Afleveringen
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Sixty-five years ago, “Kind of Blue”was recorded and performed by a young group of talented musicians —before they were jazz legends — under the leadership of the visionary trumpeter Miles Davis. Initial sales were slow after the August 1959 release, but then the album caught fire, becoming the best-selling jazz album of all time.
So why has “Kind of Blue”endured as the top classic jazz album for 65 years?
“I think of 'Kind of Blue’ as a timeless piece of work,” said James Kaplan, author of “3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans, and the Lost Empire of Cool.”
“‘Timeless’ is a word that’s much overused these days, but this great album genuinely seems to exist outside of time in a way that’s hard to explain.”
Angelika Beener, an award winning journalist, DJ, producer and host, says “Kind of Blue” uniquely captures universal human emotions.
“Everyone loves this album, and it’s not because they’re forced to, or they have to, or they’re told to,” Beener said. “There is something deeply resonant. This album drills into sort of the deepest parts of sensuality and romance and contemplation and ecstasy and vulnerability. “
While Davis took the lead on the album, he was joined by several other talented musicians who helped craft his legendary work.
“He gave a great amount of latitude to the artists,” said Leon Lee Dorsey, an associate professor at Berklee College of Music. “You see interviews with people like Herbie Hancock that he trusted — the chemistry that they brought to the table, that whatever was going on, it was like a laboratory.” -
I have always been drawn to fables of underdogs and the unrecognized. This affinity was engendered early on in childhood, and marinated throughout 30 years in the acting trade, where I’ve seen many of the finest talents of my generation wither on the vine of show biz obscurity. This catchy girl-group number from the Cameo catalogue is spunkily delivered by a couple of black Philadelphia teens, whose exciting vocal energy belies some of the mysterious whispers of chicanery that surround the story of the record’s creation, and, afterward, the group’s precipitous disappearance.
Ann and Lillian Storey of The Twinkles created this ode to black rock n roll culture in 1957, (immortalized in the film Hairspray) - when Ann, or Lillian, (I’ve seen both credited) submitted their song to a contest run by local DJ Kal Williams, who put his name on it as co-writer, and then took it to Baltimore musician and record label owner Al Browne, who also put his name on it. Browne released it on his indie label, Peak Records in 1957. The following year Cameo, who had national distribution, changed the group’s name to The Storey Sisters and rereleased it nationally, where it went to #45 on the national charts. It was at this point that Ann, or Lillian’s name disappear from the credits. In short order, The Storey sister’s career was over, after having recorded only two more sides.
Bad Motorcycle is said to be slang for “Bad Motherfucker”, and these young women may have encountered some bad motorcycles during their short ride out of fame’s parking lot. VOOM VOOM VOOM!
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Zijn er afleveringen die ontbreken?
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This goofy confection of Sunshine Pop was so at odds with the popular music of the day that it seemed doomed from the start. The Dedrick family, (Chris, Sandy, Bruce, Ellen, and Stephanie), were so unhip that the classical-jazz compositional genius of Chris Dedrick and the sublime sibling harmonies on display were incomprehensible to the rock intelligentsia. (There were The Cowsills, of course…but….) For God’s sake, The Free Design were produced by Enoch Light, of all people - ( I always loved that name) - my dad’s “Easy Listening” guru; it was the music he had on in the background when he did his weekend paperwork.
They only existed as a group from ’67-’72, after which Chris pursued an award winning, film composing and arranging career in Canada. And, here’s where the trajectory of this esoteric ditty arcs interestingly: their only charting song, Kites Are Fun barely peaked at 114 on the “bubbling under the hot 100” list, after which the group plummeted to obscurity. But, later, much later, like an excavated Paleolithic fossil, their catalogue was uncovered in the 1990’s, and reissued by Trattoria, a Japanese record label. Since then, this tune has been lauded, covered extensively, TikTok’ed, and featured in numerous tv commercials and shows. And, now, no one can deny that kites are most assuredly fun.
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What if your Amazon packages could talk? What if they had palpitating, expectant hearts as they sped to your house? And, what a let down, after you’d ripped them open, shredded them, and left them for the recycler. What ingratitude, after their selfless commitment to your happiness.
Tool-maker, turned bassist Gary Unwin brings this anthropomorphic idea to life, abetted by lead singer and Vox Continental organist Brian Bennett. Here, courtesy of the Hi Fi’s, a busy, up and coming band of wannabe British invaders plying their rock n roll trade in Germany (as the Silver Beetles had done before them) - you get all the cringy, crooning drama (along with thumping timpani) you could want - and it’s TNT.
I discovered this diamond on an obscure Star-Club singles vinyl collection that Rich sent me after I bought my new turntable, and it captivated me from the first play. Of all the possible lyrical manifestations, a monologue delivered by a cardboard box, once lovingly wrapped and sent by one ardent lover to another via “the parcel farm,” and then abandoned, was beyond unexpected… and, just what I needed.
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http://johnnynash.com/
Texas born actor, singer, songwriter, producer, and entrepreneur, Johnny Nash (1940-2020) was a driven visionary that, undaunted by commercial challenges in the U.S. marketplace, relocated to Jamaica, founded JAD Records, discovered and signed Bob Marley, and helped grow Reggae's popularity around the world - first by covering Marley's "Stir It Up," then, by writing and recording this inspiring ode to survival and hope.
And, let's not forget that he was also the voice of the theme song to the mid-'60s cartoon show "The Mighty Hercules!"
Bill and Rich had fun uncovering and relishing this great artist's story of ingenuity and grit. We hope you'll enjoy it, too! -
ALL HAIL NEW ORLEANS' ROYALTY! The boys pay homage to one of the greatest voices - (and most spiritual human beings) - ever to grace the earth. And, you can read the recently released memoir that reveals his triumphs and tribulations.
https://aaronneville.com/
Tell It Like It Is – OUT NOW!Aaron Neville shares his story, complete with stories of overcoming struggles and finally achieving success, in his debut memoir ‘Tell It Like It Is’: now available! Read all about Neville’s incredible path through life and own the book here. Also, check out some of the events and media celebrating the release!
Some early reviews are in…
“Iconic New Orleanian, platinum-record singer and songwriter Aaron Neville, a Grammy Hall of Famer… candidly reveals his little-known personal and professional struggles.”
– Booklist
“A gratifying, spiritual, and hopeful against-all-odds memoir.”
– Library Journal (Starred Review)
“The author’s life has been an inspiration…A worthwhile musical survivor’s story.”
– Kirkus -
Blame it on the Bossa Nova’s magic spell that the Samba craze swept the nation in the mid-‘60s. And, two of the main proponents of this joyful, sun-splashed celebration were Sergio Mendes and Herb Alpert. Herbie had the record label, A&M, and Sergio had the secret sauce, not to mention the lovely lead singer Lani Hall, who later became Mrs. Alpert.
Mas Que Nada, translated from the Portuguese, means “Whatever,” and the lyrics are insisting that whatever else may be happening, the singer passionately craves the Samba. The rolling syncopation of Mendes’s piano, along with the percussion and the siren call of Lani and her partner Janis make the seduction irresistible: this is just, good sexy fun, and you don’t have to understand the lyrics to get the message.
The song, originally written, recorded, and made a hit in Brasil by Jorge Ben, was spread around the world by Sergio and Herbie, making it to #47 on the Billboard Top 100. I hope that the tune’s creator took some pride and pleasure it that - (along with the royalties)… so, “whatever!”
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“Bless the Weather” by Iain David McGeachy, OBE (1948-2009)— known to the public as John Martyn, is an emblem of the unfathomable mysteries of the universe: How could music so divinely comforting have emanated from one so troubled? Of course, treading the path of this maestro’s biography we find the familiar signposts of drug addiction, marital abuse, alcoholism, and psychic distress. And yet. this spiritual offering translates as only gentleness and pure peace. ’Tis a puzzlement.
Well, humans are complex, or as he himself wrote: “some people are crazy.” In 1980, after Martyn’s break up with wife and partner Beverly, this “father of TripHop” created “Grace and Danger”, which his friend and label owner, Chris Blackwell refused to release for a year because he felt it was “too disturbing”. So, I guess it wasn’t all hearts and flowers. And yet, even there, the folk-jazz improvisations, abetted by the agile bass fingerings of Danny Thompson, lull, even as they hint at a provocation.
Be that as it may, on this cut the soothing, vibrational waves of guitar and voice align my brain waves in such a way that I can feel my heart rate immediately relax. It is a meditation; a connection to the eternal one-ness.
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Domingo Samudio (b.February 28, 1937), better known as "Sam the Sham" is a quintessential American entrepreneur: a huckster with limited vocal ability, who took a simple, Show biz concept: - a corny, lovable, Rock n Roll persona - a TexMex Pharaoh in a turban, created a raft of top 10 smashes, and in the process became immortal.
In 1965, Wooly Bully, a salsa flavored variation on the Hully Gully dance hit, started it all for Domingo, who continues on his journey to this day, sharing his colorful experiences and life lessons as a motivational speaker. -
She’ll Return it is an obscure, minor league number from the Animals catalogue, a B-Side to their Ma Rainy cover of See See Rider. I first heard it on the album Animalization, which, along with Animalism are my two favorite collections by that band. It’s just a simple, 12 bar, blues progression, with basic lyrics insistently repeating one central phrase - “Love her -, she’ll return it.”
Over the years that mantra has burrowed deep within me, engraving itself into my consciousness as a prescription for all relationships - friends, lovers, children, students, even chance encounters. It’s a clarion call for kindness and empathy: (What the world needs now is love, sweet love; Cast your bread upon the waters; what goes around comes around) - delivered with funky syncopation, and good humor, never failing to bring me around when I’m sinking in the quicksands of alienation.
Eric Burdon is one of the all time great rhythm and blues therapists of any color or nationality. Take a seaton his rock n roll couch and get some perspective.
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Raymond Barretto Pagan was born to Puerto Rican parents in New York on April 29, 1929. When he was barely four years old, his father decided to leave home and return to Puerto Rico. His mother settled in the South Bronx and raised her three children by herself. From an early age, Barretto was influenced by two styles of music: Latin and Jazz. During the day, his mother listened to the music of Daniel Santos, Bobby Capó, and the Los Panchos Trio. However, as Ray grew up, he fell in love with Machito Grillo, Marcelino Guerra, Arsenio Rodríguez, and the Jazz orchestra greats he heard on the radio; stars like Benny Goodman and Duke Ellington.
When he turned 17, Barretto enlisted in the United States Army and was sent off to World War II. While stationed in Germany, he heard the song that changed his life: “Manteca” by Chano Pozo and the Dizzy Gillespie band. When he left the army, Barretto returned to New York and, influenced by the percussion instruments that his idol Chano Pozo dominated, he bought a bongo. But he wasn’t satisfied with the sound, so he went out and spent 50 dollars on some tumbadors he saw for sale in a local neighborhood bakery. And that’s how he took his first steps onto the nightclub music scene. His first recording was in 1953, with Eddie Bonnemere’s Latin Jazz group at the Red Garter lounge in New York. In contrast to famous conga players of the time like Cándido Camero, Mongo Santamaría, and Patato Valdés –who started out with Afro-Caribbean rhythms and worked their their way up to Jazz– Barretto started out in the world of Jazz; it would be years before he would make a foray into other Latin rhythms.
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The story of Gerry Rafferty's "Baker Street" has it all: a troubled, ambivalent creator, an unforgettable sax riff whose ownership has spawned controversy for almost 50 years, and a mysterious, compelling lyric. One of Scotland's leading artistic lights, Rafferty, who started as partner to the beloved comedian Billy Connolly in The Humblebums, went on the wow the world with Stealer's Wheel's irresistible mega-hit "Stuck in the middle with you, before torpedoing that early success. He refused to tour, and after going solo, became increasingly withdrawn into an alcoholic death-spiral, which ended with his death at age 63.
Bill and Rich, The Splendid Bohemians relate the story as only they can - with reverence, tempered with their unique perspective. Take a walk with us down BAKER STREET. -
Redd Foxx was one funny motherfucker. And, hell on wheels. Apparently, he was the scourge of taxi drivers in Las Vegas, where he lived, worked, and is buried - because he would either throw up in the backseat of their cabs, or refuse to pay his fare, or both. As the “King of the Party Records”, Redd made 50 dirty albums (I have a few on 8 track) - before hitting national gold on Sanford and Son, that show about a junkman and his boy that ran for six seasons, starting in 1972. I just found out that Foxx’s birth name actually WAS Sanford - a factoid that makes me smile. If fact everything about him made me smile. I loved it each time he’d clutch his chest feigning a heart attack, and groaning “Elizabeth, I’m comin’ to join you, honey!” And, now, hearing Quincy Jone’s theme song again, I’m sporting a broad grin again in remembrance.
Q was a master of innumerable musical genres, coming up as he did as Dinah Washington’s arranger, Sinatra’s band leader, Film scorer par excellence, and Michael Jackson’s record producer, etc, etc. Here he’s channelling Herbie Hancock’s “Watermelon Man” - and the funky clavinet makes me want to bob my head along with the syncopation.
Although the character of Fred Sanford was supposed to be in his sixties, Redd was only in his 40s when he made Sanford and Son, and he was only 68 when he died in 1991, having exhausted himself through a jam-packed roller-coaster existence. Rumor has it he died broke because the IRS has seized his assets two years earlier, so Eddie Murphy footed the bill to pay for his funeral. As Arthur Miller once wrote: “Attention must be paid!”
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There was something magical about Rosemary Clooney: the girl next door with the velvet tones. A 1950s dreamboat that you imagined might bring you cocoa on a chilly evening, and rub your temples after you had labored for hours, toiling to create the perfect arrangement for her. A game lady.
I admit I may have been dazzled by the Show Biz glow reflected onto this goddess from her husband, Academy Winning actor, Jose Ferrer; her brother, Nick, the eminent broadcaster; her son, moody Thespian Miguel; and her handsome ne’er-do well nephew, George…
But, bottom line: It was Rosemary’s voice — the dulcet sound from one of the swingiest jazz divas ever, that kept me, and millions like me, listening. Her career took a dip, but like I said she was “game” — game enough to attempt to make a record with Wild Man Fischer - the psychotic that Frank Zappa had discovered. She eventually made a comeback that had staying power: this recording was made in 1984, and here, the seasoned, knowing conjurer invites us to drink her feel-good potion, and become re-intoxicated.
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https://airandspace.si.edu/collection-objects/communications-satellite-telstar/nasm_A20070113000
The Splendid Bohemians are taking you back to 1962, a time when technology held so much promise for a more peaceful tomorrow. Telstar, the communications satellite was launched, linking one side of the globe to the other; Kennedy announced the good news to the world, and Joe Meek created an eternal musical tribute.Of course, we know (sort of) what happened to JFK, and Joe Meek…? Well, there’s a story, and the boys are opening the crypt to interrogate the ghosts. Join us!
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Oh, I know what you’re thinking: the Mez has finally lost it with this twee, Oscar winning anthem to persistence. But, my instincts tell me that someone might need to hear it again. Because, judging from my daily struggle with the urge to chuck it, do nothing, and give in to cynicism, I suspect I’m not alone. The world is just too exhausting. But, then I hear Frankie-boy giving me this nudge, and I figure “what the hell”, I should hang in there a little longer.
It’s also remembered for being John F. Kennedy’s 1960 presidential campaign song, when the world was young, during those halcyon days when Camelot’s Rat Pack assured us that all things were possible. Later, Frank was bitterly disappointed by Jack’s ingratitude, and Jack was assassinated three years after that. The world was plunged into a cataclysm of despair. But, then, the uproariously joyful Beatles appeared, and we had “High Hopes” once again.
So, hang in there. Let’s have another cup of coffee, and let’s have another piece of pie, while we wait for daylight.
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“GONE” - JOEY HEATHERTON (MGM, 1972)
It all started with a friendly competition. We had just done an episode about my early crush Bobby Gentry and her iconic “Ode to Billy Joe”. Rich does a counterpunch here with a tribute to his own teen heartthrob, the pulchritudinous Joey Heatherton, daughter of Ray “The Merry Mailman” - a host of one of our after-school staples of kid’s programming.When Rich is passionate about something I just have to stand back and let him rhapsodize, and here his eloquence is in top form. Later, as the story turns to a darker hue, he reveals that he actually had met his teen idol - his once forbidden love (because of her support for the Viet Nam war, which he opposed) - that had now come full circle, and could be expressed openly.
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Little Willie John was a teenager when he recorded his first hit, “All Around the World,” for King Records, in 1955.
When his career faded in 1962, John was a grizzled veteran of 25. Although rock & roll was once the province of the young, few singers under the age of 20 have been able to communicate more than jittery restlessness or poignant ache.
Little Willie John did much more. Like his contemporaries Sam Cooke, Ray Charles and Clyde McPhatter, Little Willie John was a vanguard of soul.
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THE HISSING OF SUMMER LAWNS by Joni Mitchell (Asylum, 1975)
Hail, hail Joni Mitchell! A survivor with a roller-coaster history of adventures, both artistic and existential. She’s still standing, albeit with a cane - (Polio couldn’t fell her; an aneurysm? Piffle!) From folkie goddess who pierced her madrigals through with a brutal, autobiographical honesty, through her jazzbo period where challenging experimentations were offered with Amazonian bravado. After Blue, my favorite Joni record was Mingus, wherein she introduced me to an hitherto unknown (to me) bass maestro by way of a seamless collaboration. She was loved by many, but was impossible to control, so her romantic paths were marked with scorched earth, but the genius gentlemen left behind could only carry the torch in her name through the ensuing decades.
The Hissing of Summer Lawns was dissed upon its release, coming, as it did, on the heels of her biggest hit, Court and Spark, but is now recognized as a masterpiece. She’s spreading out here, sonically and vocally. Her fascination with jazz voicing, the impressionist lyrics, a Burundi Drumline, tasty samples and loops - it was all ahead of its time. But, then again, so was Joni.
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August 20, 2012-
Scott sang a gentle song that became a hit and something of a theme song for 1967's "Summer of Love."Scott McKenzie, best known for San Francisco (Be Sure to Wear Flowers in Your Hair, died Saturday in Los Angeles. He was 73. According to the singer's website, he "had been very ill recently and passed away in his home after two weeks in hospital." The Associated Press says he "had battled Guillain-Barre Syndrome, a disease that affects the nervous system, and had been in and out of the hospital since 2010."
San Francisco, the AP reminds us, was written by John Phillips of The Mamas and the Paps. McKenzie could write songs as well. He co-wrote The Beach Boys' 1988 hit Kokomo.
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