Hun recente album “Mutiny Ballads & Fishguarding Songs”, werd bijzonder goed onthaald. Singles “They Drive by Night “ en “Humans Sense” waren veelvuldig te horen op Radio 1.
Ondertussen heeft Handkerchief niet stilgezeten. Een nieuwe plaat is in de maak met als tipje van de sluier de nieuwe single “Never get used to this town” die op 15/1 verschijnt.
Een nummer waar de lockdown sterk in doorschemert. De tekst tracht enerzijds de eenzaamheid te schetsen. De strofes mijmeren over betere tijden terwijl er stilaan een dreiging van een nieuwe onbekende doorschemert. Anderzijds valt er troost te vinden in de refreinen: “a stone gathers heat when layn among the coals and there ain’t no way around” geeft aan dat er door samen te blijven en elkaar vast te houden nog warmte te vinden is.
Het Beeld van de singlehoes is geschilderd door de Antwerpse artiest Tjébbe Van Damme en toont een nachtelijk beeld van een verlaten straat in Antwerpen.
Voor de videoclip werd dan weer samengewerkt met de Nederlandse ilustrator/ fotograaf Swen Blikman die zijn interpretatie van het nummer in deze barre tijden wonderlijk verbeeldt.
“Never get used to this town” toont weerom aan dat Handkerchief niet voor één gat te vangen is en blijft verrassen. Van deze Antwerpse band hebben we duidelijk het laatste nog niet gehoord.
Christof Annaert, zanger/songschrijver van dit muzikale collectief, stelt zichzelf steevast de vraag: 'Hoe zou rock 'n roll geklonken hebben, moest Elvis een zeeman geweest zijn?'
Het woeste zeemansbestaan, op een gammele boot in verre wateren, is één van de terugkerende thema's in de muziek van Handkerchief. We horen de havens van zeven zeeën in een onweerstaanbare mengeling van Europese rootsmuziek, rock ‘n roll, ska, gypsy, surf, calypso en rumba. In hun onmiskenbare zeemansblues volgen ze telkens weer de lokroep van de oceaan.
Hun debuut ’Dancing Bones’ (2015) werd meteen enthousiast onthaald in De Roma, en dubbel-lp ‘Sea Rain River (2017) bracht de koers ook op tournee door Nederland. Datzelfde jaar schreven ze ook de soundtrack voor de bekroonde graphic novel Red Rider (Lectrr & Stedho). Na de vorige jaar verschenen Record Store Day 10” EP ‘Mutiny Ballads’ wordt de bemanning nog steeds aangevoerd door de, schijnbaar al eeuwen tegen de wind in bulderende, stem van kapitein Christof Annaert en werd het nieuwe full album ‘Mutiny Ballads & Fishguarding Songs’ dat nog meer naar zeewier smaakt uitgebracht op 23 oktober.
De band speelde met vele tientallen shows in Nederland en België een ijzersterke live reputatie bij elkaar wat leidde tot o.m. een fel opgemerkte support-tour met C.W.Stoneking.
Voortgestuwd door drie blazers en een aanstekelijke beat slaagt Handkerchief erin elk publiek aan het dansen of in ontroering te brengen.
Handkerchief bestaat uit:
Christof Annaert (gitaar en zang), Nele Paelinck (viool, accordeon), Simon Beeckaert (contrabas), Tijs Bonner (toetsen, gitaar en zang), Floris De Smet (bassax), Tom De Wilde (drums en percussie) Sebastian Fischer (baritonsax), Reinout Reggers (tenorsax), Lies Vandeburie (trompet, zang)
"Sweet Home Chicago -- An Online Blues Celebration" To Feature Blues Stars Billy Branch & The Sons Of Blues, Shemekia Copeland, Lil’ Ed Williams, Toronzo Cannon In Concert At University’s Center For Performing Arts
Governors State University (GSU) Center for Performing Arts (the Center) will celebrate Chicago blues and Chicago-based Alligator Records’ 50th anniversary by presenting an online streaming video concert starring four of the label’s most popular artists. “Sweet Home Chicago – An Online Blues Celebration” will feature a performance by legendary harmonica player Billy Branch with his all-star band, The Sons Of Blues, with three special guests — Grammy-nominated vocalist Shemekia Copeland, slide guitar master Lil’ Ed Williams and beloved Chicago blues guitarist and songwriter Toronzo Cannon. Alligator Records founder and president Bruce Iglauer will serve as emcee.
The once-in-a-lifetime event will be recorded on the Center’s stage to its empty 1171 seat house. This concert is part of the Center’s 25th anniversary celebration. The show will debut as a ticketed streaming event at 7:00PM Central time on March 13, 2021, and will be available to watch on demand through April 11. The event will stream on the Center’s YouTube channel.
Alligator Records, founded in 1971 by Bruce Iglauer, is home to some of the world’s foremost blues and roots rock talent and is regarded by fans and the media alike as the top contemporary blues record label in the world. From classic Windy City artists like Hound Dog Taylor and “Queen Of The Blues” Koko Taylor, to next generation legends Lil’ Ed Williams and Billy Branch to contemporary stars including Toronzo Cannon and Shemekia Copeland, Alligator’s discography reads like a who’s who in modern blues history. Legendary artists including Lonnie Brooks, Luther Allison, Johnny Winter, Albert Collins, James Cotton, Rick Estrin, Elvin Bishop, Charlie Musselwhite, Michael “Iron Man” Burks, The Holmes Brothers, Mavis Staples, Marcia Ball and rising stars Selwyn Birchwood and Christone “Kingfish” Ingram are just some of the blues immortals who have recorded groundbreaking music for the label. Now, at 50 years old, Alligator is still committed to discovering great new talent, proving that the passion, soul and redemptive power of blues and roots music is alive and well.
Blues giant Billy Branch is hailed internationally as one of today’s greatest harmonica players. The New York Times says, “Branch has a warm, open vocal style and a full command of the blues harp, from wailing notes to chugging rhythms.” With his inventive, deeply rooted playing and gritty, soulful vocals, Branch carries on the Chicago blues tradition that he learned first-hand from icons including Big Walter Horton, James Cotton, Junior Wells, Carey Bell, Willie Dixon and many others. With his instantly recognizable sound and his band, The Sons of Blues, Branch has traveled the world, delivering his signature brand of Chicago blues for over four decades. Branch’s latest album is 2019’s Roots & Branches: The Songs of Little Walter. The album finds Branch and his band boldly reimagining the renowned songs of Little Walter Jacobs. Jacobs was one of the principal architects of the Chicago blues sound and one of the most influential blues harmonica players who ever lived. Living Blues says, “Billy Branch has cemented his place among the kings. Chugging, incessant blues and R&B…greasy, funky, howlin’ harp attack that really burns. Wonderful, bold and surprising.” This concert marks Branch’s third appearance at the Center.
When Shemekia Copeland first broke on the scene with her groundbreaking Alligator Records debut CD Turn the Heat Up in 1998, she instantly became a blues and R&B force to be reckoned with. The Chicago Tribune says, “Shemekia Copeland is the greatest female blues singer working today.” News outlets from The New York Times to CNN have praised Copeland’s talent, larger-than-life personality, dynamic, authoritative voice and true star power. Shemekia has earned three Grammy Award nominations, 12 Blues Music Awards and a host of Living Blues Awards, including being named the 2020 Female Blues Artist of the Year. With her recent albums, Shemekia broadened her musical vision, melding blues with more rootsy, Americana sounds. Her new album, the soulful and uncompromising Uncivil War, tackles the problems of contemporary American life head on, with nuance, understanding, and a demand for change. It also brings Copeland’s fierce, sultry R&B fire to songs more personal than political. NPR’s All Things Considered says, “Copeland embodies the blues with her powerful vocal chops and fearless look at social issues.” No Depression declares, “Copeland pierces your soul. This is how you do it, and nobody does it better than Shemekia Copeland.”
Slide guitar-playing blues master Lil’ Ed Williams, leader of Lil’ Ed & The Blues Imperials, comes to the blues naturally. His uncle, Chicago slide guitar king and master songwriter J.B. Hutto, taught him how to feel, not just play the blues. Living Blues says, “Lil’ Ed plays rough and ready blues with unmitigated intensity…swirling, snarling, riveting slide…scorching and soulful, joyous and stomping.” With nine albums and thousands of performances under his belt, Lil’ Ed is now universally hailed as a giant of the genre. The Associated Press says, “Williams fills Chicago’s biggest shoes with more life and heat than anyone on stage today.” With his latest album, 2016’s The Big Sound Of Lil’ Ed & The Blues Imperials, Lil’ Ed continues to bring his blistering Chicago blues to fans new and old. His infectious energy, joyful showmanship and masterful playing have been honed to a razor’s edge. The Chicago Tribune says, “Electrifying, raucous, pure Chicago blues….Lil’ Ed is a guitarist extraordinaire…slashing slide and flamboyant stage persona.”
Upon release of his Alligator Records debut, The Chicago Way in 2016, Toronzo Cannon burst onto the international stage as one of the most electrifying bluesmen to emerge from Chicago in decades. The Chicago Reader said, “Bluesman Toronzo Cannon is one of Chicago’s finest string-bending storytellers.” He has played major cities all over the U.S., Canada, and Europe, including stops in the UK, Germany, Spain, France, Sweden, Switzerland, Italy, Denmark, Finland, Belgium, Poland and Japan, delighting and surprising audiences with one unforgettable gig after another. He has played the Chicago Blues Festival on ten separate occasions. UK tastemaker music magazine MOJO named his latest album, 2019’s The Preacher, The Politician Or The Pimp, the #2 Best Blues Album Of 2019. Chicago’s Newcity and Reader both named Cannon among the city’s greatest musicians. Blues Music Magazine says, “Cannon has all the fire and spontaneity of the Chicago legends. His songwriting is a timely and original look at the world, and his assertive voice is the perfect vehicle to deliver the message.”
Throughout its 25-year history, many blues artists have graced the Center for Performing Arts’ stage: Buddy Guy, B.B. King, Eddie Clearwater, Jimmy Burn, Eddie Shaw, Zora Young, Demetria Taylor, Jamiah Rogers, Tail Dragger, Billy Branch, Howard Levy, Sugar Blue, Corky Sigel, Melody Angel, Lurrie Bell, Chicago Ladies Sing the Blues collective, and more.
The seed of “Sweet Home Chicago – An Online Blues Celebration” sprouted pre-COVID at an Andersonville diner in Chicago, when the Center’s Director Lana Rogachevskaya and Iglauer explored how to celebrate their upcoming institutional birthdays and share their passion for the blues with a larger Chicago community. This conversation reemerged in 2020 with an additional goal of employing Chicago artists, while serving blues fans from all over the globe.
Rogachevskaya says, “Blues is a feeling. A musical genre with origins in American slavery and Jim Crow, its continued popularity is in its universal appeal. Communally held and lived through, blues uplifts, nourishes, and sustains the human soul. Sweet Home Chicago Blues participants will feel the healing power of blues sounds and stories while being together.”
According to Iglauer, “Chicago Blues is the famous musical signature of the city. This exhilarating music — music that grew up on the city’s South and West Sides — has become Chicago’s most vibrant and honored cultural export, reaching a worldwide audience. This concert will be a celebration of the city’s heritage, featuring some of the most talented and exciting blues artists in the world.”
For tickets and more information, click here.
"Er is met de festivalsector afgesproken dat er uiterlijk midden maart beslist wordt over de organisatie van de zomerfestivals". Dat heeft Vlaams minister van Cultuur Jan Jambon in het Vlaams Parlement geantwoord op een vraag van Open Vld-parlementslid Stephanie D'Hose.
Door het coronavirus konden er vorig jaar geen grote zomerfestivals plaatsvinden. Maar wat met de zomerfestivals voor dit jaar? Hoe groot is de kans bijvoorbeeld dat er begin juli duizenden mensen op de wei van Werchter 'Alive' kunnen meezingen met Pearl Jam?
Volgens Vlaams minister-president en minister van Cultuur Jan Jambon is er met de festivalsector afgesproken dat er uiterlijk midden maart een beslissing komt. Volgens Jambon moet er dan ook meer duidelijkheid zijn over de vaccinaties. "Ik hoop uit de grond van mijn hart dat er voor de festivals opnieuw dingen mogelijk worden die vorig jaar niet mogelijk waren. Maar het is nu nog wat te pril om daar veel over te zeggen. We hebben met de sector afgesproken dat we midden maart kijken wat mogelijk is."
Tim Bogert, bassist en medeoprichter van Vanilla Fudge, Cactus en de supergroep Beck, Bogert & Appice is gisteren op 76-jarige leeftijd overleden. Zijn langdurige muzikale metgezel Carmine Appice deelde het trieste nieuws op Facebook, waarin hij zijn meer dan 50 jaar durende vriendschap met Bogert aanstipte. Bogert werd in 1944 in New York City geboren en groeide op met het bespelen van diverse instrumenten. Nadat hij naar New Jersey verhuist was, speelde hij saxofoon in de plaatselijke band The Belltones, die overging in The Chessmen. Door de populariteit van surfmuziek schakelde Bogert over op de elektrische basgitaar. In 1965 was hij de medeoprichter van de band The Pigeons met zanger en toetsenist Mark Stein, gitarist Vince Martell en drummer Joey Brennan. Uit deze band ontstond Vanilla Fudge. Een platencontract met Atlantic Records volgde en de band had succes met covers van 'Ticket To Ride' (The Beatles), 'People Get Ready' (Curtis Mayfield) en vooral 'You Keep Me Hangin' On' (The Supremes). Het kwartet bracht vijf studio-albums uit in de jaren zestig, waaronder 'Vanilla Fudge', 'The Beat Goes On', 'Renaissance', 'Near The Beginning' en 'Rock & Roll'. Er kwam een einde aan Vanilla Fudge na een afscheidstournee in 1970. Bogert en Appice formeerden de hardrock act Cactus. Na Cactus kreeg de supergroep Beck, Bogert & Appice in 1972 gestalte, met gitarist Jeff Beck. Daarna droeg Bogert zijn muzikale steentje bij aan diverse projecten en tournees. Hij maakte ook deel uit van reünies van Vanilla Fudge en Cactus. In 2010 koos hij voor een rustiger leven, nadat hij betrokken was geraakt bij een verkeersongeluk. Tim Bogert ruste in vrede!
Met dank aan Leo Weijers.
Never underestimate the power of a woman with her back to the wall. In March 2020, as Covid blew across the planet, the shutters came down on live venues and recording studios, and the music scene fell suddenly silent, Ghalia Volt faced the same dilemma as every other artist. What now?
The answer was One Woman Band.
Having joined with the cream of the US roots scene for two acclaimed albums, 2017’s Let The Demons Out and 2019’s Mississppi Blend, Volt’s rebirth as a solo performer wasn’t a decision made lightly. But if an apprenticeship busking in her native Brussels taught Volt anything, it’s that she already had everything she needed to make magic. “In March, I started playing on a real drum set,” she recalls. “Playing a kick, snare and hi-hat plus a tambourine with my two feet, while playing slide/guitar and singing at the same time.”
After road-testing the new format at shows across Mississippi, Volt realised that one was the magic number. In August, she committed to the project, embarking on a month-long Amtrak train trip that became an intensive writing session, the shifting landscapes beyond the window inspiring her pen to scratch as never before.
Tracked live in November at Memphis’s legendary Royal Sound Studios, One Woman Band is Volt’s most lyrically honest and groove-driven material to date. You can feel the turn of those train wheels in the addictive stomp of songs like Reap What You Sow, while the rattle-and-shiver slide guitar of Espiritu Papago evokes the scream of a locomotive whistle. “Imagine John Lee Hooker on mushrooms, lost in the desert of Arizona, on a hot summer day,” says Volt. “That’s the vibe of that song.”
The Covid-19 pandemic is an unprecedented chapter of human history, with no clear end in sight. But Ghalia Volt has given us the soundtrack to better times ahead, and the songs we’ll still be singing when we meet on the other side. This might be a One Woman Band – but you’re always welcome to ride shotgun.
Tickets te koop via moodsbrugge.be
Het Depot, Leuven
Tickets te koop via hetdepot.be
De Roma, Antwerpen
Tickets te koop via deroma.be
Het uitverkochte concert van de New Yorkse singer-songwriter Suzanne Vega in Minard wordt uitgesteld naar 28 februari 2022. Daarbovenop voegt ze twee gloednieuwe data toe in Het Depot & De Roma. De ticketverkoop is meteen gestart.
Suzanne Vega stelt haar nieuwe album An evening of New York Songs and Stories voor, waarmee ze een hartverwarmende ode brengt aan haar geliefde thuisstad. Op An Evening of New York Songs and Stories, uitgebracht in volle coronatijd, giet Suzanne Vega vierentwintig op New York geïnspireerde nummers uit haar repertoire in een pakkende liveversie. Het album werd opgenomen in de beroemde New Yorkse bar Café Carlyle. Samen met haar vaste gitarist Gerry Leonard, bassist Jef Allen en toetsenist Jamie Edwards geeft Suzanna Vega klassiekers als 'Luka', 'Tom's Diner' en deep cuts als 'Frank and Ava' en 'Ludlow Street' een nieuw leven. Ook 'Walk on The Wild Side' van Vega's overleden vriend Lou Reed passeert de revue.
Met haar reputatie als 'meesterlijke verhalenverteller die de wereld ziet door een klinisch poëtisch oog' wordt Suzanne Vega gezien als één van de belangrijkste songschrijvers van haar generatie en als leidend figuur in de folk revival van de vroege jaren 80. Haar ijzersterke songs als 'Luka' en 'Marlene on The Wall' staan in het collectieve geheugen gegrift en met de remix van het a capella 'Tom's Diner' scoorde ze een onverwachte dance hit. Haar albums, inclusief haar debuut, de opvolger 'Standing up' en '99.9F' verkochten miljoenen exemplaren.
De ticketverkoop voor het concert op 1 maart 2022 in Het Depot en op zaterdag 5 maart 2022 in De Roma zijn meteen gestart via greenhousetalent.be.
Eerste single en clip van dit het nieuwe "ZWERM" album
Single/clip 13/01 uit via NEWS.
ZWERM - Crow in the dark
ZWERM album 'Great Expectations' met producer Rudy Trouvé
uit op 2 april
De afgelopen tien jaar heeft Zwerm zich geprofileerd als een eigenzinnig kwartet dat zich, dankzij de basisbezetting van vier elektrische gitaren en de brede muzikale interesses van de spelers, een unieke positie heeft kunnen verwerven op het grensgebied tussen hedendaags gecomponeerde muziek, experimentele rock, noise, electronica en muziek performance. Zwerm maakt producties variërend van interpretaties van Engelse renaissance muziek tot muziektheater van de Franse componist François Sarhan en deelt het podium even goed met impro-legendes als Fred Frith en Mauro Pawlowski als met de dansers van het Brusselse ECCE of de theatermakers van Post Uit Hessdalen. Zwerm stelt zich bij elk project opnieuw in vraag. Voor het nieuwe album werd de band bijgestaan door mentor / producer door Rudy Trouvé.
Maak kennis met 'Crow in the dark', een vooruitgeschoven nummer
Een microtonaal antwoord op de universele vraag: Wat is het tegenovergestelde van “glow in the dark”? Jaag je je dromen na of aanbidt je de realiteit? Laat je je door fantasie leiden, of juist door onzekerheid? Schitter je? Of ben je liever een crow in the dark? Drie snaren van de gitaren zijn een kwarttoon verhoogd. De ene helft van de gitaar houdt links, de andere helft slaat rechtsaf.
Releaseconcerten zijn in maart gepland in STUK, deSingel, Gevangenis Antwerpen & Handelsbeurs Gent
(meer info daarover binnenkort).
Album 'Great Expectations'
all music written & played by Zwerm (Johannes Westendorp, Bruno Nelissen, Kobe Van Cauwenberghe & Toon Callier) & Karen Willems and arranged by Zwerm, Karen Willems & Rudy Trouvé
all lyrics by Bruno Nelissen, except No Questions No Lies, lyrics by Charles Dickens
produced by Rudy Trouvé
recorded on tape by Mark Dedecker at Studio Finster, Antwerp, november 2020
mixed by Joris Caluwaerts
artwork by Rudy Trouvé
lay out by Thomas Noppe
mastered by Uwe Teichert
Erivo's role as Aretha Franklin marks the third season of National Geographic's anthology series. Starring with Erivo is Courtney B. Vance as Franklin's father C.L. Franklin, Malcolm Barrett as Franklin's first husband and business partner Ted White, David Cross as music producer Jerry Wexler and T.I. as Franklin's road manager and love interest Ken Cunningham. Patrice Covington and Rebecca Naomi Jones are also starring as Aretha's sisters and background singers Erma and Carolyn Franklin, with Steven Norfleet as Franklin's other brother Cecil, who became her manager after her divorce from White.
Other actors featured in Genius: Aretha include Pauletta Washington as Franklin's paternal grandmother Rachel, Omar J. Dorsey as gospel singer known as the "King of gospel music" James Cleveland, Marque Richardson as saxophonist King Curits, Kimberly Hébert Gregory as America's first Black female booking agent Ruth Bowen and Shaian Jordan in her debut as young Aretha, known then as Little Re.
Genius: Aretha is set to debut this fall.
London, United Kingdom (January 4, 2021)—Noted producer Steve Brown, who guided hits by everyone from Freddie Mercury to The Cult, has died at the age of 65 due to a fall in December.
Brown got his start in the music business thanks to seizing an unexpected opportunity—accidentally meeting Elton John when the superstar pulled into the gas station where teenaged Brown was working at the time. A brief chat with the artist soon led to Brown becoming a drum tech for John, and in time, he moved on to become a tape op.
Working his way up the ladder as a recording engineer for acts like Wizzard, Brown’s first producer credit came from a co-production with Robert “Mutt” Lange of the Boomtown Rats’ 1977 eponymous debut album. Through the turn of the Eighties, however, he mostly stayed in the engineer’s seat, recording albums by Thin Lizzy (Suicide), Graham Parker and the Rumour (Live at Marble Arch), Oingo Boingo (Only A Lad), The Romantics and others, and also recorded various projects for the Sex Pistols, Steve Forbert, Joan Armatrading, Twiggy and others.
Brown increasingly worked as a producer in the Eighties and Nineties, guiding many fledgling U.K. acts to their first hits, such as (to name only a few) ABC with “Tears Are Not Enough;” George Michael, with Wham’s first album, Fantastic; The Cult’s breakthrough collection, Love, highlighted by the Goth rock staple, “She Sells Sanctuary;” The Godfathers’ nihilistic classic “Birth School Work Death;” and The Manic Street Preachers’ debut album, Generation Terrorists, from which five tracks became UK Top-40 hits.
Over the course of his career, Brown also worked with Alison Moyet, The Alarm, Boom Crash Opera, Haysi Fantayzee, Balaam and the Angel, Nuclear Valdez and the Pogues, and additionally remixed a pair of Freddy Mercury tracks for the singer’s posthumous The Great Pretender collection.
In a statement to NME, Brown’s family noted, “Steve’s death came so unexpectedly and at a relatively young age. It was particularly tragic because Steve had many great projects in the pipeline including The Drive Foundation. The Drive Foundation is about promoting mental health, and Steve was the founding member. He is survived by his wife of 36 years, Jacky and their two children, Max and Luke. He will be missed by the music industry, friends and family alike.”
Steve Brown • http://www.stevebrown.info
Senseless Things frontman Mark Keds, born Mark Myers, has died at the age of 50. The news was confirmed in a Facebook post by the band's lead guitarist Ben Harding. The statement said, "It is with the heaviest of hearts that we have to tell you that, sadly, Mark - our singer, friend, and main songwriter - is no longer with us. We understand that he passed away at his home during the early hours of this morning. As of yet, the cause of death is unconfirmed.
"It’s no secret that he had struggled on and off with drug abuse and a pretty chaotic lifestyle for a long while, and his health suffered substantially over the years due to this. While this had sometimes created friction within the on-off workings of Senseless Things and his other projects, we choose to remember the friend, the brother, and the talent we’ve lost today."
Senseless Things are an English pop-punk band, formed in 1986 in London. The band released four albums and achieved two UK Top 20 hit singles before splitting up in 1995. Senseless Things reformed in 2017 to play several gigs including Shepherd's Bush Empire, as well as to record and release new material. Keds very briefly became a member of The Wildhearts before forming Jolt, Trip Fontaine, The Lams, Like A Bitch, and, most recently, Deadcuts. He also has a co-writer credit on The Libertines' 2004 #2 hit "Can't Stand Me Now", which took a line from the 1998 Jolt single "Hey! Kitten".
On this day in 1959, Berry Gordy turned $800 and a dream into the legendary, globally renowned Motown Records!
The birthplace of the Motown Sound—Hitsville U.S.A.—is now home to Motown Museum, where visitors from down the street and around the world visit and experience the history behind this iconic company.
Guitarist Henry Robinett's "Jazz Standards, Vol. 2: Then Again" , Released for the First Time January 8, 2021
Guitarist, composer, bandleader, and recording engineer HENRY ROBINETT is releasing JAZZ STANDARDS, VOLUME 2: THEN AGAIN on Nefertiti Records, Robinett’s own label. The album is the follow-up to his critically acclaimed 2020 release Jazz Standards, Volume 1: Then. John Sanders of Jazz Music Archives said, “Henry’s playing is often in a rapid abstract blues bop style, somewhat similar to Joe Pass or Barney Kessel, but he has a personal voice all his own. It takes a lot from an artist to lift these standards up one more time, and Robinett and his quartet come through on every track.”
Robinett recorded both volumes 20 years ago, during a period when he was in between albums and bands. With some rare free time, he decided to bring together a few of the top artists from Northern California, including JOE GILMAN on piano, CHRIS SYMER on bass, and MICHAEL STEPHANS on drums, for an impromptu recording session at The Hangar, a Sacramento studio where he was working as an engineer and producer. Each of the musicians is a leader in his own right, with a long resume of recordings and performances with many of the top names in jazz. With Robinett calling the tunes, this group of swinging improvisers recorded enough music for both albums in just two days.
Known for his modern, eclectic sound that melds World music with electric jazz, the Jazz Standards sessions are a departure for Robinett. “I think the Jazz Standards album was just too different from my other work, which made me hesitant to release it,” says Robinett. “But after listening to it again after so many years, I like it. I think it stands up well and shows another side to my playing.”
Robinett has led his own band, The Henry Robinett Group, for many years. The band comprises an evolving cast of musicians playing straightahead jazz with elements of Latin and pop. The Henry Robinett Group has released five albums. Their first CD, the eponymous The Henry Robinett Group, received a 4-star review in DownBeat. JazzTimes Magazine said about the group’s 2016 release, I Have Known Mountains, “The dozen pieces that appear here make it plainly clear that Robinett is a man who places a high premium on clarity. His well-thought-out messages, be they focused on tragedy, love, or life's winding road(s), manage to appeal to the ear. If jazz has an accessibility problem, nobody bothered to tell Henry Robinett.”
On JAZZ STANDARDS, VOLUME 2: THEN AGAIN, Robinett’s guitar work is swinging and very accessible.
Rather than focusing on his considerable chops, he approaches a tune not unlike a vocalist, emphasizing the melody while adding colors through his phrasing and harmonic choices.
About Henry Robinett
Henry Robinett is a jazz guitarist, recording artist, composer, bandleader, and teacher. He has been playing guitar since the age of 13. His early musical influences were Jimi Hendrix and Charles Mingus, who was his father’s first cousin. Robinett lived with Mingus for three months at his apartment in New York City, where he also associated with saxophone great Sonny Rollins and rock legend Joni Mitchell.
Robinett has performed around the world with his group The Henry Robinett Quartet. He now resides in Sacramento, where he built his own recording studio and runs his record label, Nefertiti Records, producing his own records and records for other artists, as well. His most recent CD with The Henry Robinett Quartet is I Have Known Mountains, the title inspired by the Langston Hughes poem, “I’ve Known Rivers.” He is also a founding member of The Capital Jazz Project and has played with renowned musicians Muhal Richard Abrams, George Lewis, Chico Freeman, Frank Strozier, Gary Bartz, Randy Brecker, Dave Liebman, Bobby Hutcherson, Benny Green, Geoffrey Keezer, and many others. He taught in Vienna, Austria at the American Institute of Music and was on the faculty of the University of the Pacific and Cosumnes River College.
Henry Robinett, guitar
Joe Gilman, piano
Chris Symer, bass
Michael Stephans, drums
1. Yours Is My Heart Alone (4:40)
2. Like Someone In Love (4:59)
3. I Thought About You (6:45)
4. On The Street Where You Live (5:24)
5. Milestones (original version) (6:01)
6. Body and Soul (5:51)
7. How Am I To Know (4:15)
8. Darn That Dream (5:34)
9. I Love You (6:24)
10. It Could Happen To You (4:39)
11. Monk’s Mood (6:52)
12. San Francisco Holiday (Worry Later) (5:45)
Photo courtesy of Nancy Olewine.
Renowned tuba titan and founder of original Saturday Night Live Band was a musical mainstay in New York’s jazz community for 50+ years
Muse to Charles Mingus, Gil Evans, Carla Bley, and inspiration to multiple generations of players, Howard Johnson Tuba Jazz Program Fund established at Penn State to honor the legendary musician.
Howard Johnson, veteran jazz musician, tuba innovator and founding member of the Saturday Night Live band, died at home in New York on Jan. 11, 2021, following a long illness, according to his longtime partner, Nancy Olewine.
An accomplished player, composer, arranger and raconteur, Howard gigged on tuba, baritone saxophone, bass clarinet, flugelhorn, electric bass and pennywhistle. For more than 50 years he was an important fixture in multiple scenes, moving fluidly among genres. In addition to working with a litany of NEA jazz masters including Quincy Jones, Dizzy Gillespie, Gil Evans, Charlie Haden, Carla Bley, Jack DeJohnette, and Randy Weston, Johnson also played with pop and rock icons such as John Lennon, Paul Simon, James Taylor, Carly Simon, Taj Mahal, Levon Helm and scores of others.
Johnson played an important role in forming and shaping the sound of the Saturday Night Live band during the show’s first five years: 1975 to 1980. Donning an Egyptian headdress or nurses’ uniform in some of the most beloved early sketches featuring Steve Martin and Lily Tomlin, his weekly SNL appearances lent Howard visibility rare for a jazz musician or in-demand sideman. He appeared in Martin Scorsese’s 1978 documentary The Last Waltz, was featured in a Miller Lite beer commercial in 1984, and made a Sesame Street appearance with James Taylor (in the decades since, it wasn’t uncommon for excited kids to point at Howard and shout “Jelly Man Kelly!”).
But Howard initially turned down the SNL gig, telling musical director Howard Shore that having a too-steady job leads to complacency, resulting in bad music. Musicians in that situation “start defending their turf, they start feeling like they have something to lose, and they keep narrowing and narrowing their perspective. I don’t want to get caught up in stuff like that.” In several interviews, Johnson recalled Shore’s reply: “Well, if you feel that way about it, then you’re the man for the job. Get me a bunch of other troublemakers like you and we’ll have a great band.”
Complacency was never a possibility for Johnson. In fact, from his earliest years in New York, the breadth of his capabilities led some critics and audiences to believe there must be more than one Howard Johnson: It was just too hard to imagine that in an often highly compartmentalized music scene that the same guy could be appearing with the avant-gardist Archie Shepp, hard-swinging drummer Buddy Rich, and sitting in with bluesman B.B. King.
In fact, Johnson crossed paths with legendary guitarist Jimi Hendrix at a B.B. King gig, as detailed in an April 12, 2017 blog post (hojotuba.com/blog). He and fellow tubist Bob Stewart took their instruments up to Ungano’s [an Upper West Side club] to jam with B.B. King. Just the presence of that much low brass was enough to cause a stir, and right before they went on, Jimi Hendrix arrived with a group of women. The audience was distracted, buzzing and cracking jokes, not knowing what to expect from a couple of tuba players.
Howard and Bob took to the stage, one on either side of B.B., and showed everyone they know their way around the blues. Though there were no mikes, they made themselves heard, with power to spare. Afterward, Jimi sought out Howard to congratulate him, saying, “You brothers just did the god-damnedest shit I ever heard! Ain’t nobody laughin’ now!”
Johnson appeared on hundreds of recordings spanning Gato Barbieri, McCoy Tyner, Muddy Waters, Roswell Rudd, Phoebe Snow, David Sanborn and Freddie Hubbard. He backed vocalists as diverse as Ray Charles, Marvin Gaye, Ella Fitzgerald, Yoko Ono and Albert King. Johnson can be heard on many movie soundtracks, especially those of Spike Lee; he spent several years with the NDR Big Band in Hamburg; and released four albums as a leader, including three with his multi-tuba brass choir Gravity.
While he played an arsenal of instruments, there was no doubt the tuba was his greatest love. “A tuba can be thunderous, it can be a rough-and-tumble instrument. People don’t think of it as anything delicate. I never thought there was anything the tuba couldn’t do, and I’ve been pretty satisfied with what I can do with a tuba,” Johnson mused in a 2019 interview for Hot House jazz magazine.
By 2006, when New York Times critic Nate Chinen declared Howard Johnson “the figure most responsible for the tuba’s current status as a full-fledged jazz voice,” the life’s work of the multi- instrumentalist had been in progress for more than four decades. Johnson burned with the fire of bass-clef innovation since well before 1963, when he took an offhand remark from Eric Dolphy as a call to action to move to New York.
As a teen, Howard had discovered that he could push the tuba’s range to previously unheard heights—more than six octaves—surpassing the trombone on the high end and edging into trumpet territory. In a 2000 interview, Johnson noted that he was motivated to excel by a pecking order among high school band members, with those who took private lessons outranking those who learned at school, and the self-taught—like Howard—at the bottom. When one of the private students asked him how high the tuba could go, “I was very embarrassed that I didn’t know,” he recalled. He began to experiment, noticing some of the highest notes were “very pretty; they sounded like they had kind of a French horn quality. So I added that new octave to my warm-ups.” He was surprised to discover that none of his bandmates could play anywhere near that high. “At that point, I’d probably been playing about six or eight weeks. I was highly motivated. I didn’t want to look like a fool,” Johnson said. “It was at that point that I decided not to let anybody tell me what the limitations were of the tuba or of the music.”
He was never a novelty act who would occasionally blast notes into the stratosphere to excite an audience. Rather, he played melody lines and solos fluidly and fluently, maintaining tonal integrity and feeling. Though there was no existing repertoire in the early 1960s for his then-groundbreaking low-brass range, once in the Big Apple Johnson caught the ear—and piqued the imagination—of Charles Mingus.
The iconic bassist/composer wrote adventurous parts for him in such a high register that “even trombonists wouldn’t welcome seeing those notes on the page,” Johnson recalled in 2017, for the liner notes of Testimony, his last release fronting his multi-tuba band Gravity.
Johnson became the muse of other composers, including Carla Bley and Gil Evans, establishing relationships lasting decades. Howard almost had a second encounter with Hendrix, in a project with the great Gil Evans, who had made plans to record with Hendrix and told Howard Johnson he wanted him in the studio, too. Unfortunately, Jimi didn’t live long enough to make the gig. But Howard eventually got to have his say on one of Jimi’s greatest tunes, “Voodoo Chile,” on Gil Evans’ recordings, and was also known to play a lovely, tender version of “Little Wing” on pennywhistle.
Every post-Johnson tuba player has been challenged by the standard he set. He believed the tuba is capable of a virtually unlimited sonic and emotional range, based on a player’s abilities. By demonstrating his skills, Howard single-handedly moved the instrument out of its traditional place in the rhythm sections of large ensembles into featured roles in small bands. Recognizing his impact on the tuba’s changing role in music, in 2008 the instrument-maker Meinl Weston released the HoJo Gravity Series tuba, designed to the player’s specifications.
He influenced musicians by expanding their ideas of the possibilities of the instrument, and demonstrated enormous generosity of spirit, mentoring tuba players, past, present and future. He influenced jazz (and pop) composers and arrangers by bringing a heretofore ignored instrument to the front line of soloists, and changed jazz overall by altering the direction of how jazz used the bass clef—no more oom-pah-pah, but pure linear bop, swing and rock phrasing that could stand on its own against any other “typical” jazz solo instrument.
At a time when jazz-rock fusion was gaining traction, Johnson opened up the music without diluting the tradition, performing with an unwavering jazz sensibility as a founding member of the Saturday Night Live band. His writing, arranging and playing captured the attention and imagination of such pop culture icons as John Lennon, Paul Simon, Levon Helm and Taj Mahal; Johnson never dumbed it down, never resorted to spoon-feeding anyone “Jazz 101” level music. He has always been “The Real Thing,” as Taj Mahal dubbed the 1971 CD that debuted Johnson’s innovative multi-tuba brass choir, Gravity.
Even as he approached his 75th birthday, Johnson declared that he still had the fire in his belly to solo, to increase awareness of the versatility of often-underutilized horns, and to continue to have his say on the definitive way to play them. After the music master no longer made a practice of hoisting the 20-plus pound instrument to his lips—his last gigs were in 2017—he continued to feel he had much to offer as a mentor and advisor.
There’s a wonderful accessibility to Howard Johnson’s artistry. Whether playing a standard from a Broadway show, taking the lead on Hendrix’s “Voodoo Chile” with the Gil Evans Orchestra, or evoking early R&B beats on Don Pullen’s “Big Alice” with Gravity, his music could get under your skin and quicken your steps for days to come.
Howard’s talent, determination, and no-limits viewpoint were irreplaceable ingredients in his recipe for artistic fulfillment and professional success, and his music will continue to inspire for years to come.
Howard is survived by his longtime life partner, Nancy Olewine; his daughter, musician Nedra Johnson; and two sisters, Teri Nichols and Connie Armstrong. He was predeceased by his son, David Johnson, a musician and artist, in 2011.
A memorial service will be held in 2021.
In lieu of flowers or other tributes, it was Howard’s wish that to honor his memory and support his legacy as a master of the bass clef, memorial donations be made to benefit:
The Howard Johnson Tuba Jazz Program Fund at Penn State
Memorial donation checks in memory of Howard L. Johnson to benefit the Howard Johnson Tuba Jazz Program Fund can be made payable to The Pennsylvania State University and mailed to:
DONOR AND MEMBER SERVICES
2583 Gateway Drive
Bristol Place One, Suite 130
State College, PA 16801
Donations also can be made via credit card at: raise.psu.edu/CelebratingHowardLJohnson
The endowment will support a residency in Howard’s name, and the music that Howard held so dear.
Bluesman Tomcat Courtney has passed away at the age of 91. Born in 1929, Courtney grew up in Texas, where picking cotton was the family business. As he once told the Reader, “Well, I had my own sack at the age of eight or nine years old. I could carry up to 70, 80 pounds.”
It was in fact his background in gardens that resulted in his obtaining his first guitar. “Man said, ‘Will you come on over and help me pull weeds in my garden? I’m gonna give you this guitar.’ We pulled weeds all day. He tried to show me how to play country-western, but I just hated what he was doin’.”
Later, his pianist father owned a nightclub frequented by players who’d become blues legends. “Sonny Boy Williamson, Lightnin’ Hopkins, Tampa Red would come out to the farm and perform. Saturday. Sometimes on a Friday night. The people made their own whiskey and stuff out there. They made wine and whiskey [during Prohibition]. But I tell you something: As long as it stayed on that farm, the law didn’t come out there. I didn’t think about it ’til years later, all that shit people were makin’.”
At the age of 16, Courtney was hired on as a tap dancer and a singer in the Ringling Brothers Circus minstrel show. He’d taught himself to tap dance after seeing Mr. Bojangles (Bill Robinson) perform on the family farm.
After Ringling Brothers, Courtney continued to perform in traveling variety shows. Learning guitar, he fell easily into the laconic, traditional Delta blues groove. As for his nickname Tomcat, “It was some woman in New Mexico that gave me that name,” he says. “And people been callin’ me that ever since.”
He relocated to California in the 1960s, first to Los Angeles and then to San Diego in 1971. Here, he formed the Bluesdusters, who became house regulars at O.B.’s Texas Teahouse, where he played every week from 1972 to 1992.
After his album San Diego Blues Jam was released by Advent Records in 1974, he mainly concentrated on live performances. Later in his career, he sometimes sold cassettes or pressed his own CDs to sell at gigs. Len Rainey & the Midnight Players recorded Courtney’s song “Shake It Up Baby” for their 2000 album I Better Move On.
Signed to Blue Witch Records at the age of 79, his album Downsville Blues was released in May 2008. It includes many of his own compositions, as well as classic covers like Mance Lipscomb’s “Meet Me in the Bottom” and Tampa Red’s “Cryin’ Won’t Help You.”
Downsville Blues was number one on several of the European blues charts in 2009, and his European charting and record sales earned him an invitation to the prestigious 2010 Montreux Jazz Festival. After playing Montreux and touring Europe, Courtney was inducted into the California Blues Hall of Fame.
In 2010, he won Best Blues at the San Diego Music Awards. In early 2013, he landed a residency playing old-school one-man blues concerts at La Gran Tapa every Tuesday. The following year, the San Diego Music Awards gave him a Lifetime Achievement statue.
Even into his 90s, right up until the pandemic lockdown, Courtney was still playing gigs every week.
Featuring bonus track of more than 15 minutes - the first studio recording of the song “Rétrovision”!
It was at the Olympia in June 1980 that the 10th anniversary of Magma was celebrated during three memorable evenings.
This retrospective, bringing together most of the musicians who were part of the group, saw the light of day in the form of 2 albums, one double, Retrospektïw 1/2 the other single, Retrospektïw 3 which was, despite its numbering, published in first. Three titles make up the menu of this Retrospektïw 3: “Retrovision,” a long piece in the continuity of the spirit of the music of the album Attahk, where, on a hellish train, the voices of Stella Vander, Guy Khalifa and Maria Popkiewicz display an astonishing ease, “Hhaï,” in a supercharged version where the Lockwood/Paganotti/Widemann trio performs wonders, and finally “La Dawotsin” where, in a much calmer register, the voice of Christian Vander captivates by its mastery and its depth sensitivity.
A bonus of more than 15 minutes appears on this reissue, it is the first studio recording of the song “Rétrovision,” a pre-production demo for a studio album made in January 1980. Finally, “Rétrovision” will never exist in a studio version.
Recorded as Retrospektïw 3 during the evenings of the Olympia in June 1980, Retrospektïw 1/2 is a fundamental album insofar as it finally presents “Theusz Hamtaahk,” the first movement of the trilogy of the same name, of which we already knew the second movement, “Ẁurdah Ïtah,” as well as the third, “Mekanïk Destruktïw Kommandöh.”
A piece performed on stage since 1974, “Theusz Hamtaahk” waited years before being engraved for eternity, because Christian Vander wanted each note to be beautiful, magical, essential and definitive. It is with the same respect for the music that he also offers us on this double album a magnificent version of “Mekanïk Destruktïw Kommandöh,” a version which allows itself two great moments with the hallucinating improvisations of Bernard Paganotti and Didier Lockwood. Klaus Blasquiz, who did not appear on the Retrospektïw 3 album, provides lead vocals this time.
Without a doubt, Magma has left the legacy of constantly evolving music, which defies all standards and connivance of rock, evolving in a universe of their own creation.
AVAILABLE JANUARY 25, 2021
For more information:
Magma's official website: www.magmamusic.org
Seventh Records: www.seventhrecords.com
Bobby Few (October 21, 1935 – January 6, 2021) was born in Cleveland, Ohio, and grew up in the Fairfax neighborhood of the city's East Side. Bobby died aged 85.
He was an American jazz pianist and vocalist. Upon his mother's encouragement, he studied classical piano but later discovered jazz upon listening to his father's Jazz at the Philharmonic records. His father became his first booking agent and soon Few was gigging around the greater Cleveland area with other local musicians including Bill Hardman, Bob Cunningham, Cevera Jefferies, and Frank Wright. He was exposed to Tadd Dameron and Benny Bailey as a youth and knew Albert Ayler, with whom he played in high school.
As a young man, Few also gigged with local tenor legend Tony "Big T" Lovano - Joe Lovano's father. In the late 1950s Few relocated to New York, where he led a trio from 1958 to 1964; there, he met and began working with many world-class musicians, including singer Brook Benton, and saxophonists Rahsaan Roland Kirk, Jackie McLean, Joe Henderson, and Ayler.
Few played on several of Ayler's albums and also recorded with Alan Silva, Noah Howard, Muhammad Ali, Booker Ervin, and Kali Fasteau. Some of Few's various playing styles were described by Kevin Whitehead: "He can play delicate single-note melodies, roll out lush romantic chords, rap out explicitly Monkish close-interval clanks - though he's a busier pianist than Monk - or roil around in classic freestyle, using a sustain pedal to shape the density of his sound".
In 1969 he moved to France and rapidly integrated the expatriate jazz community, working frequently with Archie Shepp, Sunny Murray, Steve Lacy, and Rasul Siddik. From 2001, he toured internationally with American saxophonist Avram Fefer, with whom he recorded four critically acclaimed CDs.
Dearon Thompson (March 10, 1965 – January 7, 2021) was born in Los Angeles, California. Thompson died at the age of 55. According to TMZ, his BROTHER Marshawn believes the star died of a heart attack, though no official cause of death has been revealed. His death comes less than 12 years after he spent six hours in surgery to address a leaking heart valve and enlarged aorta.
Dearon known professionally as Deezer D, was an American actor, rapper, and motivational speaker. He was best known for his role as Nurse Malik McGrath in the American medical television series ER and for his roles in the films CB4 and Fear of a Black Hat. Between the years of 1994 and 2009, he racked up 190 episodes on ER, many of them acting opposite the show's breakout star George Clooney.
Deezer D's album, Delayed, But Not Denied, was available on iTunes and from his website August 8, 2008. Previously, Thompson released Unpredictable (2002) and Living Up in a Down World (1999).
Singer-songwriter Ed Bruce, who wrote "Mammas Don't Let Your Babies Grow Up to Be Cowboys" and more classic country hits, has died. According to a press release from his representative, Bruce died in Clarksville, Tenn., on Friday (Jan. 8) from natural causes at the age of 81.
Born on December 29, 1939, in Keiser, Arkansas, Bruce moved to Memphis with his family early in his life, and he considered Tennessee his home state, according to his official biography on his website. He began writing songs in his teens and, and he first began recording on the legendary Memphis-based Sun Records in 1957 while still a senior in high school, releasing a single titled "Rock Boppin' Baby" under the name Edwin Bruce.
He wrote "Save Your Kisses" for pop star Tommy Roe in 1962, and in 1965, Charlie Louvin recorded his song "See the Big Man Cry," which scored a No. 7 hit. Bruce spent the next decade-plus recording for a variety of labels including RCA and Wand/Scepter, but mainstream success continued to elude him as he also began to do voiceover work. He scored his first chart single in 1967 with "Walker's Woods," and also scored small successes with "Everybody Wants to Get to Heaven" and "Song for Jenny" after signing with Monument in 1969.
The 1970s saw Bruce's career fortunes change considerably, with Tanya Tucker and Crystal Gayle recording "The Man That Turned My Mama On" and "Restless," respectively, in 1974, while Bruce himself finally scored a Top 20 hit with "Mammas Don't Let Your Babies Grow Up to Be Cowboys" in 1976.
Willie Nelson and Waylon Jennings recorded "Mammas Don't Let Your Babies Grow Up to Be Cowboys" as a duet in 1978, taking the song to No. 1 on Billboard's Hot Country Songs chart and winning a Grammy Award for Best Country Performance by a Duo or Group with Vocal in 1979. That track appeared in the Robert Redford and Jane Fonda movie The Electric Horseman, which also featured Nelson in his acting debut. Tanya Tucker also scored a No. 5 hit with Bruce's "Texas (When I Die)" in 1978.
Bruce signed with MCA Records in 1980, where he would score a string of solo successes that included "Diane," "The Last Cowboy Song," "When You Fall In Love (Everything's a Waltz)," "Evil Angel" and "Love's Found You And Me." He reached No. 1 with "You're the Best Break This Old Heart Ever Had" in 1982.
He returned to RCA Records in 1984 and reached No. 3 hit with "You Turn Me On Like a Radio" in 1985. Bruce scored his final Top 10 single with "Nights" in 1986 and his last Top 40 single with "Quietly Crazy" in 1987.
Bruce also made a name for himself as an actor, appearing on TV's Bret Maverick alongside Jamer Garner, as well as hosting Truckin' USA and American Sports Cavalcade on The Nashville Network and appearing in made-for-TV movies, including The Chisolms and The Last Days of Frank and Jesse James. He graced the big screen in Fire Down Below with Steven Seagal, among other films.
Bruce received the Arkansas Country Music Award for Lifetime Achievement in 2018. No funeral plans have been announced.
Helaas moeten wij u melden dat, door de ontwikkelingen rondom het covid-19 virus en de bijkomende onzekerheden, Moulin Blues 2021 geen doorgang zal vinden.
Het is een fikse teleurstelling dat we twee opeenvolgende jaren geen Moulin Blues in Ospel kunnen vieren. Echter staat de veiligheid en gezondheid van de bezoekers, vrijwilligers en de samenleving voorop. De huidige situatie biedt in zijn algemeenheid, onvoldoende perspectief om het festival te organiseren.
Wat betekent dit nu concreet?
Er zal in 2021 geen Moulin Blues festival georganiseerd worden. Wij richten onze blik op het jaar 2022.
Voor diegenen die al een ticket hadden voor Moulin Blues 2020 en destijds hebben besloten dit om te zetten naar een ticket voor Moulin Blues 2021, bieden wij twee opties:
Stichting Rhythm & Blues Ospel
Acclaimed Blues/Roots Musician Randy McAllister Offers Up "Paperbag Salvation" on New CD Coming April 23rd
“Roustabout, maverick, spiritual, gritty, amazing, genius, wild, bad-ass, soulful:” these are some of the words used to describe East Texas-born bona fide blue blood, Randy McAllister, who will release his new CD, Paperbag Salvation, April 23rd on Reaction Records.
Now based in Hermosa, South Dakota, McAllister is revered and critically-acclaimed true blues/roots original. An award-winning artist who plays driving drums and a world-class harmonica, he writes incredible songs and sings in a powerfully soul-drenched voice.
Paperbag Salvation showcases all of McAllister’s singing, songwriting and performing skills on ten original songs that also highlight his stellar band: Brandon Hudspeth - guitar on all tracks; Howard Mahan- guitar on track 2; Paul Greenlease- bass; Adam Hagerman- drums; and Heather Newman- background vocals.
McAllister has a knack for keen wordplay in both his songs and their titles, and he shared his thoughts on several of them from the new album. “‘You're Like Mashed Potatoes’ was based on building around that line with the sentiment of how a kid might say how much he loves something. Like a lot of 50s and 60s soul numbers where many songs were sung by kids coming from a kids perspective. ‘Ain't no need to make this complicated, some things are so good they can't be overstated,’ says a line from the song.
“‘Most Irritating Person in the World’ was also originally just based on a line that I thought would be funny to do something with. Then I had a day where someone was asking me questions and then talking over me when I would answer, all the while I was backing up because they were so close they were spitting on me. The more I backed up the closer they got. I also had someone park their car so close to my driver’s side door that I had to get through the passenger side. Seemed like a good day to start writing. ‘I take one step back, you take two steps up, I 'm trying to make some space but you won't let me get enough,’ I sing in that song.
“‘No Conductor’ was originally recorded as an aggressive soul rocker. I eventually decided to frame the lyrics in a ballad form. I like the contrast of lyrics that seem to say something different than the music.
“In ‘Personal Piñata,’ I thought it would be fun to write a song where all the rejection and heartache someone felt while pursuing someone was equal to being a piñata being whacked with a stick. But all the while keeping a positive attitude knowing that if you can keep hanging in there they'll eventually see how good the insides are. ‘Take a few whacks until I crack, spill my insides but I keep coming back.’”
Randy McAllister has been flying in the face of convention his whole career; no smoke, no mirrors, no choreography, no industry machines. Just a much deserved reputation built on hard work, years of developing his craft and bringing his one-of-a kind show to every corner of the map.
Raised in the small Texas town of Novice, McAllister is a sixth generation Texan. Following in his father's footsteps, Randy started on drums at age nine. He discovered the harmonica in his early 20s while stationed in Massachusetts as a member of the USAF, taking cues from blues legend "Earring George" Mayweather, a Boston resident and harmonica master. McAllister moved to Alaska in 1989, where he spent the next three years playing in various bands. By the time he returned to Texas in 1992, he had developed into a strong, talented harp player who was also establishing a reputation as a skilled vocalist and songwriter. In 1997, McAllister signed with JSP Records, releasing three highly acclaimed CDs before going on to issue recordings on Severn Records (with Mike Morgan) and on Reaction Records.
Living Blues Magazine called him, “A first-rate drummer, harmonica player and potently soulful singer whose well-crafted songs reveal a depth of creativity not only in storytelling, social commentary and word play, but in the sophisticated arrangements and blurring stylistic boundaries. With an expressive vocal register falling somewhere between the soulful effervescence of Al Green and the blunt hammer of Johnny Taylor, a shrewd wit and an admirable turn of a phrase, McAllister cements himself as a blues bard archetype.”
Na jaren bassen en backing vocals zingen bij verschillende groepen zoals Barbie Bangkok, Nightwitches, Louie Louie, Crites, ERIIS, … besliste Mirabelle van de Put om uit haar comfort zone te stappen en iets nieuw te proberen ... op zichzelf. Het doel was om een groep op te richten, op te nemen in de studio en op te treden. Maar de pandemie stak er een stokje voor.
In plaats van te wachten tot alles bedaarde, maakte ze gebruik van de opgelegde vrije tijd om een nieuw avontuur aan te gaan. HAZE was geboren. Ze heeft alles zelf, thuis in haar kamer ingespeeld en opgenomen, behalve een aantal perfect aanvullende gitaar partijen die Miguel Moors voor zijn rekening nam. De eerlijkheid en breekbaarheid in de muziek doet denken aan PJ Harvey en Mazzy Star. Rustgevende vocals, gitaren met een hoek af en laidback drum beats zetten de toon voor dit debuut album dat wordt uitgebracht door het Canadese label Off White House Records.
De eerste single “FLU” is een observatie over hoe iedereen op zijn eigen manier omgaat met de pandemie en de gevolgen ervan.
Namid & Sondervan is a collaboration between jazz quartet Namid and live coder Dago Sondervan
Namid & Sondervan. Een jazz-kwartet en een live-coder. Het analoge met het digitale. De saxofoons en effecten van Vincent Brijs, de contrabas van Fré Madou, de altsax van Sara Meyer, de drums van Maarten Moesen en de algorhythm-and-blues van Dago Sondervan. Het gaat allemaal de deeltjesversneller in en dan is het wachten op een botsing van atomen.
'Ohmu' is de eerste single van hun debuutalbum dat klaarligt om uit te komen op Rotkat Records (18 maart 21).
Releaseconcert 18/03 in DeSingel, en zodra het kan ook live bij u in de buurt.
Deze clip is gefilmd door Henry Commerman met als assistent Lothar Legon in art center Hugo Voeten, met dank aan Eveline Heylen. Montage door Laurent Vanderstokken, script en regie door Dago Sondervan en de costumes mochten we zelf kiezen uit de stock van Ann Lauwerys.
Vincent Brijs: alto & baritone saxophone, EWI & effects
Fré Madou: double bass and effects
Sara Meyer: alto & tenor saxophone
Maarten Moesen: drums
Dago Sondervan: live coding/electronica
Neil Young heeft de muziekrechten van zijn songs verkocht aan het investeringsfonds Hipgnosis Songs Fund. De 75-jarige Canadese rocker krijgt 150 miljoen dollar (120 miljoen euro) voor 50 procent van de rechten van 1.180 liedjes. Dat meldt de BBC.
Hipgnosis Songs Fund, dat mensen laat investeren in hitnummers, gaf eerder ongeveer 1,1 miljard euro uit aan rechten op nummers van onder meer Mark Ronson, Chic, Barry Manilow en Blondie.
De topman van het investeringsdfonds, Merck Mercuriadis, is bijzonder verheugd over de samenwerking met Neil Young. "Deze deal verandert Hipgnosis voor altijd. Ik kocht mijn eerste Neil Young-album toen ik zeven jaar oud was. 'Harvest' was mijn metgezel en ik ken elke noot, elk woord, elke pauze en stilte", aldus Mercuriadis, voormalig manager van onder meer Elton John, Iron Maiden en Beyoncé.
Neil Young zag het levenslicht in 1945 en heeft al menig muzikaal vaarwater doorzwommen. Hij bracht ruim 40 studioalbums uit en is bekend van nummers als 'Harvest Moon', 'Heart of Gold' en 'Rockin' in the Free World'.
In december raakte bekend dat Universal Music Publishing Group de volledige muziekcatalogus van singer-songwriter Bob Dylan overgenomen heeft. Volgens vertrouwelingen van Dylan is de catalogus zeker 200 miljoen dollar waard. Het gaat om meer dan 600 nummers, waaronder enkele iconische hits zoals 'Blowin' In The Wind', 'The Times They Are a-Changin' en 'Knockin' On Heaven's Door'.
Valentine’s Day 2021 delivers an unexpected and welcome surprise with the release of “A Romantic’s Guide to King Crimson,” the new 12-track album of reinvented King Crimson material by the husband-and-wife duo Deborah and Pat Mastelotto. The collection, which spans the band’s entire history, revisits classics including “Matte Kudasai,” “Heartbeat,” “Moonchild,” “Elephant Talk,” “Peace,” “Exiles,” and “Sleepless.”
Pat Mastelotto is an American rock drummer and record producer who has worked with King Crimson, Mr. Mister, XTC, The Rembrandts and many others. Pat has served as one of King Crimson’s drummers from 1995 to the present day. This album resulted from Pat’s observations and Deborah’s insights made after she intermittently joined Pat on tour as part of the King Crimson entourage from 2008 onwards.
“It’s always been a joke in the King Crimson camp that there’s never a line for the women’s restrooms during intermissions,” said Deborah. “King Crimson plays loud and it’s often intense and raucous. But it can also be haunting and melodic, with some of the most beautiful lyrics ever. We wanted to help uncover that sweetness and introduce the songs to a different type of audience with ‘A Romantic’s Guide to King Crimson.’”
“The album has amazing contributions from all the musicians involved, especially the TOAPP (Three of a Perfect Pair Music Masters Camp) artists,” said Pat. “We experimented together and since they were already lifelong Crim Heads, they were totally into reconfiguring the classic performances or developing totally new parts. So, get ready. You’ll hear some fantastic detail in their playing.”
The recording features material they chose and arranged together with lead vocals by Deborah, a creative Tour de Force in her own right, and with Pat drumming and producing.
“We compiled King Crimson songs and searched for the romanticism in them, then rearranged them,” said Deborah. “The addition of a girl singer automatically changes the feel of those songs and places them in a different genre. Our idea is to create a way for people, especially women, to appreciate the beauty of King Crimson’s music without the fear and sometimes resistance attached to the word ‘prog’ getting in the way. We slow the songs way down and strip them back to their essential lyrics and melodies.”
“In the Crimson tradition, we approached every song as if it was brand new,” said Pat. “At first, it involved tinkering with 20-plus songs in hotel rooms using iPhone apps to choose what worked best for us. We first focused on the lyrics. The words had to resonate and the arrangements had to develop a prog-meets-pop twist to meet my hopes. We had no desire to duplicate the original arrangements. In fact, just the opposite. I was trying to discover where else they could go to expose sweetness, sort of like the old days of cassettes and giving a loved one a mixtape. It’s a gift to fans and a family of former Crims.“
The Mastelottos started the recordings in 2019 by inviting the Texas TOAPP alumni, including members of the Houston symphony, to record in Pat’s home studio in the Texas Hill Country. After a quick trip to Nagoya for his one and only live gig of 2020, which yielded the live Stick Men album “Owari,” Pat returned and spent months with Deborah during the 2020 COVID-19 lockdown finishing the project. The result is an album full of lush nuance and ornamentation designed to put listeners in a meditative and buoyant mood.
“The lockdown resulted in a year of cancelled shows, which gave us time to realize the album,” said Pat. “This grand reboot of humanity made being a couple all the more important, nurturing relationships with people we love, gardening and doing home projects while creating this album together was a beautiful experience.”
“2020 has given us the longest period of consecutive days, weeks and months we’ve ever spent together,” said Deborah. “Our close proximity enabled a continuous dialog and working environment, so we never had to break the creative flow.”
“Working from home meant we could take the listening experience from the studio to the car to the bedroom…to test drive…so to speak,” added Pat.
“Heat up the hot tub, fluff your pillows and head to the softer side of the bed for the pinkest Crimson ever”
1. Two Hands
2. Matte Kudasai
5. Inner Garden
6. One Time (Eyes Wide Open)
8. Book Of Saturday
10. Elephant Talk
TOAPP musicians Appearing on the record:
From other parts of the world:
Kara Day Spurlock
Additional musicians and engineers:
Cover Art: Ana Fuentes
Design: Denis Rodier
Released February 14, 2021
The following is a joint statement from Harvey Mason Jr., Chair & Interim President/CEO of the Recording Academy; Jack Sussman, Executive Vice President, Specials, Music, Live Events and Alternative Programming, CBS; and Ben Winston, GRAMMY Awards Executive Producer, Fulwell 73 Productions.
"After thoughtful conversations with health experts, our host and artists scheduled to appear, we are rescheduling the 63rd Annual GRAMMY Awards® to be broadcast Sunday, March 14, 2021. The deteriorating COVID situation in Los Angeles, with hospital services being overwhelmed, ICUs having reached capacity, and new guidance from state and local governments have all led us to conclude that postponing our show was the right thing to do. Nothing is more important than the health and safety of those in our music community and the hundreds of people who work tirelessly on producing the show.
We want to thank all of the talented artists, the staff, our vendors and especially this year's nominees for their understanding, patience and willingness to work with us as we navigate these unprecedented times."