating with audiences on all levels, creating a sense of nostalgia and oneness. For more information on Tera Lynne Fister, visit her website and follow along with her on Facebook, Instagram, and Twitter.  Immrama Records and Gonzo MultiMedia announce the release of “Dark Horizons,” the debut album from ILLUMINAE, the brand-new project from Ian Jones (Karnataka, Chasing The Monsoon) and Agnieszka Swita (Caamora). The album features special guests Steve Hackett (Genesis), John Helliwell (Supertramp), Troy Donockley (Nightwish), Craig Blundell (Steven Wilson), Luke Machin and Gonzalo Carrera. The album was mixed by Joe Gibb, highly regarded as a world class mix engineer and who has worked with many prestigious artists including Massive Attack, The Cure and Leftfield. From dark, twisted symphonies to sweet lullabies, the collective writing talents of Ian Jones (Karnataka, Chasing The Monsoon) and Agnieszka Swita (solo, Caamora) combine in their powerful new musical collaboration ILLUMINAE. Embracing symphonic, progressive and Celtic influences, bitter sweet melodies intertwine with lush harmonies to create a majestic towering cathedral of sound, songs which traverse the dividing line between darkness and light, life and death, solitude and hope. Shards of light piercing a subterranean labyrinth. London based Welshman, Ian Jones, is a founder member, composer and multi-instrumentalist with British symphonic rock band Karnataka and Chasing The Monsoon. Karnataka have released several critically acclaimed and award-winning albums, including The Gathering Light and Secrets of Angels. Vocalist, pianist and composer Agnieszka Świta, hailing from Poland and living in London, released her self-penned debut solo album “Sleepless,” a modern symphonic rock album, to critical acclaim and has released several albums with Clive Nolan in their collaborative project Caamora. TRACK LIST: The Lighthouse Blood On Your Hands Edge of Darkness Lullaby Twice Heretics and Prophecy Sanctuary Black Angel Sign of Infinity Dark Horizons Gloednieuw Flanders Folk Network organiseert awardshow tijdens Week van de Belgische Muziek27/11/2020  Het Flanders Folk Network organiseert begin februari 2021, tijdens de Week van de Belgische Muziek, voor het eerst de Flanders Folk Awards. Met een
coronaproof online awardshow vanuit de Handelsbeurs (Gent) zetten ze Vlaams folktalent in de bloemetjes. Drie winnaars vallen in de prijzen en worden door een jury bekroond als beste liveband, beloftevolle band en beste album. Het Flanders Folk Network (FFN), een gloednieuw netwerk opgericht door verschillende spelers binnen de brede folkscene met de ambitie om de Vlaamse folk sector te verenigen en verder (inter)nationaal op de kaart te zetten, organiseert in het voorjaar van 2021 hun eerste evenement: een eerste editie van de Flanders Folk Awards. “ Het verlangen naar een lokale folk award is een idee dat al lang leeft onder de leden van het netwerk. Zo’n award is een enorm waardevol hulpmiddel om een band in binnen- en buitenland te promoten en waardering en erkenning te geven aan de kwaliteit en originaliteit die onze scene te bieden heeft. Folk leeft! ” — Steven Reynaert - woordvoerder Flanders Folk Network Daarnaast zijn deze muziekprijzen een ideale manier om eventuele vooroordelen over het genre te ontkrachten en een nieuw publiek aan te spreken. And the nominees are… De Vlaamse folk scene is springlevend. Er zijn heel wat steengoede bands die actief zijn in Vlaanderen. Het selecteren van de nominaties was geen evidente opdracht voor de jury, bestaande uit Kurt Overbergh (AB), Marc Vandemoortele (Klara), Daï-Linh Nguyên (Recyclart), Wim Wabbes (Handelsbeurs), Lobke Aelbrecht (JazzLab), Dirk Van der Speeten (Muziekclub ‘t Ey) en Steven Reynaert (Dranouter Centrum). Na heel wat wikken en wegen, kan FFN nu de allereerste genomineerden voor de Flanders Folk Awards voorstellen. Er zijn drie categorieën met telkens vier genomineerde bands: Beste album (release 1 augustus 2019 - 31 augustus 2020)
Beloftevolle band
Beste liveband
De genomineerden maken kans op een van de mooie prijzen met de steun van Playright+, Sabam For Culture, VI.BE, de Vlaamse Overheid en het Flanders Folk Network. Save the date Begin februari 2021, tijdens de Week van de Belgische Muziek (8-14 februari 2021), worden de awards uitgereikt in een online (coronaproof) show vanuit Handelsbeurs Gent. Houd de website en Facebookpagina in de gaten voor meer nieuws. www.flandersfolknetwork.be www.facebook.com/flandersfolknetwork Flanders Folk Network is een initiatief van Boekingen Garriau, Dranouter Festival, Dranouter Centrum, Merodefestival, Muziekclub ‘t Ey, ‘t Smiske, Muziekmozaïek, Studio Trad, Trad Records & VI.BE. Met de steun van Playright+, Sabam For Culture en de Vlaamse Overheid.  UMe PARTNERS WITH LEGENDARY ARTISTS AND ESTATES TO CREATE FIRST-EVER VIDEOS FOR CHRISTMAS CLASSICS
UPDATED CHRISTMAS MUSIC PLAYLIST, NEW HOLIDAY COLLECTIONS, GIFT GUIDES AND MORE UNVEILED FOR THE YULETIDE SEASON TO GET YOU READY FOR THE HOLIDAYS LOS ANGELES, Nov. 24, 2020 - This holiday season, musical legends Bing Crosby, Chuck Berry, Ella Fitzgerald and Frank Sinatra are returning in animated form with first-ever official music videos from UMe for some of the most iconic and beloved songs in the Christmas canon. In the beautifully hand drawn and painted videos created by Fantoons Animation Studios, Crosby brings joy to a down in the dumps town with his trusty Bing-O-Matic™ in "Winter Wonderland" and croons over a multigenerational military family's holiday gatherings in "White Christmas," guitar-clad Berry helps Santa with his Christmas rounds in vintage comic book style in "Run Rudolph Run," Fitzgerald and Frosty delight in a winter wonderland storybook setting in "Frosty The Snowman" and Sinatra delivers mid-century style, glitz and grace as only he can in the holiday classics, "The Christmas Waltz" and "Mistletoe and Holly." This holiday season, musical legends Bing Crosby, Chuck Berry, Ella Fitzgerald and Frank Sinatra are returning in animated form with first-ever official music videos from UMe for some of the most iconic and beloved songs in the Christmas canon. Watch/embed Bing Crosby's "White Christmas" Watch/embed Bing Crosby's "Winter Wonderland" Watch/embed Chuck Berry's "Run Rudolph Run" Watch/embed Ella Fitzgerald's "Frosty The Snowman" Watch/embed Frank Sinatra's "The Christmas Waltz" Watch/embed Frank Sinatra's "Mistletoe and Holly" "UMe is incredibly honored and excited to partner with these legendary artists and estates to celebrate their iconic holiday songs and give them official videos," says Bruce Resnikoff, President and CEO of UMe, the global catalog company of UMG. "Last year was the first time we created holiday videos and we had such a tremendous response that we've gone all in again this year and our content team and Fantoons have really outdone themselves. These songs are some of the most popular year to year and we hope these videos brighten up fans holidays as well as attract new audiences across the digital platforms they inhabit. Similar to before, the video assets and creative will be deployed across UMe's holiday marketing and advertising campaigns for a cohesive look and feel and to achieve greater engagement across a broader audience." MARY CROSBY OF THE BING CROSBY ESTATE: "Keeping dad's spirit alive, especially during the holidays, is not only of huge importance to us as a family, but to everyone. During these trying times his voice gives hope and comfort to all of us. I am thrilled that there is another way dad is being seen and heard. I love the videos Universal came up with and, of course, love his music! Dad believed supporting the troops was one of the most important contributions that he made in his life. When he was asked about his career it wasn't his awards or the fame that came his way, it was that 'in some small way, if he made the life of a soldier a little bit easier then, that was what mattered. The video for 'White Christmas' is a wonderful tribute to his love and appreciation for the troops." CHARLES BERRY JR. OF THE CHUCK BERRY ESTATE: "What an honor to have 'Run Rudolph Run' given such a dazzling visualization as its first music video! The marriage of animation and music could not be better – you can't beat flying reindeer, Santa Claus and electric guitar! My dad always told stories in his songs and his poetic skills are on full display here. The lyrics tell a Christmas story that young and old can't help but enjoy. Fun, frolicking and certainly perfect for the season, it was a holiday favorite in our house and we hope this video for a timeless Chuck Berry song brings joy and helps people get in the spirit this holiday season." RICHARD ROSMAN AND FRAN MORRIS ROSMAN OF THE ELLA FITZGERALD FOUNDATION: "Since it was released 60 years ago, Ella Fitzgerald's Ella Wishes You a Swinging Christmas has remained a perennial and beloved standard for the holidays, livening up countless festivities and family gatherings with its joyful and jazzy takes on Christmas classics, including the swinging 'Frosty The Snowman. The Ella Fitzgerald Estate is thrilled to partner with UMe to bring Ella and Frosty to colorful life in this fantastic, beautifully animated video and hope that both Ella's fans and the new generations just discovering her music will love it. What a wonderful gift for the song and album to receive as it celebrates its 60th anniversary!" NANCY SINATRA OF FRANK SINATRA ENTERPRISES: "I really think he might be the voice of Christmas. I just think that the sentimentality of my dad's recordings is what grabs people. He was emotional when he sang them, and people are emotional when they hear them. That doesn't really change." These videos are just some of the many ways that UMe is celebrating its unmatched Christmas catalog and helping to turn up the joy this holiday season. In addition to the new animated videos, a variety of "Christmas With…" collections for artists including The Beach Boys, Bing Crosby, Brenda Lee, Burl Ives, Chuck Berry, Dean Martin, Ella Fitzgerald, The Jackson 5 and Nat King Cole are available to stream on your favorite DSP and there's of course the annual Christmas Music playlist which features some of the most popular songs and artists across the holiday music canon, pairing timeless classics with contemporary favorites. The hours-long –and ever-expanding – playlist is available to stream now: https://Stream.lnk.to/ChristmasPR Christmas With The Beach Boys Christmas with Bing Crosby Christmas with Brenda Lee Christmas with Burl Ives Christmas with Chuck Berry Christmas with Dean Martin Christmas With Ella Fitzgerald Christmas With The Jackson 5 Christmas with Nat King Cole uDiscover Music is also getting into the spirit with their just launched holiday hub which will feature a variety of gift guides for all types of music lovers, eclectic playlists and the memorable stories behind classic holiday tunes. Visit it here: https://uDiscover.lnk.to/Christmas2020 For those looking for more holiday entertainment, The Ed Sullivan Show's official YouTube channel is celebrating the season with a music-and laughter-filled holiday playlist. Classics include "White Christmas" by Bing Crosby, "Rudolph The Red Nosed Reindeer" by Gene Autry, "Jingle Bells" by Paul Anka, and more. Festive fun lights up things with "Mrs. Claus Interview" by Stiller & Meara, "Deck The Halls" by the Baird Puppets and holiday cheer with The Muppets. 
Er zijn 3 jaar verstreken sinds het album "Thy Grace & Wisdom" en 2 jaar sinds de laatste release (de single "I can't believe we're still protesting this shit" met TIS' versie van Bella Ciao). Voor de Belgische singer-songwriter Laurent Leemans (ex-La Vierge du Chancelier Rolin en Ceilí Moss) aka The Imaginary Suitcase, is het een geologisch tijdperk! Een tijdperk dat echter ten einde loopt want het album staat deze keer voorgoed gepland in het voorjaar van 2021.
In de tussentijd, en om nog eens te bevestigen, bevestig en verkondig luid en duidelijk dat The Imaginary Suitcase meer levend (en overigens niet content) is dan ooit, heeft Laurent de eer en het genoegen u de single "hope is a sick joke" te presenteren. Laat je niet misleiden door de titel, het is inderdaad een vechtlied, vuist opgeheven met een opgestoken middelvinger, en niet alweer een defaitistische klaagzang over de toestand van de wereld.  Ruim 50 jaar na de eerste release staat de hitsingle Venus van de Nederlandse rockband Shocking Blue weer volop in de belangstelling! Het nummer wordt namelijk gebruikt in de nieuwe Netflix hitserie ‘The Queen’s Gambit’. In seizoen 1, aflevering 6 zien we leading lady Beth dansen en zingen op het nummer in haar huis. Als gevolg daarvan staat ‘Venus’ nu hoog in de ‘Top 200 Wereld lijst’ van Shazam > https://www.shazam.com/nl/charts/top-200/world Venus, geschreven door Robbie van Leeuwen, werd oorspronkelijk uitgebracht in 1969 en betekende de internationale doorbraak voor de band. Het behaalde de nummer 1 positie in negen landen: België, Frankrijk, Australië, Canada, Nieuw-Zeeland, Zuid Afrika, Spanje, Zwitserland en de Verenigde Staten. Het nummer was zelfs zo populair in de Verenigde Staten dat het de eerste plaats in drie afzonderlijke hitlijsten bereikte, waaronder de Billboard Hot 100. Shocking Blue werd daarmee de eerste Nederlandse band met een nummer 1 hit notering in Amerika! Door de jaren heen bleef het nummer actueel. In 1986 werd Venus een megahit nadat het nummer door de Britse meidengroep Bananarama gecoverd werd. Deze uitvoering wist eveneens de bovenste positie van de Amerikaanse hitparade te halen. Door dit wereldwijde succes is ook voor Bananarama Venus het belangrijkste nummer geworden. Behalve dat Venus de afgelopen vijftig jaar door tientallen andere artiesten is opgenomen is het nummer zeer geliefd gebleken om te gebruiken in diverse films, televisieseries en reclames. In deze laatste categorie vallen bijvoorbeeld de scheermesjes van Gillette waarvoor zangeres en actrice Jennifer Lopez het boegbeeld is geweest met een danceversie van Venus. Ook deze versie werd een hit (‘get your goddess showing’). En nu, na 50 jaar blijkt het nummer onvergankelijk te zijn en nog steeds diverse generaties aan te spreken, ditmaal dankzij Netflix! Shocking Blue
De Haagse band werd in 1967 opgericht en bestond uit: Robbie van Leeuwen (zang en gitaar), Fred de Wilde (zang), Martin van Wijk (gitaar), Cor van Beek (drums) en Klaasje van der Wal (basgitaar). Omdat zanger Fred in 1968 in militaire dienst moest, werd hij vervangen door zangeres Mariska Veres. Haar karakteristieke stem en sexy uiterlijk bleken een gouden zet. Ze was voor het eerst te horen met het nummer ‘Send me a postcard’ (1968), dat meteen een hit werd. Daarna volgden de hits ‘Long and lonesome road’ (1969) en ‘Venus’ (1969), waarmee ze internationaal doorbraken. Het definitieve einde voor Shocking Blue kwam op 2 december 2006, toen Mariska Veres overleed aan kanker; de ziekte was kort daarvoor bij haar vastgesteld.  Psychedelic trio DeWolff return with their new album, Wolffpack, which will be released on 5th February 2021 via Mascot Records. Ahead of this they recently release the video for new song, "Yes You Do." You can watch the video HERE The kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. But, not before they played one more show on 17th March in Maastricht, in front of their crew. DeWolff are not a band to sit still. They've released three albums in the last three years – Tascam Tapes (2020), Live & Outta Sight II (2019) and Thrust (2018) – and toured relentlessly across Europe enriching the continent with their Psychedelic Southern Rock, selling out shows and picking up awards along the way. They are also not ones to paint by numbers – Tascam Tapes was recorded on the road with a four-track cassette recorder from the 1980s, and recorded in hotels, motels, a backstage or two and by the side of the road. Watch the documentary on it here. They then gave fans exclusive access to listen ahead of release via a hotline number. They also teamed up with friends Dawn Brothers to release the collaborative "Next of Kin" EP. So, when it came to studio album number nine, they had no intention of just waiting for things to blow over. "I figured: never in our lives are we going to have this much time again to soak up inspiration, to write and create," Pablo reflects. "Music is our favourite thing in the world." With lockdown restrictions imposed across the world, the recording was as far from Tascam Tapes as you can get. A "DeWolff Demo Panel" WhatsApp group was set-up between Pablo, Luka van de Poel (drums) and Robin Piso (Hammond Organ) for them to exchange ideas. What started as an idea, grew. In June, they announced a special subscription Wolffpack service. Those that signed up would get three new songs, every two weeks for ten weeks, and the fans would get to choose the tracklisting for an album, exclusive to them. Several friends appear on the album such as soulful roots rockers the Dawn Brothers, blues rockers The Grand East, singer-songwriter Judy Blank, the riotous Broken Brass, French singer-songwriter Theo Lawrence and ex-Wolfmother bassist Ian Peres. The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" he says. They first met Peres back in 2012, sat at a table with Lenny Kravitz and Andrew Stockdale. "I was of course, completely starstruck, Ian was super kind and interested, and he had even heard about DeWolff. We clicked right away, and when we were touring Australia in 2013, we met up with him in Mullumbimby where we had an epic full-day jam session at his buddy's studio." Pablo started reading the Old Testament during the lockdown. "I consider myself an atheist," he says. "But I've always been curious about this book that so many find so important. I only read the first 80 pages, but I did find some interesting stories and symbolics that proved quite inspirational as song material. I'm also a big fan of Charles Bukowski and some of his fellow American writers like John Fante and their raw use of the English language, and in a way I tried to combine these two worlds into a dark love story." "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. "Sweet Loretta" features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money." They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Saviour." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black." The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson or Charley Patton. We figured the best way to try that is to use the lowest fidelity tape recorder we could find." In their studio bunker in the Medieval town of Utrecht, The Netherlands, during the global lockdown, brothers Pablo and Luka van de Poel and Robin Piso have created another majestic record. Experimenting with hazy soundscapes, fizzing riffs, marauding organs, infectiously free-roaming melodies, and all tied in with an undeniably DeWolff sound. Liberators of the funky groove, they're riding the highways swerving in an out of 70s soul-funk, fuzzed-up psychedelia, swamp-rock and haunting melancholia, with their shades on, convertible top-down and radio on, their sights are set on the horizon.
  Eind januari lanceerde singer-songwriter Jonas Winterland met succes zijn 4e album ‘Berichten uit de schemerzone’. Na een warm onthaal in de muziekpers – ‘Van een verbluffende schoonheid’ en ‘Groots in zijn nederigheid’ onthielden wij – volgde in maart nog de druk bekeken videoclip bij ‘Overal mist’. En toen kwam de muziekwereld krakend tot stilstand, om de u welbekende redenen. Zo kreeg ‘Berichten uit de schemerzone’ niet de live-tournee die de plaat verdiende, maar Winterlands ingetogen nummers groeiden voor vele fans wel uit tot dé soundtrack bij hun lockdown. Vooral ‘Adelaar’, een song over al dan niet zelfgekozen afzondering en isolatie, kreeg voor vele fans een bijzondere betekenis. Daarom kreeg dat lied een videoclip, gemaakt door digital story-teller Vicky Bogaert. De sobere maar veelzeggende animatiefilm kreeg voor Winterland onverwacht nog een enorme extra lading mee, omdat die gemaakt werd in een periode waarin de songwriter leed aan plots gehoorverlies: ‘Van de ene dag op de andere was ik doof aan één oor. Dat zorgde niet alleen voor blinde paniek, maar maakte het mij ook onmogelijk om nog muziek te spelen. En als ik dat niet meer kan, dan gaat het niet goed met mij. Dat gehoorverlies heeft langer dan een maand aangesleept en er was mij al voorzichtig gesuggereerd dat het blijvend zou zijn. Om niet helemaal de pedalen te verliezen, kreeg ik de raad om mij te focussen op iets anders dan muziek. Dat werden dus de beelden van deze clip. Pas zeer recent is mijn gehoor hersteld, en heb ik beeld en muziek voor het eerst samen kunnen bekijken en beluisteren. Toen kon ik alleen maar vaststellen dat Vicky Bogaert mijn liedje perfect heeft aangevoeld.’ ‘Adelaar’ is de vierde en laatste single uit ‘Berichten uit de schemerzone’ en op dit moment werkt Winterland, wiens gehoor intussen volledig hersteld is, aan nieuwe muziek.
Jonas Winterland over Adelaar & de clip van Vicky Bogaert. "in eerste instantie maakte ik de clip als cadeau voor de fans. ‘Adelaar’ is een song over afzondering en isolatie, en ik heb gemerkt dat het voor veel fans is uitgegroeid tot een soort soundtrack bij hun lockdown. En de tweede reden is dat het dus inderdaad mijn persoonlijke lievelingsnummer van de plaat is en dat ik vind dat het lied nog wat meer luisteraars verdient, zo simpel is het. ‘ Adelaar’ is vooral een heel eerlijk nummer. Iets wat ik op een bepaald moment in mijn leven gewoon moest schrijven.‘Adelaar’ is zeer lo-fi opgenomen: je hoort alleen mijn stem en akoestische gitaar. Zelf hou ik enorm van die puurheid. Ik maak tegenwoordig clips voor de nummers die ikzelf in de kijker wil zetten. Zoals ik ook voor ‘Overal mist’ gedaan heb."  foto: Tim De Backer (BLP Records)  Willem Vermandere is samen met zijn generatiegenoten Jan De Wilde, Zjef Vanuytsel en Wim De Craene één van de pioniers van de Vlaamse kleinkunst. De muzikant-kunstenaar brengt al studio-albums uit sinds eind de jaren zestig. Dit jaar werd de West-Vlaamse zanger 80 jaar. 2020 stond in het teken van een uitgebreide verjaardagstournee tot stoorzender corona de kop opstak. Meer dan veertig concerten van Willem werden geannuleerd.
Op de platen van Willem Vermandere staan klassiekers die nog altijd veelvuldig op de radio gedraaid worden. Tot zijn meest bekende nummers behoren o.a. 'Lat Mie Maar Lopen' en 'Duizend Soldaten'. Toch duurde het lang vooraleer Willem met een echte single naar buiten kwam: 'Bange Blanke Man' verscheen in 1991. BLP Records brengt op 4 december één van 's mans mooiste nummers voor de allereerste keer uit op een vinyl single: 'Blanche En Zijn Peird'. Het is, na de recente releases van Wim De Craene ('Tim'), Jan De Wilde ('Eerste Sneeuw'), Zjef Vanuytsel ('De Zotte Morgen') en Hugo Raspoet ('Helena'), de vijfde single in een reeks van iconische kleinkunstnummers die nooit eerder als vinyl single zijn verschenen. Het nummer 'Blanche En Zijn Peird' vertelt het verhaal van Blanche die dagelijks met paard en kar pendelde tussen Lauwe (het geboortedorp van Willem Vermandere) en Kortrijk. Op de B-kant van de vinyl single staat 'Piere De Beeste', een andere klassieker die net als 'Blanche En Zijn Peird' afkomstig is van de LP 'Willem Vermandere' uit 1971. De single 'Blanche En Zijn Peird' verschijnt op zwart vinyl en is daarnaast ook beschikbaar in een gelimiteerde oplage van 250 exemplaren op geel vinyl. Website BLP Records  Het Hasselts muziekcentrum Muziekodroom en de Pukkelpop-organisatie gaan in de nabije toekomst samenwerken. De gesprekken liepen al enige tijd, maar de corona-uitbraak en de vraag van de Vlaamse overheid om actief op zoek te gaan naar nieuwe samenwerkingsverbanden, versnelden de uitvoering ervan. "We hebben nood aan verjonging en verbreding als we het aanspreekpunt in Limburg willen blijven wanneer het gaat over pop- en rockmuziek", zegt Dries Vanderheyden, zakelijk directeur van Muziekodroom.
Muziekodroom heeft een professionaliseringsproces achter de rug - met een herpositionering, enkele nodige verbouwingen en de installatie van een nieuw management - en wil nu verbreden en verjongen. Voor de Pukkelpop-organisatie ligt het partnership volledig in het verlengde van haar ambitie om Humanistische Jongeren, de jongeren- en vrijwilligersafdeling van het festival, verder uit te bouwen en om ook doorheen het jaar events en workshops te organiseren. "In een wereld waar ook de cultuursector momenteel zware klappen krijgt, kan je maar beter klaar zijn voor een nieuwe toekomst. Dit betekent voor ons zoveel mogelijk versterken en verankeren", zegt Chokri Mahassine, festivalorganisator en voorzitter van Humanistische Jongeren. "Met Humanistische Jongeren willen we investeren in de verdere uitbouw van Muziekodroom, zowel letterlijk als figuurlijk." Hasselt blijft de uitvalsbasis voor de toekomstige activiteiten, waarbij het socioculturele aspect zal primeren. Beide organisaties behouden hun eigen werking en onafhankelijkheid, maar er zal structureel worden samengewerkt aan de inhoudelijke invulling. "De Muziekodroom staat bekend als een sterk muziekmerk, dat nu vervoegd wordt door het sterkste muziekmerk van Limburg", aldus schepen van Cultuur Joost Venken (RoodGroen+). "Een kruisbestuiving van deze twee organisaties zorgt voor een extra inspanning op talentontwikkeling, waar wij als stad ook zeer hard op inzetten. Dit zet Hasselt extra op de kaart als pop- en rockstad."  VERPLAATSING CONCERT JOHN FOGERTY 50 jaar muziekcarrière, dat moet gevierd worden! Een niet te missen carrière-retrospectief concert met al zijn grootste hits op vrijdag 11 juni 2021 in het Sportpaleis in Antwerpen! Iedereen kent John Fogerty ongetwijfeld nog als leadzanger- en gitarist van Creedence Clearwater Revival. Dankzij zijn uitmuntende songwritervaardigheden maakte hij de hits ‘Bad Moon Rising,’ ‘Proud Mary,’ ‘Have You Ever Seen The Rain,’ en ‘Fortunate Son.’
Zijn solocarrière nam een hoge vlucht in de jaren 80 met de succesvolle single ‘Centerfield’. Later volgden nog GRAMMY awards en werd hij opgenomen in zowel de Rock and Roll Hall of Fame als de Songwriters Hall of Fame. Naast deze eer ziet hij zichzelf ook prijken in de Rolling Stone lijst met de 100 beste gitaristen en 100 beste zangers aller tijden. Door de coronacrisis en de maatregelen die hieraan verbonden zijn, is het concert van John Fogerty, dat initieel voorzien was op 11 juni 2020, verplaatst naar vrijdag 11 juni 2021 in het Sportpaleis in Antwerpen. Aangekochte tickets blijven geldig voor de nieuwe datum. Tickets voor de nieuwe datum zijn vanaf heden te koop via www.gracialive.be  Zanger Domenico, ooit aan de wieg van band Arsenal, verliest op 53-jarige leeftijd strijd tegen corona Domenico Vaccaro is donderdag overleden aan het coronavirus. De zanger uit Lanklaar (Dilsen-Stokkem) is op 53-jarige leeftijd heengegaan in een ziekenhuis in Brussel.
Vaccaro ging tijdens zijn carrière onder meer in zee met Arsenal. Hij zong en schreef teksten voor het producersduo. “Hij was één van de eerste vocalisten waar we mee werkten”, reageert de band aangeslagen op sociale media. “Het is dankzij Domenico dat we als band kunnen bestaan. Want als we eerlijk zijn, was het niet de muziek die ervoor zorgde dat de Britse hipsterband Attaboy een remix wilde maken van eerste nummer ‘Release’. Het was Domenico’s poëtische, soulvolle, pijnlijke en schorre stem die het voor elkaar kreeg. Moge hij in vrede rusten.”  Britse zanger Dominic Grant is woensdag op 71-jarige leeftijd overleden. Dat melden Britse media. Grant vormde jarenlang de helft van het wereldberoemde duo Grant & Forsyth. Dominic overleed aan de gevolgen van een verwijding van een slagader in zijn buik, laat zijn vrouw Julie in een verklaring weten. " Grant en zijn vrouw waren oorspronkelijke allebei lid van de Britse popgroep Guys 'n' Dolls. Toen deze formatie in 1985 uit elkaar viel, ging het tweetal samen verder. Ze hadden veel succes met de meer dan tien countryalbums die ze maakten. Tot hun hits behoren onder meer The Sun Ain't Gonna Shine Anymore, My Baby, Somewhere Between, Turning Over New Leaves en The Greatest Gift of All.   Roots music fans will get a special early Christmas present when Stony Plain Records artist Duke Robillard and his band perform a free live stream album release show of his new CD, Blues Bash with Duke Robillard &Friends, (releasing November 20th) at the Narrows Center in Fall River, Mass. on Friday, December 4 at 8:00 PM Eastern Time. For more info and to watch the free live steam visit: https://www.narrowscenter.org/live-stream-duke-robillard-band-12-4-20/
Joining Duke (guitar and vocals) that night are regular band members Bruce Bears (piano, Hammond organ); Brad Hallen (acoustic and electric bass); and Mark Teixeira (drums); plus Duke’s former Roomful of Blues mates on horns: Rich Lataille, Greg Piccolo and Doug James. Vocalists Chris Cote and Michelle Willson will also be there. There is no admission charge, but donations are encouraged through PayPal or Venmo. Blues Bash is the latest album from two-time Grammy nominee and multiple Blues Music Award-winning guitarist Duke Robillard, who declares the album to be “packed with plenty of bright sounding Fender guitar a la Ike Turner, Lefty Bates, etc. Just a good listening or dancing record like the blues records I bought when I was a kid. It was pretty much a reunion of sorts and I wanted the material to be simple, straight-ahead ‘50s style blues and R&B... Basically it’s a blues party album and that feeling is what I wanted to convey.” Early reviews of the new disc have been over-the-top, as you can see from this one by Chris Wheatley in Rock and Blues Muse: “The new album from legendary guitarist and songwriter Duke Robillard is as honest a record as you could ask for. Blues Bash with Duke Robillard & Friends makes a virtue of its simplicity…. straight-ahead ‘50s style blues and R&B, a compilation of classic tracks from that era. For any blues/roots fan, Blues Bash with Duke Robillard & Friends is something to treasure, a journey into another world that will carry you effortlessly across an ocean of soulful sounds.”  Teaming with GRAMMY winner Paul Brown produced a fresh sound on the album dropping January 29
NASHVILLE (19 November 2020): The suggestion came from two-time GRAMMY winner Paul Brown who has produced dozens of No. 1 hits. When contemporary jazz guitarist Les Sabler entered Brown’s Funky Joint studio near Los Angeles to begin tracking, Brown, also a guitarist, recommended that Sabler swap out his trusty guitar in favor of Brown’s vintage Gibson Johnny Smith model. The electric guitar that has innate acoustic qualities and balances tone and sustain gave Sabler an entirely new sound, which he used to create his eighth album, “Tranquility,” dropping January 29 on New Vista Records. “The guitar’s sound is a sonic departure from anything I had previously recorded and this resulted in a successful single release, ‘Keep Pushin’.’ My fascination with the expressive tone of this instrument and my comfort in playing it led me to acquire my own, a vintage ‘67 beauty,” said the Nashville-based Sabler. The guitar recommendation was the second time Sabler heeded Brown’s counsel. The first came last December when Brown was in Nashville to perform. Sabler came to the gig to hang with Brown. It was then that Brown offered to produce Sabler’s next record. “I was both surprised and delighted that he offered to produce for me. Without hesitation, I seized the opportunity. We started collaborating immediately and two months later, we sat down to record at his studio in LA,” said Sabler. A year earlier, Sabler wrote and released “In The Light” as a standalone single, which spent three weeks at No. 1 at WAVE.FM in Sabler’s homeland, Canada. The guitar player was encouraged and decided to reinvest the residuals he received from all the airplay into recording a new album, his first since 2014’s Brazilian jazz outing “Jobim Tribute.” Sabler and Brown cowrote eight songs for “Tranquility,” collaborating with hitmaker Lew Laing (“Keep Pushin’” and “Where Has She Gone”), Jeff Carruthers (“Easy Moves”) and Shane Theriot, the latter with whom they cowrote the single slated to go for playlist adds on January 18 titled “Crescent City Strut.” “Paul and I collaborated with Shane Theriot on several compositions that are among my favorites on the project. Shane’s New Orleans heritage and his work with Hall & Oates brought a vibe to these songs that really inspired my playing,” said Sabler. Sabler and Brown revisited “In The Light” on the disc with Sabler recording new guitar parts for the debut single as well as for the album’s lone remake, “Sunrise,” a George Benson original that Brown masterfully illumined with Lee Thornburg’s trumpet and trombone. Speaking of Benson, Sabler references the contemporary jazz crossover legend when discussing how much the choice of guitar impacted the sound of the “Tranquility” album. “The title track really exemplifies the beauty of this exceptional guitar that was the instrument of choice for George Benson’s classic ‘Breezin’.’ The song title ‘Tranquility’ is so fitting because I can virtually escape to that destination when I listen to this song,” said Sabler. Sabler and Brown tracked a pair of tunes last February prior to the coronavirus quarantine, including “Keep Pushin’,” which dropped as a single in May. Work on “Tranquility” had to be put on hold until July. When they resumed, Sabler recorded his guitar parts in Nashville after Brown crafted the tracks in Los Angeles utilizing a cast of ace studio musicians such as the deep pocketed rhythm section comprised of bassist Roberto Vally, drummer Gorden Campbell and percussionist Lenny Castro. Bolstered by crackling horn work from Thornburg and saxophonist Greg Vail, the album was completed in September. “Tranquility” is a melody-rich, contemporary jazz listening experience. The set consists of vibrant harmonies, funky R&B grooves and sophisticated instrumental pop. Sabler’s deft and soulful electric guitar occasionally yields to his more sensitive nylon-stringed guitar, including on the eloquent beauty “Esselle’s Dance,” which Sabler says “is as beautiful as anything I have ever recorded.” “It was such a great experience to have Paul produce the album and I was extremely comfortable with his direction and guidance. Without a doubt, this is a landmark recording for me, and I am so excited and pleased to share this music.” “Tranquility” contains the following songs: “Crescent City Strut” “City Rhythm” “Three Dee” “Esselle’s Dance” “Easy Moves” “Tranquility” “Keep Pushin’” “In The Light” (Remix) “Where Has She Gone” “Sunrise” For more information, please visit http://www.lessabler.net.  Her fifth collection, “Five Up Top,” drops Friday as she enjoys a Billboard Top 10 hit streak
ATLANTA (18 November 2020): Riding a hot streak of six consecutive Billboard Top 10 singles, soul-jazz flutist Ragan Whiteside will drop her new EP, “Five Up Top,” on Friday on the Randis Music label. Cowriting four new songs for the disc with her producers, influential soul-jazz keyboardist Bob Baldwin and Dennis Johnson (Celine Dion, Freddie Jackson, Melba Moore), the latter of whom handles drums and keyboards on the EP, Whiteside vowed to drop her fifth album this year and refused to be stopped by the novel coronavirus. “This record, more than my other albums, was an exercise in sheer will, determination and drive. Juggling a family with two toddlers, live shows and all the business-related stuff you have to do as an independent artist is a challenge. Adding an album project to the mix took that challenge to another level. Just when we thought we had everything ‘under control,’ the pandemic hit and everything screeched to a halt. The focus shifted to safety and survival since nobody had a clear idea of the full impact of COVID-19,” said the Atlanta-based Whiteside. “We knew we wanted to name this album ‘Five Up Top’ since it is my fifth studio album. However, with the time constraints, we realized that if we wanted to get this album out this year, we would have to get realistic and compromise on the length. We ended up making a five-song EP, which kept with the ‘five’ theme and took some of the pressure off.” The conservatory-trained Whiteside recently rose to No. 3 on the Billboard chart and No. 1 on the MediaBase chart with “JJ’s Strut,” a jubilant joint inspired by her daughter’s moxie that opens the EP. “Dennis conceived the song that we named for our daughter. She's a feisty little cutie who doesn't just walk - she struts!” said Whiteside who was accompanied on the cut by trumpeter Willie Bradley and guitarist Tony Bunch. Written with a backyard barbecue in mind that Whiteside describes as filled with “sun, food, laughter, music and dancing with a plate in your hand,” “Jam It” went to No. 2 at Billboard and reigned in the No. 1 position at MediaBase for five weeks. The EP’s lone reboot comes from an unexpected source: Little River Band. Whiteside climbed to No. 8 on the Billboard chart by soulfully reimagining the Australian rock band’s 1978 hit “Reminiscing,” giving it an R&B flair with lyrical flute play and dreamy vocals illuminating the chorus. The single was accompanied by a video (https://bit.ly/3f9bCx0). Recalling her Bronx roots where saucy Latin rhythms permeated the air, “12 Bean Soup” is a Latin jazz stew seasoned by Baldwin’s tasty piano and Phil Hamilton’s (Luther Vandross) spicy guitar riffs. “Dennis and I grew up close to New York’s Orchard Beach, so we spent a lot of time enjoying the sounds, sights and smells of the Latin culture. People would come to the boardwalk with percussion instruments, guitars, flutes, radios, etc. and sit there all day and jam out,” said Whiteside who hosts a weekly radio show on Atlanta’s WCLK. Speeding to a close comes “Flying on 75,” a clubby Euro house meets contemporary jazz hybrid capable of making dance floors jump. Percussionist Chembo Corniel drives the rhythm with prominent beats and crafty percussive fills. “In Atlanta, I-75 can often be like a NASCAR race and you really need to know what you're doing. When I'm driving, and especially when I'm running late, I tend to choose specific songs for specific roads that will help me focus and get there. Just be careful with this song: I found that I had a little extra lead in my foot when this song was bumping in my car,” admonished Whiteside with a laugh. Whiteside’s hit streak includes her first Billboard No. 1 hit, “Corey’s Bop,” along with “Early Arrival” that features saxophonist Kim Waters and “See You at the Get Down.” She has been collaborating with Baldwin and Johnson since her 2007 debut album, “Class Axe.” Pairing her classical flute with R&B, funk, jazz and fusion grooves, Whiteside has cultivated a fervent following with her consistent chart presence, abundance of global airplay and rousing performances at popular music festivals and cruises. “Five Up Top” contains the following songs: “JJ’s Strut” “Jam It” “Reminiscing” “12 Bean Soup” “Flying on 75” For more information, please visit http://www.raganwhiteside.com.  photo credit: David Gomez John's latest studio album is set for a late spring/early summer release John Mayall is pleased to announce the release of his latest single, “I’m Good As Gone,” out on all platforms, Friday, November 20th via Forty Below Records in honor of his 87th birthday. The Godfather of British Blues serves up a deep and funky groove for a song about love on the outs. Written by Grammy winner Bobby Rush, the track features Americana legend Buddy Miller on lead baritone guitar with Mayall mixing it up on Hammond B3 organ. Also, on hand are Mayall’s dynamic Chicago rhythm section of Greg Rzab on bass guitar and Jay Davenport on drums, along with Austin’s Carolyn Wonderland on guitar. The track was produced by Eric Corne and John. John effuses, “as funky as you can get…It’s a feast for all guitar lovers, with Buddy Miller’s powerful baritone guitar leading the way.” And in response, Buddy said that “John gave us the roadmap and blueprint and remains a fearless inspiring soulful pioneer. What an honor to be a small part of a great project.”  The Bills bestaat uit Bill Booth en Bill Troiani. Beide doorgewinterde muzikanten zijn van Amerikaanse afkomst, maar verhuisden jaren geleden - los van elkaar - naar Noorwegen. In duo-vorm en in verschillende band-formaties speelden ze veelvuldig met elkaar, maar van een samenwerking in de studio was het nog nooit gekomen. Vanaf maart 2020 begonnen ze echter samen aan nieuwe songs te werken en namen ze afgelopen zomer - onder de noemer The Bills - hun debuut-album “Til The Blues Have Gone” op. Naast een Son House-cover en een ‘spoken word’-slot bevatten de 12 eigen tracks een traditionele mix van blues, swing, soul, country en folk.
Bill Booth and Bill Troiani (The Bills) are both well established and experienced American musicians, who have been living in Norway for many years. They have played together as a duo and in different bands over the years, but oddly enough, they have never recorded and released music together – before now. Individually, these solid musicians have already made their mark in the Norwegian music industry, covering a range of genres from blues to folk rock. They have published their own material, gaining national and international accolades, and worked with some of the greatest artists in Norway. With years of stage experience and a deep knowledge of American musical heritage, The Bills convey the essence of the American cultural character in a convincing and humorous way. Since 2012 veteran musicians Billy Troiani (originally from New York) and Bill Booth (with Maine roots) have performed extensively as a duo, combining Billy T’s soul and blues style with Bill Booth’s Americana and folk to create their own sound. Their first album “Til The Blues Have Gone” features newly penned songs containing traditional elements of deep blues, swing and country, combining their distinct vocal blend, Billy T’s driving bass, Bill Booth’s blues style fiddle and guitar work, with Alexander Pettersen’s rhythm on the drums. Op 15 januari verschijnt in de Benelux de debuut-cd: “Til The Blues Have Gone”
 Roberta Swedien, daughter of Bruce Swedien wrote today on her Facebook page:
“My dad, Bruce Swedien, passed away peacefully last night, November 16th. He was 86. A legend in the music industry for over 65 years and 5-time Grammy winner, he was known for his work with Quincy Jones, Michael Jackson and many more. He had a long life full of love, great music, big boats and a beautiful marriage. We will celebrate that life. He was loved by everyone. Rest in Peace dear sweet Daddy-ji. We will love you forever, Bea and Roberta” Bruce Swedien was a Grammy Award-winning audio engineer and music producer. He was known for his work with Quincy Jones. Swedien first came to recognition for his work in 1962 on Frankie Valli & The Four Seasons "Big Girls Don't Cry" for which he won a Grammy nomination. Swedien was a five-time Grammy winner and has been nominated 13 times. He recorded, mixed, and assisted in producing the best-selling album in the world, Thriller by Michael Jackson. He was the primary sound engineer for Jackson's studio recordings from 1978 to 2001.He also recorded and mixed for jazz artists such as Count Basie, Art Blakey, Duke Ellington, Dizzy Gillespie, Benny Goodman, Lionel Hampton, Quincy Jones, Oscar Peterson, Herbie Hancock and Jeff Oster. His pop work includes Patti Austin, Natalie Cole, Roberta Flack, Mick Jagger, David Hasselhoff, Jennifer Lopez, Paul McCartney, Diana Ross, Rufus, Chaka Khan, Barbra Streisand, Lena Horne, Donna Summer, Sarah Vaughan, and the zouk band Kassav'. He worked on the scores for Night Shift, The Color Purple and Running Scared. On 10 November 2001, he was awarded an honorary doctorate in philosophy from the Luleå University of Technology, Sweden for his achievements as a sound engineer. Swedien also held "masterclasses" at the Swedish National Radio for practicing sound engineers. On 30 August 2015, he was presented the Pensado Giant Award at the second annual Pensado Awards held at Sony Pictures Studios in Culver City, CA. The award was presented by Quincy Jones. Although born in Minneapolis, Bruce started his studio career in Chicago, working at Universal Studios under chief engineer Bill Putnam. He first met Quincy Jones there while Jones was vice president for Mercury Records in Chicago. The two worked on albums for artists like Dinah Washington and Sarah Vaughan. Bruce later moved to Brunswick Records in the late 1960s and 1970s where he ran and developed the label's studios and sound. The label, under producer Carl Davis, was responsible for numerous R&B; and pop hits during that time, with artists such as The Chi-Lites, Tyrone Davis and Jackie Wilson. Swedien was noted for pioneering the 'Acusonic Recording Process' which involves pairing up microphones together on vocals and instruments, a technique enabled by synchronizing several multi-track recorders with SMPTE timecode. This achieved an enhanced roomy ambient sound, some of which is evident on albums produced in collaboration with Quincy Jones on tracks such as "Sounds And Stuff Like That!!", George Benson's "Give Me the Night", and the Michael Jackson albums he worked on.  The year 2017 marks the 50th anniversary of the Summer of Love. On this occasion, many rare finds from the London Underground music scene found their way into the public ear again. Now, with a little delay, perhaps the most important rediscovery from the time of Swingin’ London is available: Iapetus presents this compilation for the first time, “Hallucinogenic Treasures from the Convolution of an Imaginative Brain” is a comprehensive review of the work of the legendary British band Banging Colours.
“Pet Sounds” by the Beach Boys or “Freak Out” by the Mothers of Invention had already been announced the year before, but 1967 was the Year of Great Change in rock and pop. From “Sgt. Pepper” to “The Piper at the Gates of Dawn,” from “Are You Experienced” to “Surrealistic Pillow,” unprecedented sounds broke into pop music and redefined what popular music is and can be. In place of hit production came the work on the album. The setlist of performances no longer consisted of a string of singles; instead, the musicians experimented live with their material and sounded out the possibilities of rock music in long improvisations. The studio itself became an instrument for expanding musical boundaries, and drug-induced changes in consciousness manifested themselves in psychedelic sound. During the short period of their existence in London from 1967 to 1969, Banging Colours featuring keyboarder and singer Manny Wolfe was considered one of the most important and influential bands of their time. Performances at the U.F.O. Club and in Middle Earth established their reputation as a cult band by British psychedelia fans. Joint performances with the main acts of the scene consolidated this status as well as their innovative light show, which gave the band its name. Matthias Derer has meticulously searched and rummaged through the archives of record companies, radio stations and film studios, bringing to light some amazing things. More treasures than ever hoped for could be recovered, in almost all cases in the form of original tapes of the individual tracks and in far better quality than feared. Markus Reuter has remixed them with great devotion and has given these pearls of the psychedelic era, which were considered lost, new radiance. The result is a fascinating testimony of probably the most creative period of rock music. Album 1 of the compilation brings together studio recordings from almost two and a half years, from the first and only single that not only sings about London’s underground scene but also became its secret anthem, to songs from various album projects from 1967 to 1969. The material was written entirely by the band’s head Manny Wolfe and bears his compositional signature. Album 2 includes jams and studio live sessions and shows the band from a slightly different side: it impressively documents their impartiality and freedom to improvise freely, leaving the three-minute format suitable for radio light years behind. Both showcase the extraordinary lineup of Banging Colours: Bas Ricken, whose powerful and soulful playing was acknowledged by the major drummers of his time, is the pulse in which the colours are banging. Pekka Jokinen on bass is an exceptional phenomenon: Seldom in this era has a bassist shaped the overall sound of a band as much as he did. On these recordings he not only proves that he lives up to his idol Paul McCartney and is on the cutting edge of his time, but he also shows himself to be a harbinger of a new type of bass player, as he was later embodied by Chris Squire or John Wetton in the 70’s. You don’t have to be a music expert to imagine what a brilliant career Young Patel could have had on the guitar if fate hadn’t objected. He effortlessly freed himself from his roots, the R‘n’B, without ever having to deny his musical origins. Especially his interaction with Keith Friedell is one of the most exciting elements of Banging Colours. While Young lets the blues flow in, Friedell makes the wide field of swing and gypsy jazz fertile for psychedelic proliferation. His virtuosic playing leaves its mark on the band and contributes significantly to the incomparable sound of Banging Colours. The creative centre around which this ensemble of exceptional musicians is grouped is Manny Wolfe, who not only wrote all the songs but also lends them the psychedelic sound carpets on organ, piano and mellotron as well as his unusual voice. At the moment he is writing an autobiographical story of Banging Colours, and it will be interesting to see if more treasures of the band will be salvaged in the course of this. But not only the acoustic side of this rediscovery is interesting. In the course of extensive research, Matthias Derer has also succeeded in making the work of one of the most important graphic artists of his time partially accessible again. Wes H. Bernatt was not only a friend of the band and designer of their record covers, posters and the band logo, but also one of the most creative draftsmen and illustrators in London in the late 60’s. His contribution to psychedelic art and graphic design was unjustly forgotten. Bernhard Wöstheinrich’s revision of the album covers for this compilation brings Bernatt’s merits back into focus. This compilation is a major act and an important contribution to the history of music, which gives an idea of the importance of Banging Colours. A must for all fans of the 60’s and lovers of psychedelic music. Release Date: December 4, 2020 For more information: Iapetus Media, info@iapetus-media.com, www.iapetus-media.com |
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