JETHRO TULL’s IAN ANDERSON Joins TERRY REID And MANCHESTER STRING QUARTET On An Epic New Version Of BADFINGER’s “DAY AFTER DAY!”
What do you get when add the woodwind talents of rock flutist Ian Anderson and the six-string skills of British guitarist Terry Reid to Badfinger’s unforgettable smash hit “Day After Day”? You get one of the most compelling and riveting reinventions of a classic song you’re likely to hear all year! Throw in a modern string quartet out of Manchester for good measure and now you’ve got one beautifully rendered, symphonic rock masterpiece! All of these elements combine flawlessly, as if the passage of time was merely waiting for them to coalesce around Joey Molland and company’s superb version of the song that originally appeared on Badfinger’s 1971 album Straight Up. Reid, whose ultra-melodic, soulful guitar playing earned him acclaim for his solo albums as well as session work for the likes of Bonnie Raitt, Jackson Browne and Don Henley, adds depth to the emotive string arrangements of the Manchester String Quartet with his subtle playing while Anderson’s flute adds unexpected flourishes that will give listener’s the feeling of hearing this song for the very first time again and again, day after day!
Anderson shares this about the track, “Like many of my contemporaries, I remember ‘The New Beatles,' as Badfinger were unfortunately dubbed by the UK press. Great songwriting and production by George Harrison. [This version is] brought to life here by the Manchester String Quartet, alumnis of the Northern Royal College Of Music. I tried to find a few harmonies and simple counterpoints to interject into their splendid performance. For me, an elegant and nostalgic experience.”
Meanwhile, Reid had this to say, “It was great to go back and listen to this song again and get to play guitar on it as I’ve always loved the band and this song. I got to hang out with Joey back in the day and he’s a really great guy and a fine musician. Playing on this song brought back some great memories of a musical era that will never be forgotten by me and many others.”
Stream the single: https://orcd.co/badfinger_day_after_day
Cameo appearance by guitar legend Daryl Stuermer (Genesis/Phil Collins Band, Jean-Luc Ponty) and harmonica great Jim Liban
Peggy James defies categories. There is a lot of country in her songwriting and her voice— but a lot of other elements as well. On her fifth album, Paint Still Wet, Peggy is a pop artist for the 21st century, eclectic in her sources and strong in her conviction in the power of a well-crafted four-minute song.
Is Peggy Americana? Only if the audible influence of The Beatles and Elton John counts as Americana. Peggy grew up with big ears and—without calculation or deliberation—draws widely from the sonic world around her. With a timeless simplicity, Peggy’s lyrics are heartfelt in their profession of love and friendship. Heartbreak is delivered with wrenching poetry, regret in meaningful sighs.
Singing in a soft, emotionally resonant voice, the Wisconsin singer-songwriter gives performances that echo with the confident humanity of the Midwest.
“What inspires me the most in writing a song is a good story,” Peggy says. “Traveling, observing, listening and reflecting on my own life experiences affords a lot of material because there are so many stories to be told. Putting these stories to music is a way to connect these stories to people on deeper emotional levels.”
Paint Still Wet is produced by Jim Eannelli, who colors the project from the wide palette of his own background as a multi-instrumentalist rock, pop, folk, blues performer. He played on all tracks with help from some of Milwaukee’s top musicians including guitarist Daryl Stuermer (Genesis/Phil Collins Band/Jean-Luc Ponty), harmonicists Jim Liban and Lil’ Rev, pianist Connie Grauer and drummers John Calarco and Victor Span.
Paint Still Wet is an apt title for an album by an artist who—although already a veteran— remains a work in progress, unfinished and reaching for new colors with each release.
The album releases September 18th in digital and physical formats on Happy Growl Records. For information on Peggy James please visit www.facebook.com/PeggyJamesMusician
Singer and guitarist Richard Wallace of the Mighty Clouds of Joy passed away Monday, July 27, 2020.
Richard Edward Wallace was born June 9, 1940, in Austin, Texas. He and his brother Lee O’Daniel migrated west to Los Angeles and, in 1956, joined the Stars of Bethel, a quartet that included cousins from Texas who had moved to LA ahead of them. The quartet later changed its name to the Stars of Bethlehem and cut an album for Ensign Records in 1960.
Sometime that same year, Wallace, along with members of the Sensational Wonders quartet Ermant Franklin, Elmo Franklin, Leon Polk, David Walker, and former Clouds member-turned-Sensational-Wonder Willie Joe Ligon, joined Johnny Martin in a reconstituted version of the Mighty Mighty Clouds of Joy. Shortly thereafter, the quartet signed a long-term contract with Peacock Records, leaving one “Mighty” off their name.
Interestingly, Wallace had recorded for Peacock two years prior to the signing, when he played guitar behind the Alpha-Omega Singers’ 1958 sides for the Houston-based imprint.
In 2005, Wallace told Clint Yeatts of KLTV that he got saved while a member of the Clouds. “I lived, I call it a sinful life,” Wallace said. “Singing for God on the stage but not living for Him after I left the stage. Although I was in the church I was not living saved, but then God saved me. What I mean be that he gave me his Holy Ghost, the peace within to know that He is the reason I even exist.”
The Mighty Clouds of Joy went on to win GRAMMY Awards and become one of the top quartets of the 1960s and 1970s.
Wallace remained with the Clouds for the remainder of his career, leaving the parent group in 2010 to form his own iteration of the Mighty Clouds.
Ronnie Earl, a four-time Blues Music Award winner as “Guitar Player of the Year,” follows up the critical and commercial success of last year’s Beyond the Blue Door album with another blockbuster disc of music, Rise Up, set for release September 11 on Stony Plain Records. Created to heal and move bodies and souls alike, the majority of the album’s value-packed 15 tracks were recorded in “Living Room Sessions” at Earl’s house, with a vibe that puts the listener right in the room with Ronnie & The Broadcasters. A special bonus is the inclusion of several tracks recorded live from a set at a “Daryl’s House Club” show.
Check out the album teaser here: https://youtu.be/QVc9QOIo61k
Pre-order Rise Up here: https://stonyplainrecords.com/lp/riseup/
In Rise Up, Ronnie Earl & the Broadcasters —Dave Limina on keys, Diane Blue on vocals, Paul Kochanski on bass and Forrest Padgett on drums — take listeners on a journey through a wide swath of musical influences, Ronnie’s passions and concerns. Rise Up was created a bit differently than his other recordings. While recuperating from back surgery to alleviate a stubborn case of sciatica, Ronnie decided to hold the session at his modest home west of Boston. It took place in March, just before the coronavirus hit.
In a world of rampant commercialization, computer-derived music and diminishing standards, the 67-year-old continues to produce top-quality emotionally satisfying music his way, pleasing listeners and audiences wherever he goes. Rise Up is Ronnie’s 13th album on Stony Plain Records and 27th of his career. It’s another gem from a prolific artist who for over 45 years has created a deep lasting body of work
“People tasked with having to describe Ronnie invariably note his passion,” writes guitarist Peter Ward (who also plays on the album) in his incisive album notes. ”It’s worth repeating because it’s true. Ever since he first appeared with Boston bands in the 1970s, Ronnie, wielding a Stratocaster and Super Reverb, has transfixed audiences with his distinct brand of emotion-laden blues. Still today, each time he performs he gives his audiences his all and shoots for the moon.
“Why give so much of oneself? In part, because it’s a gift to be shared. Blues musicians are lucky people and generally happy to be what they are. What they do pleases their listeners and satisfies a deep-down need in themselves.
“But with Ronnie it’s more. The world’s injustices weigh on his shoulders. Bigotry, substance abuse and struggle are never far from his mind. He offers his music to relieve people’s suffering, even if the elixir lasts only for the length of a song.
“On Rise Up, Ronnie and his talented Broadcasters create music of spontaneity, tradition, and deep feeling. Part of the session took place in his cozy living room surrounded by the things that give him joy — guitars, baseball cards, music and photographs of blues-artist friends of his. The setting was tranquil, but like any mission involving Ronnie and artistic creation, it comes with a healthy dose of danger, too.
“In Rise Up, Ronnie and his Strat lead a conversation with friends, tapping into humor and despair, coyness and brashness, anger and delight. Like the phone call, it’s person-to-person, and Ronnie’s the operator who makes the connection possible. On Rise Up he does it again, — happily — for you.”
The album includes a number of original Ronnie Earl songs, often saluting his friends and mentors, or about people who have made a significant impression on his musical and emotional and development over the years.
He’s keenly attuned to the pain people suffer — especially depression and human indignity — and in 2020, he felt the needed to respond urgently to coronavirus and racial strife.
In response, Ronnie christened one instrumental “Blues for George Floyd” and named a unique talking blues “Black Lives Matter.” The band covered Bob Dylan’s “Lord Protect My Child,” sung brilliantly by Diane Blue. “Navajo Blues” is dedicated to the Native American tribe that’s been stricken by the virus disproportionately.
The lovely album cover, rendered by artist Tracy Kochanski, is poignant and apt. Debbie Blanchard, Ronnie’s friend and manager, said the painting shows the phoenix rising above Ronnie’s portrait, signifying that “humanity will rise up from these difficult times.”
“What Ronnie pulls from wood, wire and old Fender amplifiers,” music writer Ted Drozdowski once wrote, “isn’t so much notes as the sound of the human heart beating with you, crying under the world’s weight or acknowledging the inevitability of another sunrise.”
Perhaps being the son of two Holocaust survivors has given Ronnie Earl a keen insight into the human condition, which has manifested itself in his musical delivery. This year, Ronnie also celebrates more than 30-plus years of sobriety. He’s often quietly devoted his time and donated concert proceeds to help people affected by substance abuse. And as someone who once studied to be a special education teacher, he recalls with particular fondness a 10-year period when he volunteered at LifeLinks Inc., a nonprofit in Chelmsford, Mass. that helps people with intellectual and developmental disabilities.
Rise Up confirms Ronnie Earl’s status as one of the most soulful blues/soul/jazz guitarists working today.
Rise Up Track Listing
1. I Shall Not Be Moved (2:17) - Traditional
2. Higher Love (5:57) - Ronnie Earl
3. Blues for George Floyd (3:39) - Ronnie Earl
4. You Don’t Know What Love Is (4:32) - Fenton Robinson
5. Blues for Lucky Peterson (10:18) - Ronnie Earl
6. Big Town Playboy (4:01) - Eddie Taylor
7. Albert’s Stomp (4:42) - Ronnie Earl
8. In The Dark (6:09) - Lillian Green
9. All Your Love (8:11) - Magic Sam Maghett
10. Lord Protect My Child (6:08) - Bob Dylan
11. Mess Around (3:40) - Nugetre
12. Talking to Mr. Bromberg (3:28) - Ronnie Earl
13. Black Lives Matter (6:23) - Ronnie Earl, Diane Blue
14. Blues for J (6:01) - Jimmy Smith
15. Navajo Blues (3:11) - Peter Ward, Ronnie Earl
UK Music Legends The Pretty Things Announce New Album “Bare As Bone, Bright As Blood” - The Final Recordings Of Phil May and Dick Taylor
Cult British band The Pretty Things have announced their new album “Bare As Bone, Bright As Blood” will be released on 25th September via Madfish Music. Please see below for a comment from the band’s management and the full album press release.
Mark St John, Manager of The Pretty Things:
On May the 15th 2020, Phil May, the lead singer with “The Pretty Things” died…. Despite his well-documented ill-health, his death was unexpected and resulted from a tragic accident and not his embedded health condition. His is a catastrophic loss and has been felt and acknowledged across the world of music and the arts.
At the time of his death, he was hugely excited and enthused about the impending release of the first-ever, all-acoustic “Pretty Things” album, which had been completed before his death.
I wrote the press release below, on the 5th May, just nine days before he died. We have left it unchanged – it remains as relevant to the record - and particularly to Phil and his connection to it, as it was while he was still alive and looking forward to performing these dark songs live and walking a new tightrope of performance…..
They will now never be heard live with Phil’s voice, and maybe never at all, but that does not diminish this remarkable record which will stand as a final tribute to one of the most significant artists of his generation, and beyond.
On December 13th, 2018, following a sold-out show at London’s O2 Indigo, The Pretty Things retired from live, electric performances, after 55 years of touring and recording, due to the ill-health of lead singer, Phil May.
This was not something that the band, or their fans, wanted, but it was unavoidable, given the circumstances. At the time, there was already a new, electric album well underway, but this was shelved as it was clear that the band would never be able to perform any of these recordings. At the time of the retirement, some sort of return, possibly in a stripped-down, acoustic format was not entirely discounted, but it was not expected, due to the health issues, surrounding Phil May and also to the general lack of appetite that the bands’ two principals - Phil May and Dick Taylor - had always shown for acoustic performance as a mainstay for their work.
However, during 2019 there was a significant sea change in attitude within the band and, early in the year, the band, together with manager and producer, Mark St. John, returned to the studio and took the first, tentative steps toward the making of a new album, this time in an entirely acoustic format. The album - now completed and entitled “Bare As Bone, Bright As Blood” – is a genuine first for a band that has been knocking down the walls with their aggressive and memorable, electric live performances for more than 55 years.
This record has little in common with their past work, save that, like so many “Pretty Things” records and projects, it is wholly unique and an absolute first. Arguably, this record is as ground-breaking as the band’s seminal Rock Opera and psychedelic masterpiece – “S. F. Sorrow” – which is acknowledged as rock music’s first Rock Opera. The levels of inspiration, imagination, originality and musicality displayed are at an equivalent high; in many ways, perhaps, because the whole record is a totally exposed, stripped down, acoustic project, principally featuring only the two band members. For them, this was an arduous and unfamiliar task, relying solely on their fundamental talents and undertaken without the support, comfort and benefit of the thundering band that had underpinned their work for so many years.
This is work stripped bare and reflects the frailties and insecurities of gathering age, ill health, painful failure and memorable success. It is a reflection on two long, long lives in art and music that have always been at the cutting edge, and that have always worked as they did at the very start, in their teenage years. “Bare As Bone, Bright As Blood” does not allow for that luxury. This is not a pair of old rockers, still the oldest swingers in town. This is the work of two, old men, who are acting their age, maybe for the first time ever. If their health and energy is depleted, their skill, insight and experience is not, with the result that they have made a remarkable, exciting, unexpected and thought-provoking record, that is, against all the odds, another singular “first” for The Pretty Things.
It was a very sad day when we said an enforced goodbye to the astounding electric band that was The Pretty Things in December 2018. It is a very happy day to see them back, finally as the old men they truly are, and finally comfortable to release the young men that, for such a long, long time, they were. “Bare as Bone, Bright as Blood” – the remarkable and unexpected new album by The Pretty Things, still the tainted, dark royalty, banished from the rock establishment.
“Bare As Bone, Bright As Blood” will be released on CD, gatefold 2xLP on red vinyl and digitally and is available to pre-order now. (https://theprettythings.lnk.to/BareAsBoldBrightAsBlood)
The first singles to be taken from the new album are the double A-side of “The Devil Had A Hold On Me” & “To Build A Wall” and are available to stream now. (https://open.spotify.com/album/57gCumw0Pj2ih9ALzfa8Sc?si=2hoAw1IeTsShEG0BpMoIAw)
LABEL: Vintage League Music
RELEASE DATE: July 17th 2020
COMPOSOSERS: Alan Evans / Stephane Detchou
CATALOG NUMBER: VLM041
Crushed Velvet & the Velveteers is the alter ego of US multi-instrumentalist and producer Alan Evans (Soulive / Ae3) who is back with another taste from his upcoming full-length on Vintage League Music with new single "As Far As We Know feat. Brother GoodLove".
"As Far As We Know" is a soul song dripping with emotion and power on which Evans plays bass, drums and guitar: “I originally wrote the music back in May 2019 with another VLM project in mind, but I knew I wanted to have Stephane (Brother GoodLove) singing on it from the beginning", he states. "The original working title for the song was "Az Far As We Know” as a nod to Aztec Sun. I didn’t realize that Stephane would turn that into such beautiful and powerful lyrics".
Born in Montreal to Cameroonian parents, Brother GoodLove was raised in a multicultural household and community where music featured prominently. Now residing in Washington D.C, he draws from a wide palette of musical traditions, from African-American to African, Caribbean, Latin American and European. His music is an exploration of his identity and sense of self, an expression of his personal views, a reflection on the world around him and a contribution to the future he believes in.
"As Far As We Know feat. Brother GoodLove" is the second single to be released from Crushed Velvet & The Velveteers upcoming album, and follows up from first single "Good Thang feat. Kim Dawson" released in June.
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BROSELLA XXS 06 > 09.08 Covid-19: Brosella XXS verlaagt zijn capaciteit naar 200 festivalgangers per sessie
Naar aanleiding van de nieuwe Covid-19-maatregelen van de federale overheid op 27 juli verlaagt het Brosella XXS-team de capaciteit van zijn publiek per sessie naar 200 personen.
Brosella XXS vindt plaats van 6 tot 9 augustus in het Groentheater in het Ossegempark aan de voet van het Atomium. Er zijn twee muzieksessies per dag, plus een extra show voor kinderen en hun ouders op zaterdag en zondag.
In deze moeilijke situatie doet Brosella zijn uiterste best om het publiek in de best mogelijke omstandigheden te ontvangen. De veiligheid van de festivalgangers, artiesten en medewerkers blijft daarbij de voornaamste prioriteit van het team.
Uiteraard blijven alle andere geldende regels van toepassing op het festivalterrein: afstand bewaren, beschikbaarheid van sanitaire gel, het dragen van maskers, ontsmetten van materiaal, enz., naast de vermindering van het aantal deelnemers besloten door de Nationale Veiligheidsraad.
Tot slot moeten alle deelnemers zich verplicht op naam registreren, via https://brosella2020.tickoweb.be .
Meer info: www.brosella.be
Als gevolg van de beslissing van de Nationale Veiligheidsraad gisteren zal Jazz Middelheim 1.5 niet doorgaan van 13-23 augustus in Park den Brandt. Door de coronamaatregelen zijn alle evenementen in de zone rond de stad Antwerpen immers verboden t.e.m. 31 augustus.
Bertrand Flamang, directeur Jazz Middelheim: “Met goeie moed zagen we deze kleinschalige en coronaproof editie tegemoet, maar de curve evolueerde niet in ons voordeel. Dat de versoepeling wordt teruggeschroefd, is uiteraard de juiste beslissing om de gezondheid en veiligheid van festivalgangers, artiesten, medewerkers en vrijwilligers te blijven garanderen. We houden de moed erin en kijken met vertrouwen naar de editie van september. Derde keer, goede keer?”
Jazz Middelheim 1.5 wordt uitgesteld en verplaatst van 18 tot 27 september 2020. De tickethouders van de Jazz Middelheim 1.5 mogen snel een e-mail met meer info verwachten.
One of my musical heroes has passed away as of July 26, 2020. The GREAT Joseph B. Jefferson, one of most successful R&B songwriters in history has received his wings. Little Joe as he was fondly called was born in Petersburg, Virginia (Moses Malone, Trey Songz) where he studied music and became an excellent drummer. In the 60’s by chance he was recruited by the Manhattans and John Houston (Cissy Houston’s, Husband). Before he made the move to Philadelphia he did a stint in the military and on his return to Petersburg formed a revolutionary group “NAT TURNER’S REBELLION” with Major Harris, William Spratley, and Ron Harper. All of whom went on to become successful R&B performers.
Joe, an aspiring Song Writer, singer and producer, after moving to Philadelphia was taken under the wings of the great Thom Bell, and became a writing partner with Charles Simmons and Bruce Hawes. The three together became one of the greatest song writing teams in R&B History, writing classic Philly International Hits “Brandy”, “The Games People Play”, “Mighty Love”, “One of A Kind Love Affair”, “Sady”, “It takes A Fool To Learn” and many many more... Joe Jefferson will be remembered as one of Virginia’s Greatest Musical Treasures. Rest In Peace Joseph B. Jefferson. A mentor and a Friend.
Thanks to Bill McGee.
Beste sympathisanten, normaal zou er afgelopen week een mooi festival zijn geweest nav de Nationale feestdag maar het covid-19 virus besliste daar anders over. Desondanks willen we er de ‘spirit’ inhouden en willen we er weer volop voor gaan met nieuwe evenementen als het virus verslagen is. De kosten van onze organisatie lopen door en we kunnen wel een steuntje in de rug gebruiken en daarom bieden we iedereen een mooi T-shirt aan om de Turnhoutse rock ’n roll initiatieven te ondersteunen. We hebben 4 verschillende kleuren en diverse maten in een mannen en vrouwen model (S-M-L-XL-XXL) We houden de kostprijs laag op 15€ (excl. Verzending) maar we gaan proberen alle shirts persoonlijk te bezorgen. Bestellen kan via firstname.lastname@example.org (naam + adres + gewenste maat(en), kleur en gewenst aantal.
Dear friends and sympathisers, on July 21, the national Belgian holiday, in normal conditions a nice music festival would have taken place in the city of Turnhout last tuesday. Covid-19 has decided otherwise. Nevertheless we keep our spirits up and want to keep organising new events once this virus is defeated. However the costs of our organisation mount up en we can use the support from each and everyone of you. That's why we have created and offer you this beautiful T-shirt to show your support to the rock ’n' roll initiatives in Turnhout. The T-shirt comes in 4 different colours and various male and female sizes (S-M-L-XL-XXL). We try to keep the shirts as cheap as possible at 15€ (+ shipping) but we'll try to deliver them personally ! Orders : email@example.com (name + address + size wanted + number of shirts wanted and colour) !
Rock & Roll is a tribute to Ingram's mother, the late Princess Pride, and is Ingram's first original song since his
Grammy-nominated debut album, Kingfish
On Friday, July 24, rising star blues guitarist, vocalist and songwriter Christone “Kingfish” Ingram released his emotionally riveting new song, “Rock & Roll.” The track, originally composed by Nashville-based songwriters Sean McConnell and Ashley Ray, and adapted and personalized by Ingram, is a loving tribute to Ingram’s mother, Princess Pride, who passed away in December, 2019. Pride, a single mother, worked countless hours to make certain Christone had every opportunity to learn and to succeed, in music and in life.
“Rock & Roll” is the first original song Kingfish has released since his 2019 Grammy-nominated debut album, Kingfish. He recorded his moving vocals and impassioned guitar solos in Memphis at Willie Mitchell’s famed Royal Studios. The song was produced by Nick Goldston.
After hearing the song, Ingram personalized McConnell’s and Ray’s lyrics, adding the third verse and revising parts of the first two verses and the chorus. According to Ingram, “Rock & Roll is a special song. It’s a track about my relationship with my biggest champion — my mom. The true to life lyrics reflect my mom’s dedication to me as her son. I would not be where I am today without her unwavering love and support. Further, as a musician who is recognized for blues, the chorus is important because it refers to the Robert Johnson ‘selling his soul’ story, and is a direct nod to blues history and its influence on rock & roll.”
She made a deal with the angels and they’ll never let go
So I could sell my soul to Rock and Roll
Songwriter Ray adds, “I’m honored that Christone was able to see his family in the song, and that he was able to add and revise lyrics to reflect his experience with his mom. As young musicians, there are some similarities in our important relationships with our mothers. I am moved that he wanted to record this song. It’s a beautiful tribute to his mom.”
Since the release of his debut album Kingfish, 21-year-old Clarksdale, Mississippi native Ingram has earned hordes of new fans. In addition to his Grammy nomination, he won five 2020 Blues Music Awards, including Album Of The Year, Best Guitarist and Best Emerging Artist. He is currently nominated for three Living Blues Awards and two Blues Blast Awards. Kingfish has been featured in newspapers, magazines, and on radio and television. In addition to headlining his own tours, Ingram has performed with Buddy Guy, Vampire Weekend and Jason Isbell. Kingfish debuted at #1 on the Billboard Blues and Heatseekers charts and has remained on the Blues chart ever since. The song “Fresh Out” was the most played track in 2019 on Sirius/XM’s Bluesville channel. Songs from the album continues to receive regular airplay on radio stations around the world.
‘Good Luck, Seeker’ is released on August 21st via Cooking Vinyl on CD, deluxe CD, standard vinyl, deluxe vinyl and digital formats
The Waterboys follow the recent release of their current upbeat pop single “The Soul Singer”with the gorgeous counterpoint of “Low Down In The Broom.” It is accompanied by a mysterious and atmospheric video that reflects its origins as a traditional Scottish folk song, which in the mercurial hands of Mike Scott has been souped up into something more dramatically visceral.
“It connects with the early Waterboys sound, that emotionally-driven power” he explains, “and though it’s an ancient folk song, there’s no folk in the delivery. It’s feral acoustic rock and roll.”
Both songs, along with the dramatic epic ‘My Wanderings In The Weary Land,’ feature on the forthcoming new studio album Good Luck, Seeker – the remarkable 14th studio album from The Waterboys – which is released on August 21st via Cooking Vinyl.
Good Luck, Seeker draws together many glistening strands of The Waterboys’ weird, wondrous journey. Its 14 songs are populated by unrepentant freaks, soul legends, outlaw film stars and 20th Century mystics, drawing inspiration from The Stones, Kate Bush, Sly and Kendrick as well as Mike Scott’s very own musical past.
Waterboys fans will delight in unravelling threads from the big music of A Pagan Place, the raggle taggle thrum of Fisherman’s Blues, the epic visions of Dream Harder and dark dramas of A Rock In A Weary Land, while new listeners will discover a magical world of joy and wonder from a musical wizard that is without doubt a very fine addition to one of the great canons of contemporary British music
Already being hailed as one of the finest records of the band’s long and storied career, it has led Uncut to declare that by “Gathering together the strands that have occupied him throughout his career, [Scott’s] forged an album of passion, with and spirituality that, like its title, invites us not only to evolve but to revel in our evolution”.
Meanwhile Mojo rave that the album “leaps across stylistic chasms with complete abandon. Celtic soul tunes bounce into indie dance… drum machines and electronic bass groove behind spoken word passages… while ‘The Big Music’ could well have reached its zenith: expansive, driven rock that’s also mystical and prosaic inside a breath.”
Part song diary, part epic spoken word adventure, Good Luck, Seeker is both the final record in a recent triptych of albums and a new departure for the restless sonic magician and his merry band of fellow travelers. It’s an album that is here to lift our spirits, rock our worlds, and perhaps offer listeners some spiritual succour on their own wanderings through the weary land.
Lee Rocker and The Stray Cats have announced a new live album called Rocked This Town: From LA to London, which captures the Rockabilly trio during their 40th-anniversary tour in 2019. The group, which also includes original members Brian Setzer and Slim Jim Phantom, tear through their classic hits as well as songs from their latest release, 40.
“This collection of 23 tracks recorded during the band’s critically acclaimed 40th Anniversary Tour in 2019 combines their unparalleled virtuosity and red-hot rock & roll spirit, all raw and completely live–the way it was played on sweaty stages around the world,” the description reads.
Rocked This Town: From LA to London is available for pre-order now. It will be available on September 11th on CD, vinyl and as a digital download (iTunes and Amazon MP3).
Rocked This Town: From LA to London Track List:
Prog Duo Days Between Stations to Release New Album “GIANTS” Feat. Billy Sherwood, Colin Moulding and Durga McBroom!
Prog duo Days Between Stations (DBS) is releasing their highly anticipated 3rd album titled “GIANTS” which features guest appearances by legendary XTC member Colin Moulding, Billy Sherwood of YES and backing vocalist for Pink Floyd Durga McBroom on Sept. 21, 2020!
Although firmly rooted in the progressive rock genre, the new DBS album “GIANTS” ventures into more rock-oriented material. Says guitarist Sepand Samzadeh, “'GIANTS' really brings the band through areas that we have not ventured before. Our debut album was instrumental, cinematic, atmospheric, experimental and more contemporary in vision and sound. The sophomore album had both elements with a classic prog sound. GIANTS is more aggressive, unabashed and raw. It is designed to sound as us as a 4 piece band. Billy had more creative and producer input and really pushed us to play better, faster, take more chances and recorded us in fluid/ unrepressed state of mind”
Says Sherwood, “I love the creativity of Sepand and Oscar. The new record speaks to that spirit of imagination they both share. I'm honored to be a part of it and explore new musical horizons with them and I'm very proud of the new record we've made... Days Between Stations is a musical force to be reckoned with indeed. I'm very excited for people to hear this new record… We worked very hard to push our own envelopes and try to come up with something very unique and adventurous!”
Founded in 2003 by guitarist Sepand Samzadeh and keyboardist Oscar Fuentes, the duo named themselves after the cult novel by Steve Erickson and have devoted themselves to, as they say, Art Rock and Post Prog - music that reflects their varied influences, as well as shared disregard for stylistic boundaries.
The genesis of Days Between Stations new album “GIANTS” came about when, “My father passed away shortly after we released the last album, 'In Extremis,'” Oscar explains. “He suffered from Alzheimer's. Around that time, I wrote a piece of music and put some words to it. It was called 'Giant' and the visual inspiration for the lyrics came from me picturing a young boy looking up at his father. I clearly remember looking up at my dad as a young kid…literally looking up at him, as he was a tall man, but also for me my father and my mother were like giants, figuratively, and even all those years later there was a sense of 'how can the world keep going on, without them?' They had held up the sky, after all. At least it seems that way, I'm sure, to many young kids all over the world. So the lyric dealt with this young boy sort of dealing with seeing this 'giant' falter: to see him lose his memories, to disease; to see him lose his wife. And to realize that, at some point, the boy is now the same height as the father, the 'giant.'”
Sepand adds, “We left the concept loose enough in order to have some wonderful collaboration again. Oscar and I were excited to approach Paul Whitehead to discuss the conceptual design. Paul took the idea and drew a proof, which was what you see on the final cover design. I remember that I took Paul's proof and made a large copy of it, shortly after, when we began recording - Billy Sherwood, Oscar and I - inspired by Paul's painting, used the paintings images and philosophy and developed songs and lyrics. Once we were done and needed more material, we met with Paul and hoped to inspire him with our sonic development. We would go back and forth several times inspiring one another and until the completion of the music and cover art.”
So what IS Giants?
You can find Greek Mythological figures such as Sisyphus, who inspired the song “Another Day.” Perception plays such a deafening role in our lives, in how we live, how we feel, how we see, think, and react and so on. Sisyphus was condemned for eternity by Zeus. He had to roll a giant boulder up a steep hill and before reaching the top, Zeus would enchant the stone to roll back down. If we look at this philosophically, Sisyphus, has really two options, be miserable for eternity or really enjoy the labor of love of rolling the rock up the hill, then watching it roll back down.
Besides Sisyphus, you can spot Atlas in the upper right corner who was condemned to hold the sky. Yet in the cover art one can see, with an all-knowing seer in the facade, which the sky and horizon is peeling off, all while Atlas is holding the peeled image while he is sinking. This was used as a lyric, also that is how Oscar felt about the demise of his father's image as a Giant and his health sinking him to the ground.
Oscar explains, “I hesitate to explain the 'plot' too much, but I think you could say that a pretty epic story is told here. Between the lyrics and Paul’s artwork and of course what the music conveys, I think a pretty complete picture is painted.”
This time around Billy Sherwood sat in the produce chair, and helped the band write and arrange the songs and lyrics. He even wrote a song for the album titled “The Common Thread.” Sepand recalls, “I love how Billy captured us. Some of our final takes were us rehearsing parts while the tracks were armed or at most when playing a first or second take. It is pure, instinctual and unabashed playing with minimal post production effects. It's raw. I think we have our bearing and confidence now to stand on our legs. I feel now that we know the rules and next round we can break them” Oscar adds, “I would say Billy was a lot more involved with the writing of this album, in general. He really brought a different type of energy to DBS, a more rock and roll energy.”
Sepand continues, “With 'In Extremis' we had the honor of playing with some of our icons, this time we kept it local with one exception, Colin. So Billy, whom we consider the third station, re-joined us. He recorded drums, vocals and bass. Durga McBroom who recorded her vocals on 'Witness the End of the World,' and of course - our cousin across the pond - Colin Moulding can be heard on 'Goes by Gravity.'”
Says Colin Moulding, “I was contacted by Billy Sherwood to sing on this track 'Goes by Gravity.' And because I was given a free reign, I re-wrote the lyrics somewhat to make the track more pointed...I think it turned out good in the end.” Durga adds, “Working on this project has been amazing. From Lebanon to the San Fernando Valley, we mixed our essences together. DBS's magical music, Billy's meticulous production, and my humble vocal offerings make a heady combo. I had a blast!”
In closing Sepand has this to impart, “Currently, we just finished scoring for a short film. We are discussing putting a live video/audio album together and performing in 2021. Live shows are now being discussed. Lastly, I am very excited to begin work on the fourth album, as well as a side project with Billy Sherwood.
Watch the promotional video
For more information: http://daysbetweenstations.com
De Britse gitarist Peter Green, vooral bekend als een van de oprichters van Fleetwood Mac, is op 73-jarige leeftijd “vreedzaam in zijn slaap” overleden. Dat hebben zijn advocaten bekendgemaakt.“Het is met grote droefheid dat de familie van Peter Green laat weten dat hij dit weekend is overleden, vreedzaam in zijn slaap”, klink het in de mededeling. “Een uitgebreidere mededeling zal de komende dagen komen.”
De Londense gitarist richtte in 1967 de groep Fleetwood Mac op, samen met drummer Mick Fleetwood. Hij was onder meer verantwoordelijk voor de nummers ‘Albatross’ en ‘Black Magic Woman’. Maar drie jaar later verliet Peter de band, omdat hij worstelde met z’n mentale gezondheid en een drugsverslaving. Halverwege de jaren zeventig kreeg hij de diagnose schizofrenie. Hij bracht heel wat tijd door in ziekenhuizen waar hij elektroshocktherapie kreeg. Door z’n ziekte verdween hij ook een tijdje van het toneel.
Pas in 1979 dook hij terug op. Met solowerk, maar hij werkte ook mee aan nummers van andere muzikanten, waaronder het solo-album van Mick Fleetwood. Eind jaren 1990 richtte hij de Peter Green Splinter Group op. Tussen 1997 en 2004 bracht de groep negen albums uit.
In 1998 was hij een van de acht leden van Fleetwood Mac die opgenomen werden in de Rock & Roll Hall of Fame, samen met Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, John McVie, Christine McVie, Danny Kirwan en Jeremy Spencer.
Jazz Middelheim 1.5
XS capaciteit, XL veiligheid
13 – 23 augustus
Park Den Brandt, Antwerpen
Jef Neve & Teus Nobel, Tutu Puoane, Mâäk Quintet, Tuur Florizoone,
Joachim Badenhorst, Simon Segers, Karen Willems & Frederik Croene,
Bloednoot (Teun Verbruggen, Nicolas Rombouts & Tom Lanoye)
& veel meer
Jazz is naar ‘t schijnt sowieso al niet normaal, dus mag het in tijden van COVID-19 niemand verbazen dat Jazz Middelheim in Park Den Brandt uitpakt met een abnormale festivaleditie: kleiner, zittend, in bubbels met tafelbediening en met verplicht gebruik van mondmaskers bij verplaatsing op het terrein. En dat allemaal in openlucht – veiliger wordt het niet – en op minstens anderhalve meter afstand van elkaar. Kortom: alle coronaregels zullen strikt worden toegepast en opgevolgd om ervoor te zorgen dat Jazz Middelheim 1.5 in een even verantwoorde als ontspannen manier kan verlopen.
Ja, voor één keer gaan we netjes binnen de lijnen kleuren. Althans, vóór het podium. Want op het podium tekenen we, zoals elk jaar, voor een dwars, avontuurlijk en vanzelfsprekend toonaangevend jazzprogramma. Met onder meer een dag die volledig is opgebouwd rond solo’s, maar ook met enkele opvallende samenwerkingen. Zoals met Bibliotheek Permeke en de lezerscommunity Antwerpen Leest, bijvoorbeeld, die in Park Den Brandt neerstrijken met een uitmuntende selectie muziekboeken en romans. Jazz Middelheim-bezoekers zullen die voor een dag kunnen ontlenen en er tussen de optredens door in verdwalen óf – dat kan ook – ze brengen zelf een boeiend exemplaar mee uit hun propvolle kast om die in te ruilen voor een ander.
Maar het hoofdingrediënt van donderdag 13 tot zondag 23 augustus – elf dagen lang, dus! – is uiteraard een leger spraakmakende jazzmuzikanten, die ook dit jaar voor een zomerse en vooral onvervalste festivalsfeer zullen zorgen. Op de affiche: het kruim van de Belgische jazzscene! Al zit er – toegegeven – met Tutu Puoane ook een Zuid-Afrikaans jazzicoon tussen. Maar die woont al een tijdje in Antwerpen, dus geen zorgen: ze geraakt er!
Ook bijzonder is de samenwerking met Sound in Motion, de organisatie achter onder meer Summer Bummer Festival en de gedurfde concertenreeks Oorstof, waarin jong, divers talent wordt gekoppeld aan grotere namen. Op zondag 23 augustus slaan we de, euh, ellebogen in elkaar voor een programma vol eigengereide vrouwelijke muzikanten, en daarnaast ook een onvermijdelijk legendarische passage van Bloednoot, het improv-trio van jazzdrummer Teun Verbruggen, contrabassist Nicolas Rombouts en literair kanon Tom Lanoye.
Voor de duidelijkheid: de capaciteit van de elf festivaldagen is beperkt, maar dat geldt niet voor wat er zich op het uit de kluiten gewassen podium afspeelt. Alle acts zullen wel degelijk een volwaardige festivalset spelen, en we doen er sowieso alles aan om onze bezoekers ook deze zomer verschillende memorabele avonden te bezorgen in het meest feeërieke festivalpark van het land.
Meer nog: we serveren dit jaar ook vier keer een jazzbrunch in datzelfde fantastische kader. In samenwerking met VONK & Zonen, om precies te zijn. Het literair productiehuis zal er de bezoekers, naast een waaier aan culinaire geneugten, een bijzondere mix voorschotelen van muzikanten, dj’s en literaire performers. “Ik wist niet dat dit ook poëzie was?”, hoor je al eens vallen op een voorstelling van VONK & Zonen, zoals “Oh, is dit ook jazz?” wel eens wordt gehoord op Jazz Middelheim. Breng onze twee organisaties samen, en dat kan niet anders dan effectief vonken geven!
Uiteraard worden op Jazz Middelheim 1.5 ook de banden met het Koninklijk Conservatorium Antwerpen weer aangehaald – verschillende studenten zullen op het festival aantreden – en zal Klara naar goede gewoonte verschillende concerten opnemen. Omwille van de uitzonderlijke omstandigheden van deze editie zullen de concerten echter pas na de zomer te horen zijn op de radio – niet op de dag zelf.
Tot slot geniet Jazz Middelheim 1.5 de volle steun van de stad Antwerpen. “Vanuit de stad kunnen we in deze tijden alleen maar mensen zoveel mogelijk motiveren om voor dergelijke goed georganiseerde outdoor events te kiezen als uitstap”, zegt cultuurschepen Nabilla Ait Daoud. “Zo krijgen ook veel muzikanten de kans om in 2020 toch nog live te spelen. Jazz Middelheim is altijd al het kloppend hart van de Belgische en Antwerpse jazzscene geweest, en in deze voor de sector extra harde tijden stel ik graag vast dat de focus op gevestigde waarden en talent van eigen bodem nog zo groot is. Het onderstreept ook meteen dubbel zo hard de rijkheid van onze eigen jazzscene.”
“Het is, zoals alles dit jaar, niet wat we gewoon zijn,” besluit de schepen, “maar Jazz Middelheim en de stad maken daar op Jazz Middelheim 1.5 samen een artistieke troef van.” Lees hier de volledige quote van Stad Antwerpen
Het volledig programma staat op jazzmiddelheim.be – gelijk ook het enige adres voor de ticketverkoop. Tickets voor het avondluik kosten 24 tot 29 euro per persoon en moeten per bubbel worden gekocht.
Naast mondmaskers, zullen festivalgangers aan tafel drankjes kunnen bestellen. Om de honger te stillen, zorgen we ’s avonds eveneens voor verschillende foodtrucks. Ook hier vanzelfsprekend strikt volgens de coronaregels én met tafelbediening.
De Belgische modeontwerper Jan-Jan Van Essche ontwierp voor het festival een exclusieve reeks mondmaskers die binnenkort in beperkte oplage zal worden verkocht door Jazz Middelheim – zowel online als tijdens het festival. Mondmaskers zijn ontegensprekelijk de sleutel naar meer bewegingsvrijheid gebleken en staan zo symbool voor nieuwe mogelijkheden en kansen. Deze bijzondere mondmaskers beschermen bovendien niet enkel jou en je omgeving, ze helpen ook de internationale jazzscene overleven.
Donderdag 13 augustus
- Jef Neve & Teus Nobel
- Tutu Puoane
Vrijdag 14 augustus
- (namen worden later bekendgemaakt)
Zaterdag 15 augustus
- Mâäk Quintet
- (tweede en derde naam worden later bekendgemaakt)
- Seckou & Guests
- DJ Jan Ducheyne
Zondag 16 augustus
- Tuur Florizoone (solo)
- Joachim Badenhorst (solo)
- Simon Segers (solo)
- (vierde en vijfde naam worden later bekendgemaakt)
- Andy Fierens (solo)
- Twolips (Cayo Scheyven & Matthieu Ha)
- DJ Jan Ducheyne
Maandag 17 augustus
- (namen worden later bekendgemaakt)
Dinsdag 18 augustus
- (namen worden later bekendgemaakt)
Woensdag 19 augustus
- (namen worden later bekendgemaakt)
Donderdag 20 augustus
- (namen worden later bekendgemaakt)
Vrijdag 21 augustus
- (namen worden later bekendgemaakt)
Zaterdag 22 augustus
- (namen worden later bekendgemaakt)
- Alex Deforce
- PJ Vervondel x Prisca Agnes Nishimwe
- DJ Jan Ducheyne
Zondag 23 augustus
- Karen Willems & Frederik Croene
- Mudskipper (Hanne De Backer, Signe Emmeluth, Terrie Ex, Paal Nilssen-Love)
- Going (Pak Yan Lau, Giovanni Di Domenico, João Lobo, Mathieu Calleja)
- Noodzakelijk Kwaad (Jan Ducheyne ,Teuk Henri, Frank Pay, Jef Mercelis)
- Steve Slingeneyer
- MC Stijn Vranken
Brosella Festival krijgt dit jaar een XXS-editie: in plaats van twee volledige dagen muziek in juli worden de bands gespreid over vier dagen, van 6 tot en met 9 augustus. De locatie is nog altijd het Groentheater, aan de voet van het Atomium. Het festival is gratis, maar een reservatie is verplicht. Er kunnen tot 400 mensen tegelijk binnen in het Groentheater. Dat alles heeft natuurlijk te maken met het coronavirus.
De voorbije jaren wijdde het festival één dag aan folk en één dag aan jazz. Dit jaar wordt er op de eerste twee festivaldagen folk geprogrammeerd, en op de twee laatste jazz. Elke dag zijn er twee keer twee concerten gepland. Voor de eerste sessie gaan de deuren open om 15 uur, en de concerten lopen van 16 tot 18 uur. Vanaf 19 uur openen de deuren voor de tweede sessie, en de concerten duren van 20 tot 22 uur. Elke sessie kan dus tot maximaal 400 mensen gevolgd worden.
Op de twee jazzdagen, 8 en 9 augstus, is er een extra concert, van 12.30 tot 14 uur. Dat extra concert mikt vooral op de jongsten.
Onder meer het Brussels Balkan Orchestra XS, pianist Bram De Looze, Aurélie Dorzée, Naima Joris en Aka Moon zullen begin augustus in het Groentheater te zien zijn.
Brosella wordt georganiseerd door de stad Brussel, met steun van het Brussels Hoofdstedelijk Gewest, de Vlaamse Gemeenschap en de Fédération Wallonie-Bruxelles.
Line-upVoor Brosella XXS gaan voor een rijk geschakeerd Belgisch jazzaanbod:
Bekijk zeker de volledige line-up op onze ‘artiesten‘-pagina.
16h – 16h50 : Vardan Hovanissian & Emre Gültekin
17h10 – 18 h : Brussels Balkan Orchestra XS
20h – 20h50 : Vardan Hovanissian & Emre Gültekin
21h10 – 22h : Brussels Balkan Orchestra XS
16h – 16h 50 : Aurélie Dorzée & Tom Theuns
17h10 – 18h : Super Rumba
20h – 20h50 : Aurélie Dorzée & Tom Theuns
21h10 – 22h : Super Rumba
13h – 14h : Blue mocking birds
16h – 16h 50 : 3’AIN
17h10 – 18h : Naima Joris
20h – 20h50 : 3’AIN
21h10 – 22h :Naima Joris
13h – 14h : Blue mocking birds
16h – 16h50 : Bram De Looze
17h10 – 18h : Pauline Leblond trio
20h-20h35: Bram De Looze
20h45 – 22h : AKA MOON
Charlie Musselwhite, Alvin Youngblood Hart, Jimbo Mathus, the Late Jim Dickinson, Luther Dickinson and Cody Dickinson Are the "New Moon Jelly Roll Freedom Rockers"
Volume 1 from Roots Super Group Set for Release September 4 on Stony Plain Records
Stony Plain Records announces a September 4 release date for the first volume of music from roots “super group,” New Moon Jelly Roll Freedom Rockers: Charlie Musselwhite, Alvin Youngblood Hart, Jimbo Mathus, the late Jim Dickinson, and North Mississippi Allstars members Luther Dickinson and Cody Dickinson. Recorded at the Zebra Ranch Recording Studio in Coldwater, Mississippi, the 10 blues-drenched tracks of sublime roots music on New Moon Jelly Roll Freedom Rockers Volume 1 will be followed in the spring of 2021 by Volume 2. Pre-order the album here: https://stonyplainrecords.com/lp/newmoonjellyrollfreedomrockersvol1/
The New Moon Jelly Roll Freedom Rockers originated back in November, 2007, when musician brothers Luther and Cody Dickinson sat down for a guitar jam with ex-Squirrel Nut Zippers leader Jimbo Mathus, along with blues greats Charlie Musselwhite, Alvin Youngblood Hart and the late Memphis pianist, producer and all around musical stylist Jim Dickinson, gathered for a roots music extravaganza recording under the group name of the New Moon Jelly Roll Freedom Rockers.
For more than 12 years, that recording’s existence was mentioned only obscurely in interviews, and referenced as a great old-school recording by those few witnesses. It was done “old school” style live off-the- floor over several days, where the musicians all sat in one big circle in the studio and played quietly amongst the microphones, taking turns singing out in the room and improvising on the spot. Since Jim Dickinson’s passing in the summer of 2009, the album just hung out in the archives, waiting. When Stony Plain founder Holger Petersen heard about the sessions this year and expressed his enthusiasm to release it, Luther Dickinson and his partner/engineer Kevin Houston finished the production of the album It is a testament to the great experience and talent of these esteemed performers that they could casually conjure a recording of this quality out of the ether this way, sounding as if the listener is right there in the room with them, with between-song banter and commentary, the classic structures of the blues, being pulled together and teased apart by some of the most award-decorated members of the blues elite. This album crosses the generations of new blues-rockers and classic blues statesmen.
“The New Moon Jelly Roll Freedom Rockers album was conceived in the back of a tour bus,” Luther Dickinson recalls. “Mavis Staples and Charlie Musselwhite had hit the road together, with the North Mississippi Allstars as the house band. The tour forged lifelong friendships and collaborations; it changed our lives in so many ways.
“The package tour was classic showbiz. We’d all been snookered; the tour bus wasn’t what we’d imagined. Instead of rock ‘n’ roll luxury, we found ourselves in hard-cushioned, straight-back retirement home mass transport. The stationary armrests made sleeping futile—so Charlie and I passed the miles shooting the breeze. Charlie made a list of great recordings I should check out, which became a catalyst for our recording session.
“The name of our recording project was born in the back of that ramshackle bus. We had a concept before we had a record. As I explained Alvin Youngblood Hart’s mission to live life as a ‘Freedom Rocker,’ Charlie pointed out the window: there was a new moon that evening. Suddenly, ‘New Moon Freedom Rockers’ materialized. (Dad added ‘Jellyroll’ after the recording session.).
“The Dickinson crew doesn’t enjoy parties, but we dig recording sessions and we love hustling up new recording projects. The New Moon Jelly Roll Freedom Rockers project was one of our ‘potluck’ recording session albums. For potlucks, we invite a cast of characters to the session/party, and ask each player to bring a couple of songs. Musicians take turns leading and accompanying, and before you know it, a record materializes. Dad said misery sticks to the tape. With that in mind, we always strive to have fun in the studio. Making collaborative records with new and old friends is a blast. The NMJRFR session was a love fest. We enjoy music as an artifact of friendship, a by-product of the hang.
“The cast of characters for Charlie Musselwhite’s Mississippi Hill Country homecoming recording session was perfect. We spent the first day recording the live set Charlie had taught the NMA. Then Alvin Youngblood Hart, Jimbo Mathus, and Dad joined the party—each took turns leading us through their pot-luck recording party recipes. The table was set, the feast began, and the session became a festival. The homemade, self-produced recording changed our lives.”
Each of the players in the band has impressive individual resumes, but together they add up to a whole greater than the sum of its parts.
Charlie Musselwhite is a living blues treasure: a Grammy winner, multiple Blues Music Award winner and Memphis Music Hall of Fame inductee. The recording sessions for NMJRFR enabled him to return to his roots. Having spent his childhood in the Mississippi Delta, he then moved to Memphis during the teenage heaven of the rock ‘n’ roll 1950s. In the late ‘50s, Charlie left his mother’s home and moved to Chicago looking for a job, only to find Maxwell Street, Chess Records, and a community of musicians who changed the world forever. In the psychedelic ‘60s he wound up in San Francisco, a “stranger in a strange land,” which he details in one of his featured performances on New Moon Jelly Roll Freedom Rockers Volume 1.
Alvin Youngblood Hart is a Grammy-winning musician who was born in Oakland, California, and spent some time in Carroll County, Mississippi, where he was influenced by the Mississippi country blues performed by his relatives. Hart is known as one of the world's foremost practitioners of country blues. His debut album, Big Mama's Door, came out in 1996. In 2003, Hart's album, Down in the Alley, was nominated for a Grammy Award for Best Traditional Blues Album, and in 2005, he received a Grammy for his contribution to Beautiful Dreamer – The Songs of Stephen Foster.
Hart performed in the 2003 Wim Wenders film, The Soul of a Man, which was featured in Martin Scorsese's PBS-TV series, The Blues. Hart was also featured in the documentary, Last of the Mississippi Jukes. In 2010, he teamed up with friends Jimbo Mathus and Luther Dickinson to form the South Memphis String Band. Their first album, Home Sweet Home, was nominated for Best Acoustic Album at the 2011 Blues Foundation Music Awards. The group released a second album, Old Times There, in early 2012.
One of Hart’s featured performance highlights on New Moon Jelly Roll Freedom Rockers Volume 1 is a bluesy work-up of Jimi Hendrix’s “Stone Free.”
Besides his previous work with Alvin Youngblood Hart and Luther Dickinson in the South Memphis String Band, Jimbo Mathus was a founder and leader of the roots-bending Squirrel Nut Zippers, a band formed in 1993 in Chapel Hill, North Carolina, whose music was a fusion of Delta blues, gypsy jazz, 1930s–era swing, klezmer, and other styles. They found commercial success during the swing revival of the late 1990s with their 1996 single "Hell." After a hiatus of several years, the original band members got together in 2007 and toured in the U.S. and Canada.
In 2016, The Squirrel Zippers reunited with a new lineup to tour in support of the 20th anniversary of their highest-selling album, Hot. In addition to his work with the Squirrel Nut Zippers, Jimbo Mathus has recorded and produced a number of lauded solo records.
Jim Dickinson was a Memphis music legend for decades, performing solo as well as with a host of iconic international artists and local “Bluff City” musicians. In the 1950s, he recorded for the iconic Sun Records label in Memphis and later played on sessions at Chips Moman’s American Sound Studios. By 1966, Dickinson was a record producer at Ardent Studios working with numerous cutting-edge bands.
In the late 1960s, Dickinson joined with fellow Memphis musicians to form the Dixie Flyers, who backed a variety of performers, including Hank Ballard, James Carr and Albert Collins. In 1970, the group began to back many of Atlantic Records’ stable of soul acts under the guidance of famed producer Jerry Wexler. Then based at Criteria Studios in Miami, they recorded on Aretha Franklin’s 1970 hit, “Spirit in the Dark,” and contributed to recordings by Delaney and Bonnie, Jerry Jeff Walker, Ronnie Hawkins, Sam and Dave, Dion, Brook Benton, Lulu, Sam the Sham and Esther Phillips.
Dickinson left the group to pursue a solo career in 1971 and released his first solo album, Dixie Fried, on Atlantic in 1972. In addition to the Carl Perkins title song, the album featured songs by Bob Dylan and Furry Lewis.
In the 1970s, he became known as a producer, recording Big Star’s Third album in 1974, and serving as co-producer with Alex Chilton on Chilton’s 1979 album, Like Flies on Sherbert. He produced recordings for performers as diverse as Willy DeVille, Green on Red, Mojo Nixon, The Replacements, Toots and the Maytals and Screamin’ Jay Hawkins.
As a session musician, he played piano with The Rolling Stones on “Wild Horses” for their historic 1970 Sticky Fingers album, recorded at Muscle Shoals Sound Studio; and through the rest of the century played on nearly a dozen records with Ry Cooder, as well as on Bob Dylan’s 1997 album, Time Out of Mind.
With the North Mississippi Allstars, Jim Dickinson’s sons Luther and Cody have proven that the apple doesn’t fall far from the tree, as they’ve embraced all manner of roots music in recording their own albums, as well as in collaborations with like-minded musicians who embrace the spirit of musical discovery and the sheer enjoyment of playing.
The Allstars' first release, Shake Hands with Shorty, was nominated for a Grammy Award for Best Contemporary Blues Album. Since then, 51 Phantom and Electric Blue Watermelon have received nominations in the same category. The group also won a Blues Music Award for Best New Artist Debut in 2001. Luther Dickinson also has received three Grammy nominations in the Traditional Folk category as a solo artist.
The band has backed and toured with John Hiatt and released an album with him, Master of Disaster, and later teamed up with Robert Randolph and John Medeski to form the Word.
In November 2007, Luther Dickinson joined the Black Crowes as lead guitarist and appeared on their albums Warpaint (2008), Before the Frost...Until the Freeze (2009) and Croweologzy (2010).). Cody Dickinson also started a side project, Hill Country Revue, which released two albums, Make a Move (2009) and Zebra Ranch (2010).
Besides their touring with Mavis Staples and Charlie Mussewhite, the Allstars also opened for Robert Plant and the Band of Joy on their concert tour in 2011 and the Dave Matthews Band in the spring of 2013.
Other North Mississippi Allstars album releases include World Boogie Is Coming in 2013, Freedom & Dreams in 2015, Prayer for Peace in 2017 (which reached number one on the Billboard blues album chart) and most recently Up and Rolling in 2020.
New Moon Jelly Roll Freedom Rockers Volume 1 Track Listing
1. Blues Why You Worry Me (featuring Charlie Musselwhite)
2. Pony Blues (featuring Alvin Youngblood Hart)
3. Night Time (featuring Jimbo Mathus)
4. Come on Down to My House (featuring Jim Dickinson)
5. K.C. Moan (featuring Charlie Musselwhite)
6. Let’s Work Together (featuring Jim Dickinson)
7. Shake It and Break It (featuring Jimbo Mathus)
8. Stone Free (featuring Alvin Youngblood Hart)
9. Stop and Listen Blues (featuring Alvin Youngblood Hart)
10. Strange Land (featuring Charlie Musselwhite)
TOUCH & GO, the newest release by SUSAN TOBOCMAN, is a showcase for the admired vocalist’s considerable talents as a composer, lyricist, and arranger. The album is a collection of Tobocman’s original compositions, well-known standards, and tunes off-the-beaten jazz track. This is Tobocman’s fourth CD as a leader. With her warm and flexible voice and unique interpretation of songs, Tobocman has been making a name for herself for the last twenty years with audiences and musicians alike on both the New York City and Detroit jazz scenes, performing and collaborating with some of the top jazz musicians around. TOUCH & GO is not the typical release from a jazz singer. Five of the album’s 12 tunes were written by Tobocman. Highlighting her flair for composing, she includes two instrumental numbers, including “Leaves of Absence,” which has a straight-8th Latin feel, and the uptempo title track, “Touch & Go.” A multi-faceted artist, Tobocman is also superb arranger who turns well-known songs into personal statements. TOUCH & GO is the manifestation of Susan Tobocman’s endlessly creative mind and talents.
WATCH – New Videos from “TOUCH & GO”:
"The Man I Love"
SUSAN TOBOCMAN voice
JOEL FRAHM tenor & soprano sax
DAVE EGGAR cello
PETE McCANN acoustic & electric guitar
HENRY HEY piano & Fender Rhodes
MATT PAVOLKA acoustic & electric bass
MICHAEL SARIN drums
produced by SUSAN TOBOCMAN & PETE McCANN
arrangements by SUSAN TOBOCMAN except “What’ll I Do” & “Help!” co-arranged by David Tobocman
1. What’ll I do 6:11
2. Wichita Lineman 5:11
3. The Man I Love 5:03
4. Make Believe 4:32
5. Leaves of Absence 5:44
6. Help! 4:25
7. I Could Get Used to This 4:34
8. The Way to You 5:05
9. Touch & Go 4:14
10. Where Is Love? 3:27
11. You Only Live Twice 5:58
12. Help! (Alternate take) 4:26
Tijdens de traditionele Lokerse Feesten week zenden we 6 dagen lang een radioshow uit met livesessies, straffe verhalen en DJ-sessies.
Lokerse Feesten On Air
2020 is een zomer zonder grote festivals. Dus ook zonder het fijne Lokerse Feesten publiek op de Grote Kaai. Maar dan brengen we Lokerse Feesten toch gewoon tot bij hen thuis, in hun eigen bubbel? Dat is het opzet van Lokerse Feesten On Air: 6 radioshows live te beluisteren EN te bekijken op www.lokersefeesten.be.
Met Lokerse Feesten On Air kan je op een veilige manier vanuit je luie zetel, bubbel-BBQ of festivaltentje in je tuin genieten van de unieke Lokerse Feesten sfeer. Tijdens de traditionele Lokerse Feesten week zenden we 6 dagen lang van 19u-22u een radioshow uit met gastvrouwen en –heer Jolien Roets, Sofie Engelen en Stijn Van de Voorde. Trouw aan de echte Lokerse Feesten vibe staat elke dag in het thema van een ander muziekgenre:
31/07: Punk (host: Stijn Van de Voorde)
01/08: Nederlandstalig (host: Jolien Roets)
02/08: Play Local (host: Jolien Roets)
07/08: Metal (host: Sofie Engelen)
08/08: Dance (host: Jolien Roets)
09/08: Legends (host: Jolien Roets)
Wat kan je verwachten? Elke dag brengen we je de fijnste Lokerse Feesten muziek in dat thema, met hier en daar een live opname van een vorige editie. Maar er is uiteraard meer: onze hosts krijgen bezoek van bekende gasten, we verklappen je enkele straffe Lokerse Feesten verhalen, trakteren je op tickets voor de volgende Lokerse Feesten editie en streamen een reeks livesessies van enkele van onze gasten tot bij jou thuis. Het laatste uur sluiten we af met een DJ-set. We doen dit telkens vanuit onze Lokerse Feesten caravan. Als je in het Waasland woont bestaat de kans dat je deze caravan zelfs ergens tegenkomt.
Voorlopig houden we de details van wie er precies komt nog even geheim. Wil je het als eerste weten? Hou onze social media pagina’s (https://www.facebook.com/LokerseFeesten/) goed in het oog. Af en toe lichten we daar een tipje van de sluier of krijg je de kans om tickets voor volgende editie te winnen.
Klaar voor Lokerse Feesten On Air? Surf op één van bovenstaande dagen tussen 19u en 22u naar www.lokersefeesten.be. Daar kan je alle actie vanuit onze caravan bekijken en beluisteren. Tot dan!
Annie Ross, the British singer who became globally famous with jazz vocal trio Lambert, Hendricks & Ross and had a varied acting career, has died aged 89 at her home in New York City.
Her death was due to emphysema and heart disease, confirmed her manager, Jim Coleman.
Ross was born Annabel Short in 1930 to Scottish vaudeville artists John and Mary Short, with the family emigrating to New York when Ross was four. She went to live with her musical-theatre star aunt, Ella Logan, and quickly earned childhood acting roles, including an appearance alongside Judy Garland in 1943’s Presenting Lily Mars. “They used to call me the Scottish Shirley Temple,” she later recalled.
After a spell back in Europe, she settled in New York where she began recording songs both solo and as a trio with Dave Lambert and Jon Hendricks. She was a proponent of vocalese, a singing style where the vocal line is matched to the melody of a jazz improvisation. A key example is their 1959 album Sing Along With Basie, a collaboration with Count Basie’s jazz orchestra, later awarded a hall of fame Grammy award in 1998. The trio recorded seven albums, including 1962’s The Real Ambassadors in collaboration with Louis Armstrong and Dave Brubeck.
Ross’s solo vocalese song Twisted was a hit in 1952, and was covered by Joni Mitchell for her album Court and Spark, as well as by Bette Midler. She also collaborated with trumpeter-vocalist Chet Baker and others.
She left the trio and New York to beat a heroin addiction, saying: “I kind of knew that if I came back to America I might die.” She opened a nightclub in London, where Nina Simone was among the performers, and returned to acting after declaring bankruptcy. As well as roles in Superman III, Throw Momma from the Train and the Alfie sequel Alfie Darling, she also provided the speaking voice for Britt Ekland in The Wicker Man. She also continued singing in theatres and nightclubs.
Robert Altman cast her in his acclaimed 1993 film Short Cuts, saying: “I heard her sing at my house a lot after dinner, and I became infatuated with her passion for her music. She hears a whole band inside her head.” He also cast her in The Player the previous year.
In 1949, as her career was taking off, she had an affair with jazz drummer Kenny Clarke, and gave birth to a son who was cared for by Clarke’s family. She also had a brief relationship with comedian Lenny Bruce – she said Bruce “would write ‘I love you’ on an airplane sick bag and mail it to me”. She married actor Sean Lynch in 1963, with the pair divorcing in 1975.
On the heels of their celebrated 2019 studio album Don’t Panic, IZZ is set to release a 20-minute EP entitled Half Life featuring four tracks including three new studio songs as well as a previously unreleased live version of “The Wait of It All,” a track originally featured on their 2004 EP, Ampersand Volume 1.
Half Life will be available beginning on July 28 via download on Bandcamp: izzmusic.bandcamp.com. A limited vinyl pressing and a limited run of Half Life on CD will also be available for purchase directly from the band and their label, Doone Records, via their website: izzmusic.com.
“The title track of this EP was actually written several years ago, but when we listened to it again recently, it took on new meaning given the uncertainty in the world today and it became obvious to us that we needed to finish mixing it and get it out into the world,” says bassist John Galgano.
Lyrically and thematically, the three new studio songs cover a wide range from the joy and mystery of “The Soul of Music” to the heartfelt contentment of “Into the Sun” to the escapism and wonder of the title track “Half Life.” Musically, the EP shows a different side to IZZ which the band is keen to present to their fans.
“We’re a band that never likes to do the same thing twice. We want to keep things interesting not only for our fans, but for ourselves,” says keyboardist and producer Tom Galgano.
“This EP comes at an interesting time for the band and for the world because we have been using our time at home these past few months to take a deep dive into writing our next proper studio album which we plan on releasing in 2021 and this EP kind of snuck its way into our consciousness, so we decided to go with it and follow the muse,” says drummer Brian Coralian.
Watch the music video premiere for Half Life on PROG Magazine's website, Produced, Directed, and Filmed by Mallory Kinney, who also worked with IZZ on the video for Don’t Panic: https://www.loudersound.com/news/us-proggers-izz-release-video-for-half-life
Paul Bremner: Guitars
Anmarie Byrnes: Vocals
Brian Coralian: Drums & Percussion
Greg DiMiceli: Drums & Percussion
John Galgano: Bass & Vocals
Tom Galgano: Keyboards & Vocals
Laura Meade: Vocals
For more information:
Post-Punk Rising Stars CRYING VESSEL Release New Video & Single From Their Forthcoming Album PLEASURES FOR THE WICKED!
One of the most exciting and creative acts on the gothic/post-punk scene, Crying Vessel, bravely gaze into “The Abyss” with the release of their new single from their sophomore album, Pleasures For The Wicked. “The Abyss” showcases the melodic and dark romantic side of the new album, the band’s first for their new label, L.A.-based Cleopatra Records, which will release the album August 14 on CD as well as digital. The band has also shot a haunting video for the track (produced by drummer Basil) which finds CV songwriter and vocalist, Slade, along with Basil, transported to another universe after finding ancient relics hidden deep on a forest path. Though the video concept is meant to be a tongue-in-cheek homage to ‘80s sci-fi, the music is serious enough to hold its ground.
Watch the video here: https://youtu.be/6iN22yYB7oY
Pleasures For The Wicked is concept album built around being stuck between life and death, in a dark home of secrets and regrets. The songs are sometimes seamless and tie into one another to tell a story. In the cover image, each element has its purpose, embracing symbolism like paintings of the renaissance era. The female's ghost plays multiple roles, as a strong reflection of the past and also as the ghost of Lilith. She is there to take them away. Each song title is a part of the story, which can be heard in its entirety as a bonus hidden track on the CD only. It can also be read on the inside of the CD sleeve while listening. The album took 2 years to create and is the first time that Slade and Basil worked together directly playing their instrument roles in the songwriting.
2. For God's Sake
3. The Abyss
5. Breaking The Spell
6. Calling of the Siren
7. Buried Alive
8. I Swear I Saw You Smile
9. Lonely Memories
10. Web of Guilt
11. Timid Moonlight
12. The Burning
13. Black Wedding
14. The Third Covenant
15. The Departed
16. Hidden Track [CD ONLY]: Impious
Out of the extraordinary circumstances of Covid19 that kept him in lockdown at his home in Spain for three months, renowned guitar player Steve (the Deacon) Hunter came up with an idea to pick half a dozen classic songs and give them a whole new coat of paint.
Steve used skills learned over the last 45 years in recording studios around the World, working with artists like Peter Gabriel, Lou Reed, Alice Cooper and Tracy Chapman, to come up with these musical gems.
A cocktail of influences and styles, glued together by his outstanding gifts as a musician, arranger and Producer. Steve’s old compadre, bass player Tony Levin, stepped in as a special guest and added a bottom end to die for. So, along with Steve’s wife Karen Hunter’s smokey vocals, he had a recipe for six tracks of delicious ear candy.
Between them they have conjured up a little slice of Blue/Jazz Heaven that Steve calls his “Cafe la Rouge” Project.
1) “Centerpiece” (written by written by Harry Edison and Jon Hendricks, was covered by Joni Mitchel on her album “The Hissing Of Summer Lawns”)
2) “Spooky” (written by Mike Sharp and Harry Middlebrooks Jr. Recorded by Classics 1V and Atlanta Rhythm Section, it has been covered by many but most notably Dusty Springfield)
3) “Beginning to See the Light” (written by Duke Ellington, Don George, Johnny Hodges and Harry James)
4) “And I Love Her” (written by Lennon and McCartney)
5) “Majesty of Life” (written by Phoebe Snow)
6) “S'Wonderful” (written by George and Ira Gershwin)
For more information: http://www.stevehunter.com/
Eddie Gale, the free jazz trumpeter with two celebrated albums on the Blue Note label, has died aged 78. His wife confirmed to the New York Times that he died at his home in California on 10 July, from prostate cancer.
Born in Brooklyn in 1941, Gale’s music career started when he played bugle for his cub scout brigade. He grew up surrounded by jazz. “People like Jackie McLean, Max Roach, Sonny Rollins, Cecil Payne and Randy Weston were in the neighborhood. Bud Powell lived around the corner from me,” he told Jazz Times. “I will never forget hearing Lester Young wailing from outside of the Club Continental on Ocean Avenue, not far from where I lived.”
He was taught trumpet by bebop star Kenny Dorham, and was mentored by and played with John Coltrane, who Gale described as “an uncle or father figure to me”.
He was signed to Blue Note, where he released two albums as bandleader: Ghetto Music (1968) and Black Rhythm Happening (1969), influenced by African and gospel music and characterized by their use of solo and choral vocals. The label heralded his “incredible legacy” in an Instagram post.
He also became a key figure in the free jazz movement that was coming to fruition in that period, playing with pianist Cecil Taylor on his 1966 Blue Note album Unit Structures and, in a longstanding relationship, Suna Ra and his Arkestra.
In 1972, he moved from New York to San Jose, California, and was named by the mayor as the city’s ambassador of jazz. He spent years working in music education in the city. He continued to play live, and frequently collaborated with hip-hop group the Coup, from nearby Oakland.