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José Álvaro Osorio Balvín (born July 7, 1985), known artistically as J Balvin, is a Colombian reggaeton singer. Balvin was born in Medellín, the largest city of Antioquia, where he became interested in rap, dancehall, champeta and bachata at a young age. He is known for his song "Yo Te Lo Dije" and "Tranquila".
In popular culture
J Balvin was featured on the Colombian version of "Blurred Lines" by Robin Thicke featuring Pharrell Williams & T.I., although the remix was received poorly.
J Balvin is also featured in the Colombian remix of "The Way" by Ariana Grande.
J Balvin official website
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J Balvin Discography
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José Álvaro Osorio Balvín (born July 7, 1985), known artistically as J Balvin, is a Colombian reggaeton singer. Balvin was born in Medellín, the largest city of Antioquia, where he became interested in rap, dancehall, champeta and bachata at a young age. He is known for his song "Yo Te Lo Dije" and "Tranquila".
In popular culture
J Balvin was featured on the Colombian version of "Blurred Lines" by Robin Thicke featuring Pharrell Williams & T.I., although the remix was received poorly.
J Balvin is also featured in the Colombian remix of "The Way" by Ariana Grande.
J Balvin official website
Card in Colarte
J Balvin Discography
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Van Morrison, OBE (born George Ivan Morrison, 31 August 1945 in Belfast, Northern Ireland) is a critically acclaimed singer and songwriter with a reputation for being at once stubborn, idiosyncratic, and sublime. His live performances at their best are regarded as transcendental and inspired; while some of his recordings, such as the studio albums Astral Weeks and Moondance, and the live album It's Too Late to Stop Now, are widely acclaimed as among the greatest ever made.
Known as "Van the Man" to his fans, Morrison started his professional career when, as a young teenager in the late 1950s, he played a variety of instruments, including the guitar, harmonica, keyboards, and saxophone, in a range of Irish showbands who covered the popular hits of the day, before rising to prominence in the mid-1960s as the lead singer of the gritty Northern Irish R&B band Them with whom he recorded the garage band classic, "Gloria". His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single "Brown Eyed Girl" in 1967. After Berns' death, Warner Bros. Records bought out his contract and allowed him several sessions to record Astral Weeks in 1968. Even though this album would gradually garner high praise, it was initially poorly received; however, the next one, Moondance, established Morrison as a major artist, and throughout the 1970s he built on his reputation with a series of critically acclaimed albums and live performances. Van Morrison continues to record and tour, producing albums and live performances that sell well and are generally warmly received; sometimes collaborating with other artists, such as Georgie Fame and The Chieftains. In 2008 he performed Astral Weeks live for the first time since 1968.
Much of Morrison's music is structured around the conventions of soul music and R&B, such as the popular singles, "Brown Eyed Girl", "Moondance", "Domino" and "Wild Night". An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz, and stream-of-consciousness narrative, such as Astral Weeks and lesser-known works such as Veedon Fleece and Common One. The two strains together are sometimes referred to as "Celtic Soul".
Morrison has received considerable acclaim, including six Grammy Awards, being inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, and appearing on several "Greatest Artists" lists.
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Albert Leornes "Al" Greene (born April 13, 1946), often known as The Reverend Al Green, is an American singer, songwriter, and record producer, best known for recording a series of soul hit singles in the early 1970s, including "Take Me to the River", "Tired of Being Alone", "I'm Still in Love with You", "Love and Happiness" and his signature song, "Let's Stay Together". Inducted to the Rock and Roll Hall of Fame in 1995, Green was referred to on the museum's site as being "one of the most gifted purveyors of soul music". He has also been referred to as "The Last of the Great Soul Singers". Green was included in the Rolling Stone list of the 100 Greatest Artists of All Time, ranking at No. 65.
Life and career
Al Green was born Albert Leornes Greene on April 13, 1946 in Forrest City, Arkansas. The sixth of ten children born to Cora Lee and Robert G. Greene, Jr., a sharecropper, Al began performing with his brothers in a group called the Greene Brothers around the age of ten. The Greene family relocated to Grand Rapids, Michigan, in the late 1950s. Al was kicked out of the family home in his teens after his religiously devout father caught him listening to Jackie Wilson.
"I also listened to Mahalia Jackson, all the great gospel singers. But the most important music to me was those hip-shakin' boys: Wilson Pickett and Elvis Presley. I just loved Elvis Presley. Whatever he got, I went out and bought."
In high school, Al formed a vocal group called Al Greene & the Creations. Two of the group's members, Curtis Rodgers and Palmer James, formed an independent label called Hot Line Music Journal. In 1968, having changed their name to Al Greene & the Soul Mates, they recorded the song "Back Up Train", releasing it on Hot Line Music. The song was a hit on the R&B charts. However, the group's subsequent follow-ups failed to chart, as did their debut album, Back Up Train. While performing with the Soul Mates, Green came into contact with Memphis record producer Willie Mitchell, who hired him in 1969 to be a vocalist for a Texas show with Mitchell's band. Following the performance, Mitchell asked Green to sign with his Hi Records label.
Having noted that Green had been trying to sing like Jackie Wilson, Sam Cooke, Wilson Pickett and James Brown, Mitchell became his vocal mentor, coaching him into finding his own voice. Before releasing his first album with Hi, Green removed the final "e" from his name. Subsequently, he released Green Is Blues, which was a moderate success. His follow-up album, Al Green Gets Next to You, featured the hit R&B cover of the Temptations' "I Can't Get Next to You", recorded in a slow blues-oriented version. The album also featured his first significant hit, "Tired of Being Alone", which sold half a million copies and was certified gold, becoming the first of seven consecutive gold singles Green would record in the next couple of years.
Green's next album, Let's Stay Together, solidified his place in soul music. The title track was his biggest hit to date, reaching number one on both the Billboard Hot 100 and R&B charts. The album became his first to be certified gold. His follow-up, I'm Still in Love with You went platinum with the help of the singles "Look What You Done for Me" and the title track, both of which went to the top ten on the Hot 100. His next album, Call Me, released in 1973, produced three top ten singles: "You Ought to Be with Me", "Call Me (Come Back Home)" and "Here I Am (Come and Take Me)". Green's album Livin' for You, released at the end of 1973, was his last album to be certified gold.
In addition to these hit singles, Green also had radio hits with songs such as "Love and Happiness", his cover of the Bee Gees' "How Can You Mend a Broken Heart", "Simply Beautiful", "What a Wonderful Thing Love Is" and "Take Me to the River", later covered successfully by new wave band Talking Heads and blues artist Syl Johnson. Green continued to record successful R&B hits in the next several years including "Livin' for You", "Let's Get Married", "Sha-La-La (Makes Me Happy)", "L-O-V-E (Love)" and "Full of Fire". By the time Green released the album, The Belle Album in 1977, however, Green's record sales had plummeted, partially due to Green's own personal issues during this time and his desire to become a minister. His last Hi Records album, Truth n' Time, was released in 1978 and failed to become a success. Two years later, he left Hi for Myrrh Records and recorded only gospel music for the next decade and a half.
Gospel recordings and return to secular music
Green's first gospel album, The Lord Will Make a Way, was released in 1980. The title song from the album would later win Green his first of eight Grammy Awards in the Best Soul Gospel Performance category. In 1982, Green co-starred with Patti LaBelle in the Broadway play, "Your Arms Too Short to Box with God". His 1985 gospel album, He Is the Light reunited Green with Willie Mitchell while his 1987 follow-up, Soul Survivor, featured the minor hit, "Everything's Gonna Be Alright", which reached number 22 on the R&B chart, his first top 40 R&B hit since "I Feel Good" in 1978.
Green returned to secular music in 1988 recording "Put a Little Love in Your Heart" with Annie Lennox. Featured on the soundtrack to the movie, Scrooged, the song became Green's first top 10 pop hit since 1974. Green had a hit in 1989 with "The Message is Love" with producer Arthur Baker. Two years later, he recorded the theme song to the short-lived show Good Sports. In 1993, he signed with RCA and with Baker again as producer, released the album, Don't Look Back. Green received his ninth Grammy award for his collaboration with Lyle Lovett for their duet of "Funny How Time Slips Away". Green's 1995 album, Your Heart's In Good Hands, was released around the same period when Green was inducted to the Rock and Roll Hall of Fame. The one single released from the album, "Keep On Pushing Love" was described as "invoking the original, sparse sound of his [Green's] early classics."
In 2000, Green released his autobiography, Take Me to the River. Two years later, he earned the Grammy Lifetime Achievement Award and recorded a hit R&B duet with Ann Nesby on the song, "Put It On Paper". Green again reunited with Willie Mitchell in 2003 for the album, I Can't Stop. A year later, Green re-recorded his previous song, "Simply Beautiful", with Queen Latifah on the latter's album, The Dana Owens Album. In 2005, Green and Mitchell collaborated on Everything's OK. His 2008 album, Lay It Down was produced by Ahmir "Questlove" Thompson and James Poyser. It became his first album to reach the top ten since the early 1970s. The album featured a minor R&B hit with the ballad, "Stay with Me (By the Sea)" featuring John Legend and also featured duets with Anthony Hamilton and Corinne Bailey Rae. During an interview for promotion of the album, Green admitted that he would have liked to duet with Marvin Gaye: "In those days, people didn't sing together like they do now," he said. In 2009, Green recorded "People Get Ready" with Heather Headley on the album, Oh Happy Day: An All-Star Music Celebration. In 2010, Green performed "Let's Stay Together" on Later... with Jools Holland.
Death of Mary Woodson White
On October 18, 1974, shortly after Al Green Explores Your Mind was released, Mary Woodson White, a girlfriend of Green's, assaulted him before committing suicide at his Memphis home. Although she was already married, White reportedly became upset when Green refused to marry her. At some point during the evening, White doused Green with a pan of boiling grits while he was bathing, causing severe burns on Green's back, stomach and arms. She then found his .38 and killed herself. In her purse, police found a note declaring her intentions and her reasons.
Turn to the ministry
Green cited the incident with White as a wake-up call to change his life. He became an ordained pastor of the Full Gospel Tabernacle in Memphis in 1976. Continuing to record R&B, Green saw his sales start to slip and drew mixed reviews from critics. In 1979, Green injured himself falling off the stage while performing in Cincinnati and interpreted this as a message from God. He then concentrated his energies towards pastoring his church and gospel singing. His first gospel album was The Lord Will Make a Way. From 1981 to 1989 Green recorded a series of gospel albums, garnering eight "soul gospel performance" Grammy Awards in that period. In 1985, he reunited with Willie Mitchell along with Angelo Earl for He Is the Light, his first album for A&M Records. In 1984, director Robert Mugge released a documentary film, Gospel According to Al Green, including interviews about his life and footage from his church.
Green preaches in Memphis, Tennessee near Graceland.
Marriage to Shirley Kyles
In June 1977, Green married Shirley Kyles. They had three daughters together, Alva, Rubi and Kora. The marriage lasted until January 1983. Shirley later alleged that Green had been subjecting her to domestic violence throughout their marriage.
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The O'Jays are an American R&B group from Canton, Ohio, formed in 1958 and originally consisting of Eddie Levert (born June 16, 1942), Walter Williams (born August 25, 1943), William Powell (January 20, 1942 – May 26, 1977), Bobby Massey and Bill Isles. The O'Jays made their first chart appearance with "Lonely Drifter" in 1963, but reached their greatest level of success once Gamble & Huff, a team of producers and songwriters, signed them to their Philadelphia International label in 1972. With Gamble & Huff, the O'Jays (now a trio after the departure of Isles and Massey) emerged at the forefront of Philadelphia soul with "Back Stabbers" (1972), and topped the Billboard Hot 100 the following year with "Love Train". Numerous other hits followed through the 1970s and into the 80s and 90s, and The O'Jays were inducted into the Vocal Group Hall of Fame in 2004, and The Rock and Roll Hall of Fame in 2005.
They formed the group in Canton, Ohio in 1958 while attending Canton McKinley High School. Originally known as The Triumphs, and then The Mascots, the friends began recording with "Miracles" in 1961, which was a moderate hit in the Cleveland area. In 1963, they took the name "The O'Jays", in tribute to Cleveland radio disc jockey Eddie O'Jay who was part of the powerful management team of Frankie Crocker, Herb Hamlett & Eddie O'Jay, (Toop, 1991). In 1963, The O'Jays released "Lonely Drifter," their very first national chart hit on the Billboard Hot 100, peaking at #93. Their debut album, released shortly thereafter was Comin' Through.
Throughout the 1960s, they continued to chart with minor hits such as "Lipstick Traces" (which they performed nationally on the ABC Television program, Shivaree), "Stand In For Love," "Stand Tall," "Let It All Out," "I'll Be Sweeter Tomorrow," "Look Over Your Shoulder," "Deeper In Love With You," and "One Night Affair". However, while they issued dozens of singles throughout the decade, they never once hit the US top 40 (although "Lipstick Traces" made it to #19 in Canada.) On the R&B charts, The O'Jays were somewhat more prominent, but their only top 10 R&B single prior to 1972 was 1968's "I'll Be Sweeter Tomorrow".
In spite of their success as a touring group and on the R&B charts, the group had been considering quitting the music industry in 1972; around that same time original members Bill Isles and Bobby Massey departed, leaving the group a trio. The remaining three members soldiered on and Gamble & Huff, a team of producers and songwriters with whom the O'Jays had been working for several years, signed them to their Philadelphia International label. Suddenly, The O'Jays fortunes changed and they finally scored with their first million-seller, "Back Stabbers", from the album of the same name. By this time, This album produced several more hit singles, including "992 Arguments," "Sunshine," "Time To Get Down," and the #1 pop smash, "Love Train".
During the remainder of the 1970s the O'Jays continued releasing hit singles, including "Put Your Hands Together" (Pop #10), "For the Love of Money" (Pop #9), "Give the People What They Want", "Let Me Make Love To You", "I Love Music" (Pop #5), "Livin' for the Weekend", "Message in Our Music" and "Darlin' Darlin' Baby (Sweet Tender Love)". Original member William Powell died of cancer in 1977 at age 35.
After adding Sammy Strain (born December 9, 1939) (of Little Anthony and the Imperials), the O'Jays continued recording, though with limited success. 1978's "Use ta Be My Girl" was their final Top Five hit, though they continued placing songs on the R&B charts throughout the 1980s. The O'Jays success was not confined to the United States, as they also logged up nine hit singles in the United Kingdom between 1972 and 1983, including four tracks that reached the Top 20 in the UK Singles Chart. Their 1987 album, Let Me Touch You, was a breakthrough of sorts, and included the #1 R&B hit "Lovin' You". Though they continued charting on the R&B charts in the late 1980s and early 1990s, the O'Jays never again achieved pop success. In 1992, Sammy Strain left the group, and returned to the Imperials, to be replaced by Nathaniel Best, and later, by Eric Grant. Later in the 1990s, the group did little recording, though they remained a popular live draw. Their latest album was Imagination in 2004.
In 2003, they co-starred in the movie The Fighting Temptations, which starred Cuba Gooding Jr. and Beyoncé Knowles. In the film, they played three barbers who joined the local church choir to help out the film's protagonist Darrin (Gooding) who was the choir director.
In 2005, the O'Jays were inducted into the Rock and Roll Hall of Fame. Original members Eddie Levert, Walter Williams, Bobby Massey and, posthumously, William Powell, were inducted. In a note of controversy, Sammy Strain was also inducted with the group, while original member Bill Isles was not. (Strain is one of the few artists in popular music history who is a double RRHOF inductee: with The O'Jays in 2005, and The Imperials in 2009). In 2006, the O'Jays performed at the ESPY awards, hosted by Lance Armstrong. "For the Love of Money" is the theme song to the hit reality TV show The Apprentice, starring Donald Trump.
On February 23, 2007, Radio-Canada's website reported that Canadian Industry Minister, Jim Prentice, had used the song "For The Love of Money" without the group's permission during a political event, a faux pas since Prentice is responsible for the application of the Copyright Act in Canada. Radio-Canada also reported that Prentice has since been contacted by the attorneys for both the O'Jays and Warner/Chappell Music.
On June 28, 2009, at the 2009 BET Award Show in the Shrine Auditorium the O'Jays were honored with BET's 2009 Life Time Achievement Award. Tevin Campbell, Trey Songz, Tyrese Gibson, and Johnny Gill performed a medley of the group's songs, followed by the presentation of the award by Don Cornelius. The group reminisced, joked with the audience and accepted their award before performing renditions of their hit songs.
On October 30, 2010, the group performed at Jon Stewart and Stephen Colbert's Rally to Restore Sanity and/or Fear in Washington, D.C. In Cleveland, Ohio on August 17, 2013 The O'Jays were inducted into The Official R&B Music Hall of Fame.
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Jerry Lee Lewis (born September 29, 1935) is an American singer-songwriter, musician, and pianist, who is often known by his nickname of The Killer and is often viewed as "rock & roll's first great wild man."
As an early pioneer of rock and roll music, in 1956 Lewis made his first recordings at Sun Records in Memphis. "Crazy Arms" sold 300,000 copies in the South, but it was his 1957 hit "Whole Lotta Shakin' Going On" that shot Lewis to fame worldwide. Lewis followed this when he recorded songs such as "Great Balls of Fire", "Breathless" and "High School Confidential". However, Lewis's rock and roll career faltered in the wake of his marriage to his 13-year-old cousin when he was 22 years old.
He had little success in the charts following the scandal and his popularity quickly faded. His live performance fees plummeted from $10,000 per night to $250. In the meantime he was determined to gain back some of his popularity. During the early 1960s, he did not have much chart success with few exceptions such as "What'd I Say". His live performances at this time were increasingly wild and energetic. His album Live at the Star Club, Hamburg from 1964 is often regarded by many music journalists and fans as one of the wildest and greatest rock and roll concert albums ever. After recording songs such as "I'm on Fire" for several years with little success, in 1968 Lewis made a transition into country music and had hits with songs such as "Another Place, Another Time". This reignited his career and throughout the late 1960s and 1970s he regularly topped the country-western charts. His No. 1 country hits included "To Make Love Sweeter For You", "There Must Be More to Love Than This", "Would You Take Another Chance on Me" and "Me and Bobby McGee".
Lewis's successes continued throughout the decade and he embraced his rock and roll past with songs such as a cover of the Big Bopper's "Chantilly Lace" and Mack Vickery's "Rockin' My Life Away". In the 21st century Lewis continues to tour to audiences around the world and still releases new albums. One such album, titled Last Man Standing, is his best selling to date at over a million copies sold worldwide. This was followed by Mean Old Man, which has received some of the best sales of Lewis's career.
Lewis has a dozen gold records in both rock and country. He won several Grammy awards, including a Lifetime Achievement Award. Lewis was inducted into the Rock and Roll Hall of Fame in 1986, and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame. In 1989, his life was chronicled in the movie Great Balls of Fire, starring Dennis Quaid. In 2003, Rolling Stone listed his box set All Killer, No Filler: The Anthology number 242 on their list of "500 Greatest Albums of All Time". In 2004, they ranked him number 24 on their list of the 100 Greatest Artists of All Time. Lewis is the last surviving member of Sun Records' Million Dollar Quartet and the Class of '55 album, which also included Johnny Cash, Carl Perkins, Roy Orbison and Elvis Presley.
Lewis was born to the poor family of Elmo and Mamie Lewis in Ferriday in Concordia Parish in eastern Louisiana, and began playing piano in his youth with two cousins, country music singer Mickey Gilley and TV evangelist Jimmy Swaggart. His parents mortgaged their farm to buy him a piano. Lewis was influenced by a piano-playing older cousin, Carl McVoy (who later recorded with Bill Black's Combo), the radio, and the sounds from a black juke joint across the tracks called Haney's Big House. On the live album By Request, More of the Greatest Live Show on Earth, Lewis is heard naming Moon Mullican as an artist who inspired him.
He was also influenced by the Great American Songbook and popular country singers like Jimmie Rodgers and Hank Williams. Williams in particular struck a chord with Lewis, who told biographer Rick Bragg in 2014, "I felt something when I listened to that man. I felt something different."
His mother enrolled him in Southwest Bible Institute in Waxahachie, Texas, so that her son would be exclusively singing his evangelical songs. But Lewis daringly played a boogie woogie rendition of "My God Is Real" at a church assembly that sent him packing the same night. Pearry Green, then president of the student body, related how during a talent show, Lewis played some "worldly" music. The next morning, the dean of the school called Lewis and Green into his office to expel them. Lewis said that Green should not be expelled because "he didn't know what I was going to do." Years later Green asked Lewis: "Are you still playing the devil's music?" Lewis replied "Yes, I am. But you know it's strange, the same music that they kicked me out of school for is the same kind of music they play in their churches today. The difference is, I know I am playing for the devil and they don't."
After that incident, he went home and started playing at clubs in and around Ferriday and Natchez, Mississippi, becoming part of the burgeoning new rock and roll sound and cutting his first demo recording in 1954. He made a trip to Nashville circa 1955 where he played clubs and attempted to build interest, but was turned down by the Grand Ole Opry, as he had been at the Louisiana Hayride country stage and radio show in Shreveport. Recording executives in Nashville suggested he switch to playing a guitar.
In November 1956, Lewis traveled to Memphis, Tennessee, to audition for Sun Records. Label owner Sam Phillips was in Florida, but producer and engineer Jack Clement recorded Lewis's rendition of Ray Price's "Crazy Arms" and his own composition "End of the Road". During December 1956, Lewis began recording prolifically, as a solo artist and as a session musician for such Sun artists as Carl Perkins and Johnny Cash. His distinctive piano can be heard on many tracks recorded at Sun during late 1956 and early 1957, including Carl Perkins's "Matchbox", "Your True Love", " and "Put Your Cat Clothes On", and Billy Lee Riley's "Flyin' Saucers Rock'n'Roll". Formerly, rockabilly had rarely featured piano, but it proved an influential addition and rockabilly artists on other labels also started working with pianists.
On December 4, 1956, Elvis Presley dropped in on Phillips to pay a social visit while Perkins was in the studio cutting new tracks with Lewis backing him on piano. Johnny Cash was also there watching Perkins. The four then started an impromptu jam session, and Phillips left the tape running. These recordings, almost half of which were gospel songs, survived, and have been released on CD under the title Million Dollar Quartet. Tracks also include Elvis Presley's "Don't Be Cruel" and "Paralyzed", Chuck Berry's "Brown Eyed Handsome Man", Pat Boone's "Don't Forbid Me" and Presley doing an impersonation of Jackie Wilson (who was then with Billy Ward and the Dominoes) on "Don't Be Cruel".
Lewis's own singles (on which he was billed as "Jerry Lee Lewis and his Pumping Piano") advanced his career as a soloist during 1957, with hits such as "Whole Lotta Shakin' Goin' On" and "Great Balls of Fire", his biggest hit, bringing him international fame, despite criticism for the songs' overtly sexual undertones which prompted some radio stations to boycott them. In 2005, "Whole Lotta Shakin' Goin' On" was selected for permanent preservation in the National Recording Registry at the Library of Congress.
According to several first-hand sources, including Johnny Cash, Lewis himself, who was devoutly Christian, was also troubled by the sinful nature of his own material, which he firmly believed was leading him and his audience to hell. This aspect of Lewis's character was depicted in Waylon Payne's portrayal of Lewis in the 2005 film Walk the Line, based on Cash's autobiographies.
As part of his stage act, Lewis would often pound keys with heel of his foot, kick the piano bench aside and play standing, rake his hands up and down the keyboard for dramatic accent, sit on the keyboard and even stand on top of the instrument. Lewis told the Pop Chronicles that kicking over the bench originally happened by accident, but when it got a favorable response, he kept it in the act. His first TV appearance, in which he demonstrated some of these moves, was on The Steve Allen Show on July 28, 1957, where he played the song "Whole Lotta Shakin' Goin On".
His dynamic performance style can be seen in films such as High School Confidential (he sang the title song from the back of a flatbed truck), and Jamboree. He has been called "rock & roll's first great wild man" and also "rock & roll's first great eclectic". Classical composer Michael Nyman has also cited Lewis's style as the progenitor of his own aesthetic.
Lewis's turbulent personal life was hidden from the public until a May 1958 British tour where Ray Berry, a news agency reporter at London's Heathrow Airport (the only journalist present), learned about Lewis's third wife, Myra Gale Brown. She was Lewis's first cousin once removed and was only 13 years old at the time. (Brown, Lewis, and his management all insisted that she was 15.) Lewis was 22 years old. The publicity caused an uproar and the tour was cancelled after only three concerts.
The scandal followed Lewis home to the U.S. and, as a result, he was blacklisted from radio and almost vanished from the music scene. Lewis felt betrayed by numerous people who had been his supporters. Dick Clark dropped him from his shows. Lewis even felt that Sam Phillips had sold him out when the Sun Records boss released "The Return of Jerry Lee", a bogus "interview" cut together by Jack Clement from excerpts of Lewis's songs that "answered" the interview questions, which made light of his marital and publicity problems. Only Alan Freed stayed true to Lewis, playing his records until Freed was removed from the air because of payola allegations.
Lewis was still under contract with Sun Records, and kept recording, regularly releasing singles. He had gone from $10,000 a night concerts to $250 a night spots in beer joints and small clubs. He had few friends at the time whom he felt he could trust. It was only through Kay Martin, the president of Lewis's fan club, T. L. Meade (aka Franz Douskey), an occasional Memphis musician and friend of Sam Phillips, and Gary Skala, that Lewis went back to record at Sun Records.
In 1960, Phillips opened a new state-of-the-art studio at 639 Madison Avenue in Memphis, abandoning the old Union Avenue studio where Phillips had recorded B.B. King, Howlin' Wolf, Elvis Presley, Roy Orbison, Carl Perkins, Lewis, Johnny Cash and others, and also opened a studio in Nashville. It was at the latter studio that Lewis recorded his only major hit during this period, a rendition of Ray Charles' "What'd I Say" in 1961. In Europe, other updated versions of "Sweet Little Sixteen" (September 1962 UK) and "Good Golly Miss Molly" (March 1963) entered the Hit Parade. On popular EPs, "Hang Up My Rock and Roll Shoes", "I've Been Twistin'", "Money" and "Hello Josephine" also became turntable hits, especially in nascent discothèques. Another recording of Lewis playing an instrumental boogie arrangement of the Glenn Miller Orchestra favorite "In the Mood" was issued on the Phillips International label under the pseudonym "The Hawk", but disc jockeys quickly figured out the distinctive piano style, and this gambit failed.
Lewis's Sun recording contract ended in 1963 and he joined Smash Records, where he made a number of rock recordings that did not further his career. The team at Smash (a division of Mercury Records) came up "I'm on Fire", a song that they felt would be perfect for Lewis and, as Colin Escott writes in the sleeve to the retrospective A Half Century of Hits, "Mercury held the presses, thinking they had found Lewis's comeback hit, and it might have happened if the Beatles hadn't arrived in America, changing radio playlists almost overnight. Mercury didn't really know what to do with Lewis after that." One of Smash's first decisions was to record a retread of his Sun hits, Golden Hits of Jerry Lee Lewis, which may have been inspired by the continuing enthusiasm European audiences had shown for Lewis's brand of rock and roll. However, none of Lewis's early Smash albums, including The Return of Rock, Memphis Beat, and Soul My Way, were commercial successes.
Live at the Star Club, Hamburg:
One major success during these lost years was the concert album Live at the Star Club, Hamburg, recorded with The Nashville Teens in 1964, which is widely considered one of the greatest live rock-and-roll albums ever. In Joe Bonomo's book Lost And Found, producer Siggi Loch states that the recording setup was uncomplicated, with microphones placed as close to the instruments as possible with a stereo mike placed in the audience to capture the ambience. The results were sonically astonishing, with Bonomo observing, "Detractors complain of the album's crashing noisiness, the lack of subtlety with which Jerry Lee revisits the songs, the fact that the piano is mixed too loudly, but what is certain is that Siggi Loch on this spring evening captured something brutally honest about the Killer, about the primal and timeless center of the very best rock & roll..." The album showcases Lewis's phenomenal skills as a pianist and singer, which had been honed by relentless touring. In a 5 out of 5 stars review, Milo Miles raved in Rolling Stone that "Live at the Star Club, Hamburg is not an album, it's a crime scene: Jerry Lee Lewis slaughters his rivals in a thirteen-song set that feels like one long convulsion." Unfortunately, due to legal constraints, the album was not released in the United States.
Frustrated by Smash's inability to score a hit, Lewis was nearing the end of his contract when promotions manager Eddie Kilroy called him and pitched the idea of cutting a pure country record in Nashville. With nothing to lose, Lewis agreed to record the Jerry Chestnut song "Another Place, Another Time", which was released as a single on March 9, 1968, and, to everyone's amazement, shot up the country charts. At the time of the release, Lewis had been playing Iago in a rock and roll adaptation of Othello called Catch My Soul in Los Angeles but was soon rushed back to Nashville to record another batch of songs with producer Jerry Kennedy. What followed was a string of hits that no one could have ever predicted, although country music had remained a major part of Lewis's repertoire. As Colin Escott observes in the sleeve to the 1995 compilation Killer Country, the conversion to country music in 1968 "looked at the time like a radical shift, but it was neither as abrupt nor as unexpected as it seemed. Jerry had always recorded country music, and his country breakthrough 'Another Place, Another Time' had been preceded by many, many country records starting with his first, 'Crazy Arms', in 1956." The last time Lewis had a song on the country charts was with "Pen And Paper" in 1964, which had reached number 36, but "Another Place, Another Time" would go all the way to number 4 and remain on the charts for 17 weeks.
Between 1968 and 1977, Lewis had 17 Top 10 hit singles on the Billboard country chart, including four chart toppers. Hits include "What's Made Milwaukee Famous (Has Made A Loser Out of Me)", "To Make Love Sweeter For You", "She Still Comes Around (To Love What's Left of Me)", "Since I Met You Baby", "Once More With Feeling", "One Has My Name (The Other Has My Heart)", and "Sometimes A Memory Ain't Enough". The production on his early country albums, such as Another Place, Another Time and She Even Woke Me Up To Say Goodbye, was sparse, quite different from the slick "Nashville Sound" that was predominant on country radio at the time, and also expressed a full commitment by Lewis to a country audience. The songs still featured Lewis's inimitable piano flourishes, but critics were most taken aback by the rock and roll pioneer's effortlessly soulful vocals, which possessed an emotional resonance on par with the most respected country singers of the time, such as George Jones and Merle Haggard. In his book Jerry Lee Lewis: His Own Story, biographer Rick Bragg notes that the songs Lewis was recording "were of the kind they were starting to call 'hard country', not because it had a rock beat or crossed over into rock in a real way, but because it was more substantial than the cloying, overproduced mess out there on country radio".
In a remarkable turnaround, Lewis became the most bankable country star in the world. He was so hot in 1970 that his former Smash producer Shelby Singleton, who purchased Sun Records from Sam Phillips in July 1969, wasted no time in repackaging many of Lewis's old country recordings with such effectiveness that many fans assumed they were recent releases. One of his latter unreleased Sun recordings, "One Minute Past Eternity," was issued as a single and soared to number 2 on the country chart, following Lewis's recent Mercury hit "She Even Woke Me Up To Say Goodbye." Singleton would milk these unreleased recordings for years, following The Golden Cream of the Country with A Taste of Country later in 1970.
Grand Ole Opry appearance:
Lewis played the Grand Ole Opry for the first time on January 20, 1973. As Colin Escott writes in the liner notes to A Half Century of Hits, Lewis had always maintained ambivalent feelings towards Music City ever since he'd been turned away as an aspiring musician before his glory days at Sun Records: "It was 18 years since he had left Nashville broke and disheartened...Lewis was never truly accepted in Nashville. He didn't move there and didn't schmooze there. He didn't fit in with the family values crowd. Lewis family values weren't necessarily worse, but they were different." When Lewis finally took the stage, he broke just about every rule the Opry had. As recounted in a 2015 online Rolling Stone article by Beville Dunkerly, Lewis opened with his comeback single "Another Place, Another Time" and then announced to the audience, "Let me tell ya something about Jerry Lee Lewis, ladies and gentlemen: I am a rock and rollin', country-and-western, rhythm and blues-singin' motherfucker!" Ignoring his allotted time constraints - and, thus, commercial breaks - Lewis played for 40 minutes (the average Opry performance is two songs, for about eight maximum minutes of stage time) and invited Del Wood - the one member of the Opry who had been kind to him when he had been there as a teenager - out on stage to sing with him. He also blasted through "Whole Lotta Shakin' Going On", "Workin' Man Blues", "Good Golly Miss Molly", and a host of others classics before leaving the stage to a thunderous standing ovation.
The Session and Southern Roots:
Lewis returned to the pop charts with "Me and Bobby McGee" in 1971 and "Chantilly Lace" in 1972, and this turn of events, coupled with a revitalized public interest in vintage rock and roll, inspired Mercury to fly Lewis to London in 1973 to record with a cadre of gifted British and Irish musicians, including Rory Gallagher, Kenney Jones, and Albert Lee. By all accounts the sessions were tense. The remake of Lewis's old Sun cut "Drinking Wine Spo-Dee-O-Dee" would be the album's hit single, reaching number 20 on the Billboard country chart and peaking at number 41 on the pop chart. The Session would be Lewis's highest pop charting album since 1964's Golden Hits of Jerry Lee Lewis, hitting number 37. It did far better on the country albums chart, rising to number 4. Later that same year, he went to Memphis and recorded Southern Roots: Back Home to Memphis, a soul-infused rock album produced by Huey Meaux. According to Rick Bragg's authorized 2014 biography, "the Killer" was in a foul mood when he showed up at Trans Maximus Studios in Memphis to record: "During these sessions, he insulted the producer, threatened to kill a photographer, and drank and medicated his way into but not out of a fog." During one exchange that can be heard on the 2013 reissue Southern Roots: The Original Sessions, Meaux asks Lewis, "Do you wanna try one?", meaning a take, to which Lewis replies "If you got enough fuckin' sense to cut it." Lewis was still pumping out country albums, although the hits were beginning to dry up. His last big hit with Mercury was "Middle Age Crazy," which made it to number 4 in 1977.
In 1979, Lewis switched to Elektra and produced the critically acclaimed Jerry Lee Lewis, although sales were disappointing. In 1986, Lewis was one of the inaugural inductees into the Rock and Roll Hall of Fame. Although looking frail after several hospitalizations due to stomach problems, Lewis was responsible for beginning an unplanned jam at the end of the evening, which was immediately incorporated into the event. That year, he returned to Sun Studio in Memphis to team up with Orbison, Cash, and Perkins along with longtime admirers like John Fogerty to create the album Class of '55, a sort of followup to the Million Dollar Quartet session, though in the eyes of many critics and fans, lacking the spirit of the old days at Sun. In 1989, a major motion picture based on his early life in rock & roll, Great Balls of Fire!, brought him back into the public eye, especially when he decided to re-record all his songs for the movie soundtrack. The film was based on the book by Lewis's ex-wife, Myra Gale Lewis, and starred Dennis Quaid as Lewis, Winona Ryder as Myra, and Alec Baldwin as Jimmy Swaggart. The movie focuses on Lewis's early career and his relationship with Myra, and ends with the scandal of the late 1950s. A year later, in 1990, Lewis made minor news when a new song he co-wrote called "It Was the Whiskey Talkin' (Not Me)" was included in the soundtrack to the hit movie Dick Tracy. The song is also heard in the movie, playing on a radio. The public downfall of his cousin, television evangelist Jimmy Swaggart, resulted in more adverse publicity to a troubled family. Swaggart is also a piano player, as is another cousin, country music star Mickey Gilley. All three listened to the same music in their youth, and frequented Haney's Big House, the Ferriday club that featured black blues acts. Lewis and Swaggart have had a complex relationship over the years.
In 1998, he toured Europe with Chuck Berry and Little Richard. On February 12, 2005, he was given a Lifetime Achievement Award by The Recording Academy (which also grants the Grammy Awards). On September 26, 2006, a new album titled Last Man Standing was released, featuring many of rock and roll's elite as guest stars. Receiving positive reviews, the album charted in four different Billboard charts, including a two-week stay at number one on the Indie charts. A DVD entitled Last Man Standing Live, featuring concert footage with many guest artists, was released in March 2007, and the CD achieved Lewis's 10th official gold disk for selling over half-a-million copies in the US alone. Last Man Standing is Lewis's biggest selling album of all time. It features contributions from Little Richard, Mick Jagger, Willie Nelson, Jimmy Page, Keith Richards and Rod Stewart, among others. Lewis now lives on a ranch in Nesbit, Mississippi, with his family. In May 2013, Lewis opened a new club on Beale Street in Memphis. As of early 2016, Jerry Lee is still actively performing in concert.
Hits and awards:
Along with Johnny Cash, Carl Perkins and Roy Orbison, Lewis received a Grammy in the spoken-word category for the very rare album of interviews released with some early copies of the Class of '55 album in 1986. The original Sun cut of "Great Balls of Fire" was elected to the Grammy Hall of Fame in 1998, and Lewis's Sun recording of "Whole Lotta Shakin' Goin On" received this honor in 1999. Only recordings which are at least 25 years old and have left a lasting impression can receive this honor. On February 12, 2005, Lewis received the Recording Academy's Lifetime Achievement Award the day before the Recording Academy's main Grammy Awards ceremony, which he also attended.
In June of 1989, Lewis was honored for his contribution to the recording industry with a star along Hollywood Boulevard on the Hollywood Walk of Fame .
Between 1957 and 2006, the date of Last Man Standing's release, 47 singles and 22 albums (The Session counted as 2 albums) made the Top Twenty Pop, Jukebox, Rock, Indie and/or Country charts in the US or the UK. Fourteen reached the number-1 position. He has had ten official gold discs, the latest being for the 2006 album Last Man Standing, plus unofficial ones issued by his record company Mercury for albums which sold over a quarter of a million copies. His 2006 duets CD Last Man Standing has sold over half a million worldwide, his biggest selling album ever. Lewis is also among the Top 50 all-time Billboard Country artists. It is also rumored that the soundtrack album to the movie Great Balls of Fire has now sold over a million copies. On October 10, 2007, Lewis received the Rock and Roll Hall of Fame's American Music Masters Award. His newest album, Mean Old Man, was released in September 2010 and reached No. 30 on the Billboard 200 album chart.
On November 5, 2007, the Rock and Roll Hall of Fame and Case Western Reserve University in Cleveland, Ohio, honored Lewis with six days of conferences, interviews, a DVD premiere and film clips, dedicated to him and entitled The Life And Music of Jerry Lee Lewis. On November 10, the week culminated with a tribute concert compered by Kris Kristofferson. Lewis was present to accept the American Music Masters Award and closed his own tribute show with a rendition of "Somewhere Over the Rainbow" On February 10, 2008, he appeared with John Fogerty and Little Richard on the 50th Grammy Awards Show, performing "Great Balls of Fire" in a medley with "Good Golly Miss Molly". On June 4, 2008, Lewis was inducted into The Louisiana Music Hall of Fame and appeared on A Capitol Fourth and performed the finale's final act with a medley of "Roll Over Beethoven", "Whole Lotta Shakin' Goin On" and "Great Balls of Fire." In October 2008, as part of a very successful European tour, Lewis returned to the UK, almost exactly 50 years after his ill-fated first tour. He appeared at two London shows: a special private show at the 100 Club on October 25 and at the London Forum on October 28 with Wanda Jackson and his sister, Linda Gail Lewis. 2009 marked the sixtieth year since Lewis's first public performance when he performed "Drinking Wine Spo-Dee-O-Dee" at a car dealership on November 19, 1949, in Ferriday, Louisiana.. In August 2009, in advance of his new album, a single entitled "Mean old man" was released for download. It was written by Kris Kristofferson. An EP featuring this song and four more was also released on November 11. On October 29, 2009, Lewis opened the Rock and Roll Hall of Fame 25th Anniversary concert at Madison Square Garden in New York.
Family and personal life:
Lewis has been married seven times: His first marriage, to Dorothy Barton, lasted for 20 months, from February 1952 to October 1953. In a 1978 People magazine interview, Lewis stated "I was 14 when I first got married. My wife was too old for me; she was 17." His second marriage, to Jane Mitchum, was of dubious validity because it occurred 23 days before his divorce from Barton was final. It lasted for four years, from September 1953 to October 1957. The couple had two children: Jerry Lee Lewis Jr. (1954-1973) and Ronnie Guy Lewis (b. 1956). His third marriage, to his cousin Myra Gale Brown, lasted for 13 years, from December 1957 to December 1970 (although the couple went through a second marriage ceremony because his divorce from Jane Mitchum was not complete before the first ceremony took place). They had two children together: Steve Allen Lewis (1959-1962) and Phoebe Allen Lewis (b. 1963). His fourth marriage, to Jaren Elizabeth Gunn Pate, lasted from October 1971 to June 8, 1982, and they had a daughter, Lori Lee Lewis (b. 1972). Pate drowned in a swimming pool at the home of a friend with whom she was staying, several weeks before divorce proceedings could be finalized. His fifth marriage, to Shawn Stephens, lasted 77 days, from June to August 1983, ending with her death. It has been alleged by Richard Ben Cramer that Lewis abused her and was responsible for her death. His sixth marriage, to Kerrie McCarver, lasted 20 years, from 1984 to 2004. They have one child: Jerry Lee Lewis III (b. 1987). His seventh marriage, to Judith Brown, began March 9, 2012. Lewis has had six children during his marriages. In 1962, his son Steve Allen Lewis drowned in a swimming pool accident when he was three, and in 1973, Jerry Lee Lewis, Jr. died at the age of 19 when he overturned the Jeep he was driving. He has two surviving sons, Ronnie Guy Lewis and Jerry Lee Lewis III, and two daughters, Phoebe Allen Lewis and Lori Lee Lewis.
In 1993 Lewis moved to Ireland with his family in what was suggested (but denied) to be a move to avoid issues with the Internal Revenue Service. He lived in a rented house in Westminster Road, Foxrock, Dublin and during his time there was sued by the German company, Neue Constantin Film Production GmbH, for failure to appear at a concert in Munich in 1993. Lewis returned to the USA in 1997 after his tax issues had been resolved by Irish promoter Kieran Cavanagh.
In 1976, Lewis was infamously arrested outside Elvis Presley's Graceland home for allegedly intending to shoot him. Lewis had already nearly killed his bass player Butch Owens on September 29 (his forty-first birthday) when a .357 accidentally went off in his hand. In Rick Bragg's 2014 authorized biography Jerry Lee Lewis: His Own Story, Lewis explains that the reclusive Presley had been trying to reach him and finally did on November 23, imploring that he "come out to the house." Lewis replied that he would if he had time but that he was busy trying to get his father Elmo out of jail in Tunica for a DUI. Later that night, Lewis was at a Memphis nightclub called Vapors drinking champagne when he was given a gun. "Charles Feron, he owned Vapors, he give it to me," Lewis explained to Bragg. "A .38 derringer. Me, pretty well drunk, with that derringer - it ain't somethin' strange." Lewis suddenly remembered that Elvis wanted to see him and, climbing aboard his new Lincoln Continental with the loaded pistol on the dash and a bottle of champagne under his arm, tore off for Graceland. Just before three o'clock in the morning, Lewis accidentally smashed into the famous Graceland gates because "the nose of that Lincoln was a mile long."
Presley's astonished cousin Harold Lloyd was manning the gate and watched Lewis attempt to hurl the champagne bottle through the car window, not realizing it was rolled up, smashing both. Bragg reports that Lewis denies ever intending to do Presley harm, that the two were friends, but "Elvis, watching on the closed-circuit television, told guards to call the police. The Memphis police found the gun in the car and put Jerry Lee, protesting, hollering, threatening them, away in handcuffs." Lewis: "The cops asked Elvis, 'What do you want us to do? And Elvis told 'em, 'Lock him up.' That hurt my feelings. To be scared of me - knowin' me the way he did - was ridiculous." Lewis was charged with carrying a pistol and public drunkenness. Released on a $250 bond, his defiant mug shot was wired around the world. Presley would die at Graceland of a heart attack eight months later.
As a teenager, Lewis studied at the Southwest Bible Institute in Waxahachie, Texas before being thrown out for daring to play a boogie-woogie version of "My God Is Real," and that early incident foreshadowed his lifelong conflict over his faith in God and his love of playing "the devil's music." Lewis had a recorded argument with Sam Phillips during the recording session for "Great Balls of Fire," a song he initially refused to record because he considered it blasphemous ("How can...How can the devil save souls? What are you talkin' about?" he asks Phillips during one heated exchange). During the famous Million Dollar Quartet jam involving Lewis, Elvis Presley, Carl Perkins, and Johnny Cash, they performed several gospel songs. Lewis's biographer Rick Bragg explains that part of the reason the recording only features Lewis and Elvis singing is because "only Elvis and Jerry Lee were raised in the Assembly of God", and " 'Johnny and Carl didn't really know the words...they was Baptists', Lewis said, and therefore deprived."
Lewis also endured years of condemnation from his cousin, evangelist Jimmy Lee Swaggart, who never passed up an opportunity to criticize Lewis's lifestyle. In the 1990 documentary The Jerry Lee Lewis Story, an intense Lewis, who could quote the Bible backwards and forwards, explains to the interviewer, "The Bible don't even speak of religion. No word of religion is even in the Bible.Sanctification! Are you sanctified? Have you been saved? See, I was a good preacher, I know my Bible...I find myself falling short of the glory of God." Lewis's faith was always best demonstrated through his music, and gospel music always remained part of his repertoire. After a string of hit country albums, he decided to record a proper gospel album for the first time in 1970.
Lewis is widely hailed as one of the most influential pianists in the history of rock and roll. In an often quoted tribute, Elvis Presley once said that if he could play the piano like Lewis he would quit singing. Lewis's pivotal role in popularizing the piano in rock and roll is indisputable. Up until his arrival, the music had been primarily associated with guitars, but his early Sun recordings and television appearances pushed the instrument to the forefront. Lewis was also an incendiary showman who often played with his fists, elbows, feet, and backside, sometimes climbing on top of the piano during gigs and even setting it on fire. Like Chuck Berry's guitar playing, Lewis's piano style has become synonymous with rock and roll, having influenced generations of piano players. In a 2013 interview with Leah Harper, Elton John recalls that up until "Great Balls of Fire," "the piano playing that I had heard had been more sedate. My dad collected George Shearing records, but this was the first time I heard someone beat the shit out of a piano. When I saw Little Richard at the Harrow Granada, he played it standing up, but Jerry Lee Lewis actually jumped on the piano! This was astonishing to me, that people could do that. Those records had such a huge effect on me, and they were just so great. I learned to play like that." Lewis is primarily known for his "boogie woogie" style, which is characterized by a regular left hand bass figure and dancing beat, but his command of the instrument and highly individualistic style set him apart. Appearing on Memphis Sounds with George Klein in 2011, Lewis credited his older piano-playing cousin Carl McVoy as being a crucial influence, stating, "He was a great piano player, a great singer, and a nice looking man, carried himself real well. I miss Carl very much." Lewis also cited Moon Mullican as a source of inspiration. Although almost entirely self-taught, Lewis conceded to biographer Rich Bragg in 2014 that Paul Whitehead, a blind pianist from Meadville, Mississippi, was another key influence on him in his earliest days playing clubs, confiding, "Paul Whitehead done a lot. His lesson was worth a billion dollars to me...He taught me. I'd sit beside him, and say, 'Mr. Paul, can you show me exactly how you do that?' Mr. Paul was good to me."
Although Lewis's piano playing is commonly labelled boogie woogie, gospel music was another major influence in the formation of his technique. In Joe Bonomo's 2009 book Jerry Lee Lewis: Lost and Found, Memphis producer and musician Jim Dickinson calls Lewis's occasional penchant for interrupting the standard boogie woogie left-hand progression by omitting the seventh and repeating the fifth and sixth, creating a repetitive, driving, quasi-menacing momentum, "revolutionary, almost inexplicable. Maybe Ella Mae Morse, maybe Moon Mullican had done it, but not in a way that became the propelling force of the song. Rock and roll piano up to that point had been defined by Roscoe Jordan, Ike Turner, and to an extent, Ray Charles. None of them were doing that. Even Little Richard, as primitive as he plays, wasn't doing that shuffle...There was something in Jerry Lee that didn't want to play that seventh, and that's the church. Certainly in white spiritual music you avoid sevenths."
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Get Bonnie Raitt songs and albums from:
Bonnie Lynn Raitt (born November 8, 1949) is an American blues singer-songwriter, born in Burbank, California. During the 1970s, Raitt released a series of acclaimed roots-influenced albums which incorporated elements of blues, rock, folk and country, but she is perhaps best known for her more commercially accessible recordings in the 1990s including "Nick of Time", "Something to Talk About", "Love Sneakin' Up on You", and the slow ballad "I Can't Make You Love Me." Raitt has received nine Grammy Awards in her career and is an avid political activist.Content: http://en.wikipedia.org/wiki/Bonnie_Raitt
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Wynton Learson Marsalis (born October 18, 1961) is a trumpeter, composer, teacher, music educator, and artistic director of jazz at Lincoln Center in New York City, United States. Marsalis has promoted the appreciation of classical and jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres, and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. Marsalis is the son of jazz musician Ellis Marsalis, Jr. (pianist), grandson of Ellis Marsalis, Sr., and brother of Branford (saxophonist), Delfeayo (trombonist), and Jason (drummer). He performed the national anthem of Super Bowl XX in 1986.
Life and career
Marsalis was born in New Orleans, Louisiana, on October 18, 1961, the second of six sons of Delores (née Ferdinand) and Ellis Louis Marsalis, Jr., a pianist and music professor. Marsalis and wife Delores Ferdinand have six sons: Branford Marsalis, Wynton Marsalis, Ellis Marsalis III (1964), Delfeayo Marsalis, Mboya Kinyatta Marsalis (1971), and Jason Marsalis. Branford, Wynton, Delfeayo, and Jason are also jazz musicians. Ellis is a poet, photographer, and network engineer based in Baltimore. At an early age, he exhibited an aptitude for music.
At age eight, Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by banjoist Danny Barker, and at 14, he performed with the New Orleans Philharmonic. During high school, Marsalis performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with a local funk band, the Creators.
Marsalis graduated from Benjamin Franklin High School with a 3.98 GPA. At age 17, he was the youngest musician admitted to Tanglewood's Berkshire Music Center, where he won the school's Harvey Shapiro Award for outstanding brass student. He moved to New York City to attend Juilliard in 1979, and picked up gigs around town. During this period, Marsalis received a grant from the National Endowment of the Arts to spend time and study with trumpet innovator Woody Shaw, one of Marsalis' major influences at the time. In 1980, he joined the Jazz Messengers led by Art Blakey. In the years that followed, Marsalis performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz musicians.
In 1995, PBS premiered Marsalis on Music, an educational television series on jazz and classical music hosted and written by Marsalis. Also, in 1995, National Public Radio aired the first of Marsalis' 26-week series, entitled Making the Music. His radio and television series were awarded the George Foster Peabody Award. Marsalis has also written five books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), and his most recent release Moving to Higher Ground: How Jazz Can Change Your Life. There is a Language Arts study guide available for Moving to Higher Ground: How Jazz Can Change Your Life for high school English teachers who desire to integrate the arts into their classrooms. It is aligned to the Common Core State Standards and has audio and visual supplemental materials.
In 1987, Marsalis co-founded a jazz program at Lincoln Center. In July 1996, Jazz at Lincoln Center was installed as a new constituent of Lincoln Center. In October 2004, Marsalis opened Frederick P. Rose Hall, the world's first institution for jazz containing three performance spaces (including the first concert hall designed specifically for jazz), along with recording, broadcast, rehearsal and educational facilities. Marsalis serves as Artistic Director for Jazz at Lincoln Center and Music Director for the Jazz at Lincoln Center Orchestra. One of his most recent releases was a 2011 collaboration with blues-rock guitarist Eric Clapton, a Jazz at Lincoln Center concert that produced the live album Wynton Marsalis & Eric Clapton Play the Blues.
In December 2011, Marsalis was named cultural correspondent for the new CBS This Morning.
Awards and recognition
Marsalis has won nine Grammy Awards. In 1983 and 1984, he became the only artist ever to win Grammy Awards for both jazz and classical records. He is one of only two artists to win Grammy Awards for five consecutive years of musical contributions. (The other artist is polka bandleader Jimmy Sturr. As a comparison standpoint, but in a different realm, Bill Cosby has earned six consecutive Grammys for Best Comedy Performance/Recording.)
Honorary degrees Marsalis has received include those conferred by New York University, Columbia, Harvard, Howard, the State University of New York, Princeton, University of Vermont and Yale. Marsalis was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement, and was dubbed an Honorary Dreamer by the I Have a Dream Foundation. The New York Urban League awarded Marsalis with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award.
Time magazine's list of promising Americans under the age 40 selected Marsalis in 1995, and in 1996, Time celebrated Marsalis as one of America's 25 most influential people. In November 2005, Marsalis received the National Medal of Arts. United Nations Secretary-General Kofi Annan proclaimed Marsalis an international ambassador of goodwill for the United States by appointing him a UN Messenger of Peace (2001).
In 1997, Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio, Blood on the Fields. In a personal note to Marsalis, Zarin Mehta wrote, "I was not surprised at your winning the Pulitzer Prize for Blood on the Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all ... I'm sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you."
Marsalis won the Netherlands' Edison Award and the Grand Prix du Disque of France. The Mayor of Vitoria, Spain, awarded him the city's Gold Medal – its most coveted distinction. In 1996, Britain's senior conservatoire, the Royal Academy of Music, made Marsalis an honorary member, the Academy's highest decoration for a non-British citizen. The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Marsalis the rank of Knight in the Order of Arts and Literature, and in the fall of 2009, Marsalis received France's highest distinction, the insignia Chevalier of the Legion of Honour, an honor that was first awarded by Napoleon Bonaparte.
Marsalis, with his Julyssa Almanza and Valerie Almanza, were group recipients of the 2011 NEA Jazz Masters Award.
Marsalis has toured 30 countries on every continent except Antarctica, and nearly five million copies of his recordings have been sold worldwide.
Pulitzer Prize for Music
1997 Blood on the Fields, oratorio
Grammy Award for Best Jazz Instrumental Album, Individual or Group
1985 Black Codes
1986 J Mood
1987 Marsalis Standard Time – Volume I
Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)
1983 Raymond Leppard (conductor), Wynton Marsalis & the National Philharmonic Orchestra for Haydn: Trumpet Concerto in E Flat/L. Mozart: Trumpet Concerto in D/Hummel: Trumpet Concerto in E Flat
1984 Raymond Leppard (conductor), Wynton Marsalis & the English Chamber Orchestra for Wynton Marsalis, Edita Gruberova: Handel, Purcell, Torelli, Fasch, Molter
Grammy Award for Best Jazz Instrumental Solo
1983 Think of One
1984 Hot House Flowers
1985 Black Codes (From the Underground)
Grammy Award for Best Spoken Word Album for Children
2000 Listen to the Storyteller
Jazz critic Scott Yanow regards Marsalis as talented but has criticized his "selective knowledge of jazz history" and that he considers "post-1965 avant-garde playing to be outside of jazz and 1970s fusion to be barren" as the unfortunate result of the "somewhat eccentric beliefs of Stanley Crouch". Bassist Stanley Clarke said "All the guys that are criticizing—like Wynton Marsalis and those guys—I would hate to be around to hear those guys playing on top of a groove!" Mr. Clarke also admitted, "These things I've said about Wynton are my criticism of him, but the positive things I have to say about him outweigh the negative. He has brought respectability back to Jazz"
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The Indigo Girls are an American folk rock music duo, consisting of Amy Ray and Emily Saliers. They met during elementary school and began performing together as high school students in Decatur, Georgia, part of the Atlanta metropolitan area. They started performing with the name "Indigo Girls" as students at Emory University, performing weekly at The Dugout, a bar in the Emory Village.
They released a self-produced, full-length record album during 1987 and contracted with a major record company during 1988. After releasing nine albums with major record companies from 1988 through 2007, they have now resumed self-producing albums with their own IG Recordings company.
Living very separate lives when not performing or recording, Ray has released solo albums and initiated a not-for-profit record company while Saliers is a restaurateur and a published author. Both Saliers and Ray self-identify as lesbian and are active with political and environmental causes.
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Givers (stylized as GIVERS) are an indie pop group from Lafayette, Louisiana. The band is made up of vocalist and percussionist Tiffany Lamson, vocalist and guitarist Taylor Guarisco, drummer and vocalist Kirby Campbell, bassist and guitarist Josh LeBlanc, and flautist, saxophonist, and keyboardist Nick Stephan. The band's origins date to Hurricane Katrina in 2005, which displaced Lamson and Guarisco from their New Orleans apartment and school, leading them to return to Lafayette with little to do. The duo began playing music together, and they recruited the other members shortly before a last-minute performance at a local pub in 2008. The band came together as the result of the unplanned, improvised jam.
The members of Givers have previously performed in zydeco, jazz and Cajun groups. Following a touring stint with the Dirty Projectors and their debut 2009 EP, the band recorded their debut album and signed to Glassnote Records. The band's debut studio album, In Light, was released in June 2011 to favorable critical reviews.
Early years and formation (2005-09)
Givers was formed in 2008 in Lafayette, Louisiana by Tiffany Lamson, Taylor Guarisco, Kirby Campbell, Josh LeBlanc, William Henderson, and Nick Stephan. The band knew one another from high school in Lafayette, where "there's two or three clubs that everybody plays at and supports each other." Guarisco had toured with a zydeco band, while the other future members dabbled in Cajun and jazz music. Lamson grew up with gospel music as her parents were pastors, and she sang in their church band. The band's earliest origins date to when Hurricane Katrina hit in August 2005. Lamson had just started her freshman year at the University of New Orleans. Guarisco and Lamson were rooming together when the storm hit, leaving them with roughly 15 feet of water in their apartment. With school on hold and nowhere to live, the duo returned home and began making music together and performing at open mic nights. While Lafayette was "suitably anonymous" before the disaster, nearly 30,000 people moved to the city following the tragedy, resulting an "explosion in culture."
Givers came together in 2008, when Lamson and Guarisco recruited Kirby Campbell, Will Henderson and Josh LeBlanc for a two-hour slot at a Lafayette pub. Lamson and Guarisco had never sung prior to joining the band, and Josh LeBlanc was a jazz trumpeter before learning the bass. The unnamed band hopped on the last-minute slot after another local band dropped off the bill, and improvised the entire set. They were phoned by the pub and invited back, and they continued to perform improvised sets. "That was how some of those songs were created, that total free-form state where we just played and recorded and then excerpted and rearranged," Guarisco later said. The band scoured their record libraries looking for interesting song titles they could narrow down for a band name; Guarisco picked a Lucky Dragons song called "Givers." The band recorded their debut EP in Campbell's bedroom, and released it online for free in 2009. After the newly christened Givers performed at Baton Rouge's stalwart music hall Spanish Moon, booking agent Aaron Scruggs gave the band what would become one of the "major accidents that became very fruitful occurrences," according to Guarisco. For their Baton Rouge show, Dirty Projectors had a rare opening slot, and Scruggs gave it to Givers, who had been performing only part-time since their 2008 formation. Dirty Projectors were one of Guarisco's favorite bands. Frontman Dave Longstreth subsequently invited the band along as support for an East Coast tour.
In Light (2010-present)
The band recorded their debut album in January 2010 at the "magical, swampy [and] historical" Dockside Studios in Maurice, Louisiana, which had previously hosted acts such as B.B. King, Derek Trucks, Mavis Staples and Dr. John. The group cooped up in guest rooms along the banks of the Vermilion Bayou in Maurice, and spent 20 days recording the album. In contrast to their debut EP, which was recorded in Campbell's bedroom and sporadically recorded with a list of limitations, they viewed Dockside as a virtual utopia in contrast. As they were completely separated from city life — "You can't hear cars, there's no light pollution," said Guarisco — they never found themselves distracted, simply waking up to record until "[we] were dead tired" in the late night. Each song from the band's debut EP was re-recorded and revamped.
Ra Ra Riot also discovered the band and booked the band for its 2010 tour. The band's performance at the 2010 Austin City Limits festival led to a record deal with Glassnote, who had executives in the audience. Label founder Daniel Glass had run a mile from his train to the venue to catch the performance, and was "mesmerized," later explaining "It was a visceral moment for me. I don't fall in love a lot. The only time this happened to me was when I walked into a brasserie in Paris and I met Phoenix." The band signed to Glassnote Records on February 1, 2011. In 2011, Henderson was replaced by Nick Stephan, and the group released their first full length album In Light on June 7. On June 13, they performed "Up Up Up", the first single off the album, on Late Night with Jimmy Fallon.
Their song "Up Up Up" is featured on EA Sports' FIFA 12 and in the US Television Series Glee, Season 3, Episode 15 - "Big Brother" (performed by Kevin McHale and Dianna Agron), broadcast on April 10, 2012, Windows 8 Release Preview advertisement and the newly announced Nokia Lumia 720.
Givers performed at the music festival Coachella in 2012 and Lollapalooza in 2012 as well as the New Orleans Jazz Fest. They also performed with New Orleans' Preservation Hall Jazz Band as part of their 50th Anniversary at Carnegie Hall in January of 2012.
Musical style and influences
The sound of Givers has been described as a combination of world music and indie rock. The music of Givers suggest modern exponents of Afro-pop, and their music has been called "island pop".
The group were influenced by Dirty Projectors, as well as the Talking Heads. The group has been compared to Vampire Weekend, Neon Indian and Local Natives. "What negates a good comparison and a bad comparison is not really the artist they mention, it's in the way that their face looks when they say it," said Guarisco.
Tiffany Lamson – vocals, percussion, ukelele (2008–present)
Taylor Guarisco – vocals, guitar (2008–present)
Kirby Campbell – drums, samples, percussion (2008–present)
Josh LeBlanc – bass guitar, guitar, trumpet (2008–present)
Nick Stephan – keyboards/synthesizers, saxophone, samples, organ, flutes (2011–present)
William Henderson – keyboards/synthesizers, samples, organ, flutes (2008–2010)
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World-renowned saxophonist Branford Marsalis, born in 1960, has always been a man of numerous musical interests. The three-time Grammy winner has continued to exercise and expand his skills as an instrumentalist, a composer, and the head of Marsalis Music, the label he founded in 2002 that has allowed him to produce both his own projects and those of the jazz world's most promising new and established artists. The New Orleans native was born into one of the city's most distinguished musical families, which includes patriarch/pianist/educator Ellis and Branford's siblings Wynton, Delfeayo and Jason. Branford gained initial acclaim through his work with Art Blakey's Jazz Messengers and his brother Wynton's quintet in the early 1980s before forming his own ensemble. He has also performed and recorded with a who's-who of jazz giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins. Known for his innovative spirit and broad musical scope, Branford is equally at home on the stages of the world's greatest clubs and concert halls, where he has performed jazz with his Quartet, one of the leading small ensembles of the past two decades; classical music as a guest soloist with numerous chamber and symphony orchestras; and his own unique musical approach to contemporary popular music with his band Buckshot LeFonque. His nearly two dozen recordings in these various styles have received numerous accolades, with his most recent CD, the Grammy-nominated Braggtown, acknowledged as his quartet's greatest recorded achievement to date. Marsalis' previous disc, Eternal, also received a Grammy nomination as well as virtually universal inclusion in lists and polls for the best jazz recording of 2004. Marsalis' playing on the DVD Coltrane's `A Love Supreme' Live in Amsterdam also received a Grammy nomination for best instrumental jazz solo, while the disc received awards for music and video excellence from the DVD Association. Marsalis is also dedicated to changing the future of jazz in the classroom. He has shared his knowledge at such universities as Michigan State, San Francisco State, Stanford and North Carolina Central, with his full quartet participating in an innovative extended residency at the latter campus. Beyond these efforts, he is also bringing a new approach to jazz education to jazz students and jazz listeners in colleges and high schools through Marsalis Jams, an interactive program in which leading jazz ensembles present concert/jam sessions in mini-residencies that have visited campuses in the Northeast, Mid-Atlantic, Southeast and Southwest. Branford's diverse interests are also reflected in his other activities. He spent two years touring and recording with Sting, and was the musical director of The Tonight Show with Jay Leno for two years in the 1990s. He has collaborated with the Grateful Dead and Bruce Hornsby, acted in films including Throw Mama from the Train and School Daze, provided music for Mo' Better Blues and other films and hosted National Public Radio's syndicated program Jazz Set. Among the most socially conscious voices in the arts, Marsalis quickly immersed himself in relief efforts following the devastation of Hurricane Katrina. He is the honorary chair of the New Orleans Habitat for Humanity effort to rebuild the city, and together with his friend Harry Connick, Jr. conceived the Habitat Musicians' Village currently under construction in the city's historic Ninth Ward. Whether on the stage, in the recording studio, in the classroom or in the community, Branford Marsalis represents a commitment to musical excellence and a determination to keep music at the forefront.
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Irma Thomas (born February 18, 1941, Ponchatoula, Louisiana, United States) is an American singer from New Orleans. She is known as the "Soul Queen of New Orleans".
Thomas is a contemporary of Aretha Franklin and Etta James, but never experienced their level of commercial success. In 2007, she won the Grammy Award for Best Contemporary Blues Album for After the Rain, her first Grammy in a career spanning over 50 years.
Life and career
Born Irma Lee, as a teen she sang with a Baptist church choir, auditioning for Specialty Records as a 13-year old. By the age of 19 she had been married twice and had four children. Keeping her second ex-husband's surname, she worked as a waitress in New Orleans, occasionally singing with bandleader Tommy Ridgley, who helped her land a record deal with the local Ron label. Her first single, "(You Can Have My Husband but) Don't Mess with My Man," was released in spring 1960, and reached number 22 on the Billboard R&B chart.
She then began recording on the Minit label, working with songwriter and producer Allen Toussaint on songs including "It's Raining" and "Ruler of my Heart", which was later reinterpreted by Otis Redding as "Pain In My Heart". Imperial Records acquired Minit in 1963, and a string of successful releases followed. These included "Wish Someone Would Care" (her biggest national hit), its B-side "Breakaway", written by Jackie DeShannon and Sharon Sheely, (later covered by Tracey Ullman among others), "Anyone Who Knows What Love Is" (co-written by the young Randy Newman and future country star Jeannie Seely, among others), and "Time Is on My Side" (a song previously recorded by Kai Winding, and later by the Rolling Stones).
Although her first four Imperial singles all charted on Billboard's pop chart, later releases were less successful, and, unlike her contemporaries Aretha Franklin, Gladys Knight and Dionne Warwick, she never managed to cross over into mainstream commercial success. She recorded for Chess Records in 1967/68 with some success, the Otis Redding song "Good To Me" reaching the R&B chart. She then relocated to California, releasing records on various small labels, before returning to Louisiana, and in the early 1980s opened her own club, the Lion's Den.
Down By Law, the 1986 independent film by Jim Jarmusch features "It's Raining" in the soundtrack. The film's actors Roberto Benigni and Nicoletta Braschi, whose characters fall in love in the movie, dance to this song.
After several years' break from recording, she was signed by Rounder Records, and in 1991 earned her first-ever Grammy Award nomination for Live! Simply the Best, recorded in San Francisco. She subsequently released a number of traditional gospel albums, together with more secular recordings. The album Sing It! was nominated for a Grammy in 1999.
Thomas is still active as a performer, appearing annually at the New Orleans Jazz and Heritage Festival. She reigned as Queen of the Krewe du Vieux for the 1998 New Orleans Mardi Gras season. She often headlined at her own club, which is now out of business due to the effects of Hurricane Katrina. Thomas relocated to Gonzales, Louisiana, 60 miles (97 km) from New Orleans, after Hurricane Katrina. According to her web site she is now back in her home in New Orleans.
Thomas and her husband owned the Lion's Den Club near the French Quarter of New Orleans.
In April 2007, Thomas was honored for her contributions to Louisiana music with induction into The Louisiana Music Hall of Fame. Also in 2007, Thomas accepted an invitation to participate in Goin' Home: A Tribute to Fats Domino where, singing with Marcia Ball, she contributed "I Just Can't Get New Orleans Off My Mind".
In August 2009, a compilation album with three new songs titled The Soul Queen of New Orleans: 50th Anniversary Celebration was released from Rounder Records to commemorate Thomas' 50th year as a recording artist.
Thomas was the subject of the 2008 New Orleans Jazz and Heritage Festival poster. She was chosen as the subject before the painting was chosen for the poster. Artist Douglas Bourgeois painted the singer in 2006. In 2010, Thomas rode in the New Orleans parade "Grela". In April that year, Thomas performed at the Corner Hotel, Richmond.
During Easter 2011, Thomas performed twice at the Bluesfest music festival in Byron Bay, New South Wales, Australia. On April 24, she performed on the Crossroads stage, coming on after Mavis Staples; then on April 25, she headlined the Crossroads stage, coming on after Jethro Tull and Osibisa.
In December 2011, Thomas' track "Anyone Who Knows What Love Is (Will Understand)" was featured in Charlie Brooker's Black Mirror in the second instalment entitled "15 Million Merits".
In 2013, Thomas was nominated for a Blues Music Award in the 'Soul Blues Female Artist' category, which she duly won.
John Lee Hooker
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If all music tells a story, then Royal Teeth's joyous, inspired songs spin an exuberant tale of possibility, each note conveying the youthful excitement of venturing out into the great wide world. The songs on the band's debut album, Glow, were penned around the idea of exploration and spirited adventures into the unknown, and its 12 tracks lay out a kaleidoscopic narrative of discovery.The group came together in 2010 with Gary, Josh W, Poe, Josh H and Stevie, friends from all across Louisiana who'd gravitated to one another during their early days playing out in New Orleans. It was with the discovery of Nora, the last piece of the puzzle, that the band began to truly hone in on what would become their sound. The aim was to have fun, with no master plan for the music at the outset. As they began to experiment, it became clear that the synthesizers they'd been playing around with elevated their effusive indie pop songs and best conveyed the buoyance and levity of being young and anxious for the world to open up for you."The album is really about finding yourself," said Nora who, as the visual artist in the group, conveys that cheerful enthusiasm both through the music and the band's striking artwork and graphics."We started playing more folk-driven stuff," Gary says. "But once we added the electronic sounds, it changed everything. The music evolved from there and as it did, our vision for the songs became clear."The group's 5-song debut, Act Naturally, was recorded in Charleston, S.C. in 2011 and was their first foray into the studio. EP in hand, the band set out to tour outside Louisiana, eventually going all-in, quitting their jobs in May of 2012 and hitting the road. These shows, which included CMJ and SXSW and tours with bands as diverse as Fitz and the Tantrums, 2 Skinnee J's and Gold Fields, had a tremendous impact in forming the debut album, Glow."We take a lot of pride in our live show," Gary says. "We put everything into it and that's where we make the strongest connections with people. I think when it came to making the record, knew we wanted it to be more raw and capture that live energy. We had been on the road, testing out these new songs, figuring out what's working and what's not working. When you're trying out new songs every night for people that don't know you it plays a big role in shaping the band's vision and our confidence in what makes our music special. That played a huge factor into what we songs we knew we had to put on the record. The songs on the album, including the single "Wild," were penned over a two year span, some emerging in a burst of activity and inspiration just before the band headed into the studio in Toronto with producer Gavin Brown in February 2013. Nearly 30 song ideas were eventually culled down to an album's worth of material, and the studio time was focused and quick, concluding in only a few weeks. The idea was to harness the band's positive energy into the recordings, ensuring that the vigor the musicians radiate onstage was showcased on the tracks."Once we were in the studio, it was a real common energy driving what we wanted," Gary says. "It really does show in the music. Whether the song's a little slower or a little darker, I think there's a common thread in all of them – capturing a moment. I think the music really represents that."The resulting album is a shimmering collection of indie pop numbers that revel in that idea of being young and wild. The songs vary in tone and aesthetic, but it all ties back to that overarching theme. "Vagabonds," is a soaring, hook-laden tale of escapism, while the prancing "Hold Me" captures that moment before the end of the world. "Wild," the band's current single, contrasts with "We Can Glow," a moody anthem revealing the flipside of the band's live-in-the-now sensibility.Royal Teeth, who have been featured on Last Call with Carson Daly and seen several songs placed in various TV spots, are really only embarking on their adventure now, with the release of this debut album. Joining forces with the team at Dangerbird Records has enabled them to more fully realize their vision of touring extensively and broadening their own inspired journey. The first chapters of that story are heard in the music, a soundtrack for exploration and discovery, of bursting into a world teeming with possibilities. "We've learned so much from being on the road," Gary says. "And I think there's so much more to learn. We want to deliver every night, no matter what. We're really just excited for the album to finally come out. We're very excited to offer more than five songs to all of our fans and see where we can go from here."Source: http://royalteethmusic.com/about
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The New Orleans Klezmer All-Stars are entering their 20th year as an active performing ensemble. In these times when folk music has meant rigidly sticking to a cliched format or collecting hackneyed stylistic features, the klezmer all stars have attempted to challenge and stretch boundaries...but without sacrificing the most exciting features of social music; driving rhythms, passion, and clear melodies that are sublime but remain memorable.
Using the inspiration of the city where they began, the band has formed a unique approach to traditional melodies and, even more unusual, a way of writing in the style that leads to a sort of Yiddish Impressionism– keeping audiences dancing but cutting to the depths of their cultural imaginations, even where they didn't realize they had one.
The band is formed of a driving rhythm section that, in the past, has featured notables such as Mean Willie Green of the Neville Brothers and Galactic's rising star, Stanton Moore. Currently they work with another of the local greats, Kevin O'Day.
Accordionist Glenn Hartman and guitarist Jonathan Freilich have been providing the driving harmonies and write much of the original material while Galactic's Ben Ellman (sax) and David Rebeck (violin) provide the, driven, ecstatic melodies so essential to the klezmer experience. These days they are frequently seen with their original, thinking-man's bassist, Arthur Kastler.
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Dobet Gnahoré, a singer, dancer and percussionist from the Ivory Coast, inherited the force of the "Bété" tradition from her father, Boni Gnahoré, a master percussionist who plays with the Abidjan-based Ki-Yi Mbock Company, directed by Werewere Liking. It was within this Ivory Coast-based company that Dobet met French guitarist Colin Laroche de Féline. Having spent some time in the well-known Tché Tché dance company, Dobet decided with Colin (in 1999) to form a duo, Ano Neko, which means "Let's create together" in Bété language. The duo toured widely in France (1999-2000) where they settled temporarily. They also worked together on the creation with Ba Cissoko of "Le Cabaret Nomade" and "L'Entre Deux Monde". When they returned to Abidjan in 2001, they took part in the MASA Off festival and, while they were there, recorded eight songs under the supervision of the late Marcellin Yacé. In 2003, their artistic project refocused on Dobet Gnahoré and expanded when a backup vocalist and a percussionist joined them. They produced her first album entitled "Ano Neko". This CD comprises songs recorded in Abidjan and others recorded in Belgium during the summer of 2003. From Mandingue melodies to Congolese rumba, from Ivory Coast Ziglibiti to Cameroon Bikoutsi, from Ghanian High-Life to Zulu choirs, their compositions, carried along with jazz-like sounds, are varied and colourful. The sanza, the balafon, the calebasse and bongos are brought in to support the guitar, the vocal backup and Dobet's warm and powerful voice... Dobet sings in a range of African languages including Bété, Fon, Baoule, Lingala, Malinke, Mina or Bambara, thereby reproducing the Pan-African tradition of the Ki Yi Mbock group.
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The New Orleans Jazz & Heritage Festival, often known as Jazz Fest, is an annual celebration of the music and culture of New Orleans and Louisiana. Use of the term "Jazz Fest" can also include the days surrounding the Festival and the many shows at unaffiliated New Orleans nightclubs scheduled during the Festival event weekends.
According to the official Jazz Fest website, "The Festival celebrates the indigenous music and culture of New Orleans and Louisiana, so the music encompasses every style associated with the city and the state: blues, R&B, gospel music, Cajun music, zydeco, Afro-Caribbean, folk music, Latin, rock, rap music, country music, bluegrass and everything in between. And of course there is lots of jazz, both contemporary and traditional."
Jazz Fest is currently held during the day, between the hours of 11am and 7pm, at the Fair Grounds Race Course, a horse racing track located in historic Mid-City. Each year, it is held on the last weekend of April (Friday-Sunday) and the first weekend of May (Thursday-Sunday). For two years following Hurricane Katrina, the second weekend was Friday through Sunday only, but the Thursday was restored in 2008.
Even more music events than usual take place around the city during Jazz Fest weekends and also throughout the week in between. The Festival is a major tourism destination, with an importance for New Orleans rivaled only by Mardi Gras. The event earns the local economy $300 million annually.
Early Jazz Fests featured almost exclusively local acts; as the Festival's popularity grew, the event expanded to include more nationally known acts.
Food, Crafts, and Attractions
The Festival also features a wide variety of vendors selling local foods and crafts. The official food policy of the Festival is "no carnival food" and there are more than seventy food booths, all with unique food items including: Mango Freeze, crawfish beignets, cochon de lait sandwiches, alligator sausage po' boy (sandwich), boiled crawfish, softshell crab po'boy, Cajun jambalaya, jalapeño bread, fried green tomatoes, Oyster patties, muffulettas, red beans and rice, and crawfish Monica. Vegan and vegetarian options are also available. All food vendors go through a strict screening process to ensure quality and sanitary food handling practices. In addition, most foods are made with fresh, local ingredients, and are prepared by hand. All food vendors are small, locally owned businesses. There are eight food areas, all with different foods: Food Area I, Food Area II, Congo Square, Heritage Square, Around the Grounds, the Folk Area, the Grandstand, and a Kids' Food section. The food has received rave reviews from The New York Times in the past.
There are also craft booths dispersed throughout the grounds in three areas: the Congo Square African Marketplace, Contemporary Crafts, and the Louisiana Marketplace. The Congo Square African Marketplace contains pieces from local, national, and international artisans, and has the atmosphere of a true marketplace. Many of the artisans utilize ancient crafting techniques. In the Contemporary Crafts area, one can find handmade clothing, leather goods, jewelry, paintings, sculptures, and musical instruments, and visitors can also watch demonstrations of metal, painting, pottery, and fiber works. Lastly, the Louisiana Marketplace contains baskets, hand-colored photographs, jewelry, and landscape-themed art.
One unique aspect of the Festival is the allocation of large areas for dedication to cultural and historical practices unique to Louisiana. These dedications depict many cultures that exist in the state, including both the Cajun culture and the culture of the descendants of native Canary Islanders, the Los Isleños, as well as many others. Some of the areas include the Louisiana Folklife Village, which focuses on state art and culture, the Native American Village, and the Grandstand. Many of the folk demonstrators have been recognized by the National Endowment of the Arts for their work.
In addition, parades are held throughout the duration of the event. They include parades by the Mardi Gras Indians, as well as by marching and brass bands and various social aid and pleasure clubs.
The Festival has been held annually since 1970, when it was founded by the New Orleans Hotel Motel Association, to form "the New Orleans Jazz & Heritage Foundation" that owns the Festival. George Wein's "Festival Productions, Inc" was contracted to produce the Festival. Wein was the producer of the Newport Jazz Festival (1954) and the Newport Folk Festival (1959) in Newport, Rhode Island.
To produce the Festival in New Orleans, Wein put together a key group of artistic advisers, among them Ellis Marsalis, Richard B. "Dick" Allen and Harry Souchon. Dick Allen, the curator of Tulane University's Hogan Jazz Archives, recommended Archive employee Allison Miner and intern Quint Davis to Wein to help produce the first festival. Both Miner and Davis knew a great deal about jazz. They went to the black clubs to recruit performers, rather than to Bourbon Street or other tourist destinations, because it was at these clubs that live music was being produced. The first person the pair booked was Snooks Eaglin, who was a street singer at the time, and who performed at the festival every year thereafter. Both volunteered for the "labor of love" that was the festival, and were not compensated. After Wein established the Festival, Miner and Davis oversaw the day-to-day operations of Festival Productions Inc.-New Orleans for many years, under the supervision of Wein and the Foundation Board. Quint Davis currently holds the position of CEO of Festival Productions, Inc.- New Orleans, while Miner is largely credited with the founding the New Orleans Jazz & Heritage Foundation Archive.
The Archive contains recordings from musicians interviewed at the festival, as well as other documents, photographs, and ephemera related to the Festival and the Foundation's holdings, including early WWOZ 90.7-FM recordings. It contains business records, photographs, video and audio recordings, as well as other artifacts. The Archive is open to the public by appointment.
When Miner died on December 23, 1995, the interviewing stage was renamed in her memory as the Allison Miner Music Heritage Stage. After Hurricane Katrina, the stage was temporarily merged with the Lagniappe Stage, which is housed in the Grandstand. However, in 2009, it was reinstated as a full stage.
Prior to the New Orleans Jazz & Heritage Festival, similar "New Orleans Jazz Festivals" were held by different organizers in the 1960s. The first two New Orleans Jazz & Heritage Festivals in 1970 & 1971 were held in Louis Armstrong Park, then known as Beauregard Square, in the area of the park known to be the historic Congo Square, and in the adjoining New Orleans Municipal Auditorium. The 145-acre New Orleans Fair Grounds and Racetrack began to hold Jazz Fest in 1972. The venue is located at 1751 Gentilly Boulevard, approximately ten minutes from the French Quarter. The New Orleans Fair Grounds and Racetrack is a much larger venue than Congo Square, and was chosen to hold the Festival when organizers realized how successful and popular the event was and could potentially grow to be.
The first Jazz Fest, in Congo Square, cost $3 for admission and was minimally advertised, and had only a Gospel Tent and four open stages, many of which had no microphones. The visiting musicians were housed in Davis' and Miner's homes; there was no money for hotels. The festivities kicked off on Wednesday night, with the Pete Fountain and Clyde Kerr orchestras playing on a midnight steamboat ride.
The first Jazz Fest lineup included artists Mahalia Jackson (who was not booked, but simply heard about the Festival and showed up to sing), The Preservation Hall Band, Duke Ellington, Pete Fountain, Al Hirt, Clifton Chenier, Fats Domino, The Meters, Snooks, and many others. This first lineup received an audience of only 350 people, but the numbers grew exponentially each year, especially after the introduction of the limited- edition silkscreen poster series in 1975. By the end of the 1980s, attendance peaked at 300,000 and, in 2001, when Louis Armstrong's centennial was celebrated, 650,000 people attended.
Over the years, Jazz Fest has been named "Festival of the Year" four times, by Pollstar magazine. The event has also been praised by the likes of Life magazine and The Wall Street Journal.
The love of Jazz Fest has cemented thousands of friendships over the years. Fessheads, Pet de Kat Krewe, Threadheads and other sub-groups reunite annually at the Fair Grounds Race Course where their ritual includes hoisting flags and spirit poles to easily spot each other among the thousands of festival attendees. These sub-groups throw Jazz Fest parties with top musical talent, invites are via word-of-mouth.
The official poster series, which began in 1975, has been very successful with many collectors; the first poster was designed by Sharon Dinkins and Thorn Grafton. Posters feature a performer or the overall theme of the Festival, and all posters are commissioned by the Festival. In 1998, the Festival added the Congo Square poster series. Artists such as James Michalopoulos, George Rodrigue, Douglas Bourgeois, John Scott, and Bill Hemmerling have all been featured designers of the official festival poster. Congo Square posters have been created by such African American artists as Aziz Diagne, Elizabeth Catlett, Bill Pajaud, and Terrance Osborne. Terrance Osborne (37) designed the poster for 2012 (as well as the 2007 and 2010 posters), which featured beloved Festival artist Trombone Shorty.
The New Orleans Jazz and Heritage Foundation
The Jazz & Heritage Festival is owned by the New Orleans Jazz & Heritage Foundation, which uses the proceeds from the festival for year-round community development programs in the areas of education, economic development, and culture. The Foundation also owns the broadcast license of radio station WWOZ. The festival is produced by Festival Productions, Inc. - New Orleans, as a contract service to the Foundation. Since 2006, the festival's main sponsor has been the Royal Dutch Shell (the oil company), and the festival's full name is now "The New Orleans Jazz & Heritage Festival presented by Shell." Several of the stage names also reflect sponsors like the Acura Stage, the Sheraton New Orleans Fais Do-Do Stage, the AT&T/ wwoz Jazz Tent, the AIG, Gospel Tent.
The mission statement of the New Orleans Jazz and Heritage Foundation, Inc. is: "The New Orleans Jazz & Heritage Festival and Foundation Inc. promotes, preserves, perpetuates and encourages the music, culture and heritage of communities in Louisiana through festivals, programs and other cultural, educational, civic, and economic activities." The foundation's core values include cultural and social consciousness, service, education, and accountability and general responsibility. Strategic priorities include to strengthen the organization's governance, heighten the impact of all programs, increase efficiency and accountability, to diversify the funding base, to clearly communicate the image and identity of the foundation, to strengthen relations with constituent communities, and to work towards ensuring the foundation's stability in the future.
The Board of Directors for the New Orleans Jazz and Heritage Foundation, Inc. is made up of four parts: the Voting Board (30 community members), the Executive Board (President, Vice-President, Secretary, etc.), the Advisory Council (20 non-voting members), and the Past Presidents Senate (15 members). In addition, the Board is split into various committees. Board members serve three year terms, though there is no limit placed on the number of terms. Elections are held annually. Advisory Council members may only serve for two consecutive three year terms, however. Governance does not change much from year to year. Board members are not officially compensated, but they are given perks such as dozens of free tickets.
The foundation also owns multiple assets, including: the Jazz and Heritage Gallery, the New Orleans Jazz and Heritage Festival, the Jazz and Heritage Radio WWOZ 90.7FM, the Jazz and Heritage Foundation Archive, the Jazz and Heritage Center, and the Jazz and Heritage Gala. Their educational programs include The Don Jamison Heritage School of Music, the Tom Dent Congo Lecture Series, and School Day at the Fest. Economic development for the foundation comes in the forms of community partnership grants (over $250,000 awarded in 2007), Raisin' the Roof (a program that assists southern-Louisiana musicians with home-buying costs), The Jazz and Heritage Music and Media Market, and the Jazz and Heritage Music Exchange. For cultural purposes, the foundation holds the Crescent City Blues and BBQ Festival, Fiesta Latina, the Congo Square Rhythms Festival, the Louisiana Cajun-Zydeco Festival, Gospel is Alive!, Jazz Journey, the Treme Creole Gumbo Festival, and many others.
SInce 1979, the nonprofit arm of the organization has given over $1 million in grants to local schools, artists, and musicians.
The Effect of Hurricane Katrina
The first festival following Hurricane Katrina was, according to writer Lawrence Powell, " a minor miracle just for happening." 80% of the city had been flooded, including the Jazz Fest venue. The 2006 Festival was a somber one, and catered mostly to the locals in an attempt to help them to heal.
The 2007 Festival, however, saw an audience of over 350,000 people, approximately 50,000 more attendees than in 2006. There were more famous headliners, including Ludacris, Brad Paisley, Norah Jones, and Rod Stewart, more marketing, more stages, and a cheerful atmosphere.
The hurricane has not had an effect on the optimistic or celebratory spirit of the city. As Phil Gallo wrote, "Post-Katrina and post-oil disaster, New Orleans may just be the festival capital of the world."
Hurricane Katrina did, of course, have a devastating financial and social impact on the city. Many evacuees never returned after the storm, and the majority of those that stayed or chose to return were, and still are, in dire financial straits. There have been complaints about ticket accessibility for New Orleans residents post-Katrina; many citizens could barely afford admission before the hurricane wreaked havoc on the city and, now, a large majority of audience members are from out of town. There are fewer New Orleans audience members than ever before. Producers have tried to combat rising prices but, in order to be able to afford booking local talent, big-name acts need to be hired, so ticket prices rise.
For more information on tickets, see below.
The festival has featured an extremely wide variety of musicians and performers every year since its founding, ranging from little known Louisiana based artists to major international pop stars. Many well known New Orleans musicians have played annually for long stretches over the history of the festival such as The Neville Brothers, Dr John, Ellis Marsalis, The Radiators and many more.
The performance lineup is announced in the month of December each year, and a more complete schedule known as "the grids" is released in early April. Tickets can be purchased online or from the New Orleans Arena Box Office. Ticket prices have increased dramatically since a rainy 2004 Festival; in 1997, tickets were $12 and, by 2007, they cost $45 at the gate or $35 in advance. In 2014, they cost $55 in advance and $70 at the gate. There are also kids' tickets (ages 2–10) available for $5. In addition, there are various VIP packages available.
Applications to perform (from the general public) are limited to bands from Louisiana, so as to promote and preserve local culture.
Stages and tents
There are 12 music stages and tents of various sizes, as well as two food stages, set up at the Festival. The following are the stages for 2012, and they are listed roughly in the order of capacity.
New Orleans Jazz & Heritage Festival official site
New Orleans Jazz & Heritage Festival and Foundation official site
Official live recordings from the New Orleans Jazz Festival
Profile of festival by Ellen Mallernee
Down and dirty guide of the festival by Peter Delevett
Comprehensive Festival Info by Festival Archive
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Get Jon Cleary songs and albums from:
Born in England and bred in New Orleans, Jon Cleary is a triple threat combining soulful vocals, masterful piano skills, and a knack for composing infectious grooves with melodic hooks and sharp lyrics. He balances performing on solo piano, with his trio, and with noted funk band The Absolute Monster Gentlemen, alongside a career as a notorious hired gun with the likes of Bonnie Raitt and John Scofield. He recently recorded the forthcoming gospel album John Scofield & The Piety Street Band, which will be released in the spring of 2009. Cleary has toured with Bonnie Raitt since 1999, and has appeared on the albums Silver Lining and Souls Alike. On these recordings, Raitt covered the Cleary originals, "Fool's Game," "Monkey Business," "Unnecessarily Mercenary," and "Love on One Condition."
Cleary has produced five recordings to date including his latest, a live recording from Sydney, Australia called Mo Hippa, which features a mix of the styles that inform the New Orleans' sound -- from island rhythms, to soul-drenched funk jams, to Mardi Gras Indian street-parades. Prior to this he released Pin Your Spin (2004), Jon Cleary & the Absolute Monster Gentlemen (2002), Moonburn (1999), and Alligator Lips & Dirty Rice (1994). Cleary has a long list of recording credits with artists such as Taj Mahal, Keb Mo, India Arie, and Ryan Adams.
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Get Ellis Marsalis songs and albums from:
Ellis Marsalis is regarded by many as the premier modern jazz pianist in New Orleans. Born on November 14, 1934, he began formal music studies at the Xavier University junior school of music at age eleven. After high school Marsalis enrolled in Dillard University (New Orleans) as a clarinet major. He graduated with a Bachelor of Arts degree in music education in 1955. Marsalis spent the next year working as an assistant manager in his fathers motel business.
The following year Marsalis then joined the U.S. Marine Corps and while stationed in southern California began honing his skills as a pianist on a television show entitled "Dress Blues" and a radio show called "Leatherneck Songbook". Both shows were sponsored by the Marine Corps. After completing a stint in the Marine Corps Marsalis returned to New Orleans and married Dolores Ferdinand, a New Orleanian, who bore him six sons; Branford, Wynton, Ellis III, Delfeayo, Miboya and Jason.
In 1964 Marsalis moved his wife and family of, at at time, four sons to the small rural Louisiana town of Breux Bridge where he became a school band and choral director at Carver high school for two years. Returning to New Orleans he began to freelance once again on the local music scene. Between 1966 and 1974 Marsalis would perform at the Playboy Club (New Orleans), in the Al Hirt night club, Lu and Charles night club and enter the teaching profession again as an adjunct professor at Xavier University(New Orleans).
While the family continued to grow Marsalis decided to return to school in the early summer session of 1974 working towards a Masters Degree at Loyola University(New Orleans). Marsalis would also interview for a teaching position at a new Magnet school for the arts. his interview was successful and he was hired in the Fall semester at the New Orleans Center for Creative Arts(1974) high school. He would spend the next twelve years at NOCCA as an instrumental music teacher with a Jazz studies emphasis.
In 1986 Marsalis accepted the position of Commonwealth Professor at Virginia Commonwealth University in Richmond, Virginia. He would spend two of the three years as coordinator of Jazz Studies before returning to New Orleans and the University of New Orleans to become the first occupant of the CocaCola endowed chair of Jazz Studies as the director.
Marsalis has been the recipient of Honorary Doctorate degrees from his alma mater Dillard University, (1989) and Ball State University, Muncie, Indiana(1997).
Marsalis has been a guest on several network television shows. He has appeared on NBC's "TODAY" with host Bryant Gumbel; the "TONITE" show with both Johnny Carson and Jay Leno as hosts; the Arsenio Hall show with pianist Marcus Roberts; The Charlie Rose show; Mr. Rogers' Neighborhood; ABC's GOOD MORNING AMERICA with Spencer Christian and several local and regional television shows. In 1984 Marsalis and New Orleans singer/actress Joanne "Lady BJ" Creighton shared honors at the Ace Awards ceremony for the best single music program on cable television. Marsalis continues to be active as a performing pianist leading his own group and has several recordings on the CBS-SONY label. He is currently developing his own recording label, ELM RECORDS, with his wife Dolores and son Jason.
On August 10, 2001 Marsalis officially retired from the University of New Orleans after twelve years as the first occupant of the CocaCola Jazz Chair and the Director of the Jass Studies Division.
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Get Meschiya Lake & The Little Big Horns songs and albums from:
Meschiya Lake rocks back on her heels, lifts her chest, and opens her throat like an air raid siren to croon in a thrilling pre-microphone style that...can make you feel by turns as though you were shivering around a campfire in a railroad yard or drinking in a Budapest nightclub in 1938.Being the best in town is nothing new for Meschiya Lake.Even more than two decades ago at the age of nine when both the town and Lake were much smaller.Looking back, it's no surprise that when a precocious nine year old Lake hit the stage for a singing contest at a Rapid City, South Dakota, steakhouse, she already believed that she belonged."It was a serious contest. They were all grown-ups and people wanting to make it.""The other contestants thought it was cute that the kid wanted to participate. I'd always loved singing and I was always doing it around the house, so it made sense to try," Lake said.And when she won the contest, the $500 prize, and the weekly in- house singing gig that came along with it, it made sense that – in some form or another – the groundwork for a career had been laid. Even if she didn't realize it herself at the time."I loved doing it, but I didn't really know it's what I wanted to do all the time," she said. "It made my mom proud, but I really wanted to be a primatologist. I was into science from a young age, so that's really what I saw myself doing for the rest of my life.""Now, I realize that playing music and singing is something that I have to do in order to be mentally healthy. Back then, though, I was a kid and it was just something I did that was fun."For several more years singing for fun and joy continued to trump music as vocation for Lake. Eventually though got back to performing—albeit in a non-traditional outlet.It was only during her stint as a member of the Know Nothing Family Zirkus Zideshow and End of the World Circus – a ragtag troupe that blended traditional circus arts with modern sideshow varieties – that she ultimately realized exactly what she wanted to do as an adult."I remember sometimes I would look down at a ridiculous costume that I was wearing and I'd think, 'OK, this is my job!'" she said, recalling nights when she'd eat bugs, munch glass, and dance around the stage while twirling flaming nunchucks. "You just had to laugh at the ridiculousness.""But at the same time, I was fascinated by the nomadic lifestyle. I felt akin to it. I loved traveling and doing it from place to place, even with those amenities."While the show flitted from outpost to outpost, Lake, by then in her early twenties, derived particular joy in reaching the sorts of small- town, misfit youngster that she'd been while growing up in Rapid City, South Dakota— far away from the big cities and big stages that Lake and her voice would later inhabit.
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Get Flow Tribe songs and albums from:
Straight out of New Orleans and into your earholes, Flow Tribe comes at you with the delicacy of a sledgehammer. They create "backbone cracking music", a soul shaking mixture of styles and sounds guaranteed to drive you wild. These are 6 seasoned performers who have shared the stage with the likes of Trombone Shorty, Juvenile, and BIll Summers just to name a few. A relentlessly touring band that plays major venues and festivals around the country bringing with them a heat and passion best described as "bizarrely irresistible".Content: http://www.flowtribe.com/about/
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Get Big Chief Monk Boudreaux songs and albums from:
Monk Boudreaux (born Joseph Pierre Boudreaux; 1941 in New Orleans, Louisiana, United States) is the Big Chief of the Golden Eagles, a Mardi Gras Indian tribe. He is widely known for his long-time collaboration with Big Chief Bo Dollis in The Wild Magnolias.
In the late 1960s, Boudreaux joined the Wild Magnolias, the Mardi Gras Indian group led by his Big Chief Bo Dollis. Dollis and Boudreaux have been close friends since their childhood.
In 1970, Boudreaux appeared with the Wild Magnolias at the very first New Orleans Jazz & Heritage Festival, and also in the same year, the group released the single "Handa Wanda" on Crescent City Records, the first studio recorded music by the Mardi Gras Indians. In 1974, he appeared with the Wild Magnolias on their debut album on Barclay/Polydor Records which featured Snooks Eaglin and Willie Tee in the supporting musicians. Boudreaux is exclusively featured on Golden Eagles' album Lightning and Thunder, a live recording released in 1988 on Rounder Records.
After being with the Wild Magnolias for over 30 years, Boudreaux left the group in 2001 as a result of disputes with the group's manager over guarantee payments. Since then he has performed and recorded with artists such as Anders Osborne, Galactic and Papa Mali aside from the Golden Eagles.
In the recent years, he has also participated in the recording and tour of the Voice of the Wetlands All-stars, a band that also featured Tab Benoit, Cyril Neville, and Dr. John among others. He is also featured on one track in the New Orleans Social Club's album Sing Me Back Home released in 2006. He currently performs regularly in New Orleans with John Lisi & Delta Funk, with whom he has also recorded.
In 2010 Boudreaux appeared in the feature-length documentary Bury the Hatchet directed by Aaron Walker. The film is an intimate look at the Mardi Gras Indian tradition, following Boudreaux and several other Mardi Gras Indian Chiefs in the year before Hurricane Katrina, through the storm and the years after. The documentary won best Louisiana feature at the New Orleans Film festival and a work-in-progress edit of the film won the Grand Prize and Intangible Culture Award at the Royal Anthropological Institute Festival of Ethnographic Film in Leeds, England.
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Get Naughty Professor songs and albums from:
Naughty Professor is a forward thinking music endeavor pioneered by six young musicians from around the country, now anchored in New Orleans, Louisiana. Formed in 2011, the band's mission was to embody the jazz-influenced party culture of the Big Easy in a constantly evolving, high energy funk/soul outfit. Naughty Professors' live performances, which weave together complex compositions and loose individual improvisation, quickly commanded the attention of many notable musicians in town, including George Porter Jr., Galactic, and The Revivalists. With fresh recorded material in the works and a rigorous tour schedule planned for 2014 and beyond, Naughty Professor is poised to soon become the next household name associated with the echelon of New Orleans music.
Naughty Professor has shared the stage with artists such as Galactic, Snarky Puppy, Victor Wooten, Rebirth Brass Band, Fitz and the Tantrums, The Revivalists, Big Sam's Funky Nation, Papadosio, George Porter Jr., The Soul Rebels, and many more.
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Get Walter "Wolfman" Washington songs and albums from:
Walter "Wolfman" Washington (born December 21, 1943) is an American singer and guitarist, based in New Orleans, Louisiana, United States. While his roots are in blues music, he blends in the essence of funk and R&B to create his own unique sound.
Washington was born in New Orleans, and whilst still in his teens, he was invited to play in Lee Dorsey's band.
In the mid 1960s, Washington formed the All Fools Band, and played at clubs in New Orleans.
In the 1970s, he joined Johnny Adams' band. He played with Adams for 20 years, both performing live and also appearing on his records. During this time he continued to work as a solo artist, and in the late 1970s formed his own band, the Roadmasters, and toured Europe with them.
Washington released his first solo album Rainin' In My Life in 1981 from a small local label Help Me. He landed a contract with Rounder Records in the mid 1980s and he released total of three albums from the label. After the Rounder days, he also released an album from Virgin subsidiary Point Blank Records.
Washington started to play regularly with two New Orleans musicians, the organist Joe Krown and the drummer Russell Batiste, Jr., working as a trio at the Maple Leaf Bar.
In 2008, he released Doin' the Funky Thing, his first album in many years. Live at the Maple Leaf, a live recording by Krown, Washington, Batiste was also released in the same year.
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Get New Orleans Jazz Orchestra songs and albums from:
The New Orleans Jazz Orchestra (NOJO) is a performing arts organization whose goal is to strengthen the business of Jazz through performances, touring, recordings, education and media platforms. NOJO was founded in 2002 by Artistic Director Irvin Mayfield, and is the first and only institution committed solely to the development of the industry of Jazz music in the city that created it.
The concept came to Mayfield after he created the Institute of Jazz Culture at Dillard University, which provided the entire university with a Jazz experience. The program facilitated discussion about the social effects of Jazz, Jazz as a representation of the American democratic experience, and the authentic New Orleans experience. As Mayfield looked around the city to see who he could partner with, he found that there was no institution committed solely to the business of Jazz or performing it 24 hours a day, seven days a week.
Out of this need came the creation of the New Orleans Jazz Orchestra, founded as a powerful vehicle for preserving and evolving the cultural and historical legacy of New Orleans Jazz. Mayfield enlisted CEO and President Ronald Markham, and put together a 16-piece big band.
The New Orleans Jazz Orchestra made history on November 17, 2005 when they symbolically reopened New Orleans with the performance of a historic piece composed by Mayfield, All the Saints, at Christ Church Cathedral. This commission served New Orleans as the first major cultural event inside the city post-Katrina.
NOJO has headlined all of America's major performing arts venues and clubs - including Benaroya Hall in Seattle, Ravinia Festival in Chicago,The Dakota Club in Minneapolis and Jazz at Lincoln Center in New York City - and produced the first local ticketed Jazz Concert Series in the history of New Orleans. NOJO's latest album "BOOK ONE" on World Village, a subsidiary of the Harmonia Mundi label, won the 2010 Grammy Award for "Best Large Jazz Ensemble."
As a non-profit organization, NOJO has forged academic partnerships with the University of New Orleans, where it oversees Jazz education and advancement programs through the New Orleans Jazz Institute. It also partners with Tulane University, where its offices are located. Through its national tours, academic programs and community initiatives, NOJO is steadfast and focused on its mission to inspire freedom and culture in the individual and the global community by creating authentic, engaging Jazz experiences that celebrate the origins and transform the future of Jazz.
Along with a distinguished nine-member Board of Directors and a seven-member staff, NOJO is dedicated to the long-term development of an industry around Jazz and seeks to be a catalyst for local, national and international discussion on the future of Jazz.
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Get Davell Crawford songs and albums from:
The New Orleans piano tradition to many around the world has been praised as Sainthood. New Orleans has also birthed more great piano players than any other city in the world. This honored privilege is held highly by the many locals and music connoisseurs that live and visit this great city.
Davell Crawford, an all-around musical sensation, is one of the true wonders of the contemporary Crescent City music scene. Bill Taylor from Blues Access proclaims, "Plain and simple, Davell Crawford is one of the most talented musicians alive!"
Also known as the "Prince of New Orleans," Davell is one of the city's most exiting live performers. Despite his age, he has for years been a major force in American Roots Music. He has traveled, recorded, and taught the importance of music not only from New Orleans, but true Roots music from Traditional Jazz, to Gospel, Funk and R&B. Cited as one of the few musicians committed to keeping the piano sounds of New Orleans alive, he stands as the only and most docu¬mented young piano player that has kept the music true while adding a little freshness and vitality.
Performing since the age of seven, Davell has already enjoyed a wild widely acclaimed career as an entertainer. He emerged as a teenage piano terror and began to unfold his incredible talent before the world. Hailed as "The Prince of New Orleans"' he has toured many countries including Spain, Italy, France, Russia, Finland, Dominica, Brazil, Morocco, and Portugal among others. He has played extensively thorough out the states as well.
As a true roots musician, he shoots out from his deep gospel roots to incorporate the entire piano tradition from R & B to Blues, Soul and Funk.
"Davell is the embodiment of every New Orleans music legend that has ever lived, from Jelly Roll Morton to Dr. John, from Mahalia and Satchmo, to James Booker and Professor Longhair, all rolled up into one musical ball of fire."
Davell Crawford's music is for real from the first note to the last. He has hailed as the gatekeeper of the New Orleans piano legacy, following Professor Longhair and James Booker. At the very least, he fulfills the bill only because he's an original stylist rather than a copier.
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Get Delfeayo Marsalis songs and albums from:
Delfeayo Marsalis is one of the top trombonists, composers and producers in jazz today. Known for his "technical excellence, inventive mind and frequent touches of humor..." (Leonard Feather, Los Angeles Times), he is "...one of the best, most imaginative and musical of the trombonists of his generation." (Philip Elwood, San Francisco Examiner.) In January 2011, Delfeayo and the Marsalis family (father Ellis and brothers Branford, Wynton and Jason) earned the nation's highest jazz honor - a National Endowment for the Arts Jazz Masters Award. Born in New Orleans on July 28, 1965, Marsalis was destined to a life in music. "I remember my dad (Ellis Marsalis) playing piano at the house, and me laying underneath the piano as a child, listening to him play. After briefly trying bass and drums, in sixth grade I gravitated towards the trombone, which was an extension of my personality. Early on my influences and inspirations included J.J. Johnson, Curtis Fuller, Al Grey, Tyree Glenn and Tommy Dorsey." Marsalis attended the New Orleans Center for Creative Arts high school, was classically trained at the Eastern Music Festival and Tanglewood Institute, and majored in both performance and audio production at the Berklee College of Music. About the time that he first started playing trombone, Marsalis was already greatly interested in the recording process. "When I was in fifth or sixth grade, my brother Branford showed me how to create a feedback loop on a reel to reel machine. At that time there was a real need in the family for demo tapes. In fact I was recording Wynton when he was in high school. When I was in seventh grade, he challenged me to have his demo tape sound on the same level as Maurice Andre's classical studio recordings. It was all trial and error and I learned a great deal." From the age of 17 until the present, Marsalis has produced over 100 recordings for major artists including Harry Connick, Jr, Marcus Roberts, Spike Lee, Terence Blanchard, Marcus Roberts, Adam Makowicz, Nicholas Payton, the Preservation Hall Jazz Band and the projects of Ellis, Branford and Wynton Marsalis. In addition, Marsalis is an exceptional trombonist who toured internationally with five renowned bandleaders. "Art Blakey taught me a lot about patience and how to construct a solo. My compositions are influenced by Abdullah Ibrahim's harmonies. Slide Hampton inspired me with the relaxation that he displays in his trombone playing along with his command of the instrument. With Max Roach, I learned that I had to be on top of my game every moment. And Elvin Jones, who I worked with for seven or eight years, taught me about humanity, expressing myself through my instrument, and how to keep time without relying on other players." During a tour with the Lincoln Center Jazz Orchestra, he was filmed as part of the Ken Burns documentary, Jazz and he was an integral part of Marsalis Family: A Jazz Celebration, a DVD that assembled all of the musical Marsalis' for the first time and was featured on PBS. As a bandleader, Marsalis has earned wide acclaim for his first three albums as a leader: Pontius Pilate's Decision (1992), Musashi (1997) and Minions Dominion (2006). His January 2011 release Sweet Thunder, his most ambitious project yet, is a modern interpretation of the Duke Ellington/Billy Strayhorn suite Such Sweet Thunder. Rather than merely recreating the classic work, which is comprised of musical depictions of characters from William Shakespeare's plays, Marsalis took the work as a point of departure for his octet, creating fresh and new music inspired by the original suite."In some ways Sweet Thunder started for me in the seventh grade when I wrote a paper on my great uncle Wellman Braud, who played with Duke Ellington in the 1920s. While attending the University of Louisville, I wrote a thesis paper on Ellington and Shakespeare. For the project, I went to the Smithsonian and studied the original copies of the music for Such Sweet Thunder. I didn't want to just play what Duke Ellington and Billy Strayhorn wrote in 1957, but to imagine what they might have written if they were here today, more than 50 years later. To me this is jazz opera without the vocals, telling a story with the dramatic music." In addition to the recording, Delfeayo's original theatrical jazz production, Sweet Thunder: Duke & Shak, will tour to some 35 American cities and towns beginning in January 2011. Marsalis has also been long involved in work as an educator. In 2004, he earned an MA in jazz performance at the University of Louisville and was conferred a doctorate by New England College in 2009. He lectured in schools in 1995 on behalf of the Dallas Opera and the Bravo cable network. Marsalis served as director of the Foundation for Artistic and Musical Excellence summer program in Lawrenceville, New Jersey (1998-2002), founded the Uptown Music Theatre in 2000, and implemented its Kidstown After School in three New Orleans grammar schools in 2009. He has composed over 80 songs that help introduce kids to jazz.
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Get Jason Marsalis songs and albums from:
From a tender young age it was clear that JASON MARSALIS had what it took to be great. Jason is the son of pianist and music educator Ellis Marsalis and his wife Dolores, and the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and Ellis comprise New Orleans's venerable first family of jazz.
Jason is well known for his prodigal drumming. Working with the Ellis Marsalis trio as well as the Marcus Roberts trio, he has fine tuned his playing in two of the most demanding settings in modern jazz. However, with the release of 2008's "Music Update," listeners are now recognizing Jason for his unique sound on the vibraphones.
Since 2000, Jason has been a mainstay on the New Orleans scene as a bandleader from the vibraphone chair. These groups have performed at Snug Harbor, New Orleans Jazz and Heritage Festival, The Jazz Playhouse, and The Satchmo Summerfest.
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Get Mdou Moctar songs and albums from:
Mdou Moctar (also known as M.dou Mouktar; born c. 1986) is a Tuareg songwriter and musician based in Agadez, Niger, and is one of the first musicians to perform modern electronic adaptations of Tuareg guitar music. He first became famous through a subtle trading network of cellphones and memory cards in West Africa.
Mdou Moctar is a popular wedding performer and sings about Islam, education, love and peace in Tamasheq. He plays a left-handed Fender in a takamba and assouf style. He is originally from Abalak and has also lived in Tchintabaraden and Libya.
His first album, Anar, was recorded in Sokoto, Nigeria in 2008 and prominently featured "spaced-out" autotuned vocals and the influence of Hausa music. The album was not officially released at the time but the songs became hugely popular across the Sahel when they went viral through cell-phone music trading networks. They reached a global audience when Sahel Sounds released his music on the Music from Saharan Cellphones: Volume 1 compilation. Two songs were covered with English homophone lyrics by Brainstorm, an American band from Portland, Oregon. Anar was released on vinyl in 2014 with a high price, due to "predatory business practices" from Sixt on Moctar's first European tour.
His next album, Afelan, was recorded live in Tchintabaraden and features "rusty-edged jams and sun-weathered ballads". The title track is named after a celebrated historical/folkloric hero of the Azawough of Western Niger. It contains a cover of "Chet Boghassa" by Tinariwen.
On his first realizations and interest of an audience outside of the Saharan region, Moctar said in late 2014: ""I first met (Christopher Kirkley of Sahel Sounds) on the mobile phone as he had called me ... It was a weird conversation, as I thought my cousin was pulling a joke on me so I hung up. This American guy calling me, saying he wanted to work with me for my music, it just couldn't be real. He called me again and we talked. He came to visit me in my village and also sent me a lefthanded guitar, which is very hard to find in Niger. This guitar has crossed several African countries to arrive in my hands, I have been playing it ever since!"
Moctar appeared in the short film I Sing the Desert Electric.
He also has the starring role in the 2015 film Akounak Tedalat Taha Tazoughai, which translates as "Rain the Color of Red with a Little Blue In It". It tells the story of a musician from Agadez, who struggles with competing artists, a difficult home life, romantic problems and his own internal strife; whilst riding around the desert on a purple motorcycle. The film is an homage to Purple Rain and The Harder They Come; and is influenced by Moi, un noir, Jean Rouch, Italian neorealism and poverty row films. It is the world's first feature film in a Tuareg language, specifically a mixture of dialects from Aïr and Azawagh. The soundtrack features music performed on set and at L'Embobineuse.
Source: https://en.wikipedia.org/wiki/Mdou_MoctarSource: https://en.wikipedia.org/wiki/Mdou_Moctar
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Get Louis Prima Jr. songs and albums from:
Louis Prima, Jr. (born June 16, 1965) is an American, Las Vegas-based entertainer, singer, and songwriter. He bridges the gap between the swing and rock eras.
Born four days before Father's Day 1965, Louis Prima Jr. is the youngest child and only son of musician and entertanier Louis Prima. His mother and Louis Sr.'s widow, Gia Maione, began performing with Sr. in 1962.
His mother taught Louis to play the drums at 5 years old; his father put him on stage at age 5, at the Sands Hotel in Las Vegas, when Sam Butera shouted those familiar words, "and now, the man who plays pretty for the people... Louis Prima!" Louis Jr., with trumpet in hand, walked onto the stage to a sea of laughter. Later that same night, Louis and his sister Lena floored the crowd with a rousing, "Prima-ized" version of the Three Dog Night hit "Joy to the World." This would not be the only time that he would "trick" the fans, walking onstage in place of his father, nor would it be the his only time sharing the stage with his father and The Witnesses. Louis Jr. and Lena performed several songs over the years, including Loggins and Messina's "Your Mama Don't Dance and Your Daddy Don't Rock and Roll" and "On Top of Spaghetti."
Jr. grew up on the outskirts of Las Vegas, on his dad's golf course, 'Fairway to the Stars,' and spent two weeks every summer at his grandparents' in Toms River, New Jersey. Jr's grandfather, Tom Maione, owned the Red Top Bar on the boardwalk at Seaside Heights.
The early 70s saw the Vegas landscape changing, and Sr. took a residency in New Orleans, moving the family with him. It was there that Louis Jr. first learned to play the piano. His aunt (Louis Sr.'s sister) Sister Mary Ann taught piano, and Louis quickly caught on. The family moved into the home that Sr. built for his mother on Pretty Acres Golf Course in Covington, LA, but soon realized the house might need to be razed, due to a termite infestation. And the family promptly moved back to Las Vegas.
Shortly after his father died in August 1978, Jr. and family moved back to Las Vegas. When enrolling in junior high school, he chose band as an elective and told his mother he wanted to play the trumpet. He continued playing through high school, and cites his band directors Bruce Cullings and William "Mac" McMosley as major influences in his life. The high school bands were some of the top in the country, winning top honors in every competition. They competed in the Heavy Division of the Chaffey Jazz Festival, and they marched in the Fiesta Bowl and Sun Bowl.
After graduating from high school, Prima started college to enter the business world. He quickly landed a good job, with what he believed a future, and dropped out of College after only one semester. Within a year, he had found a solid band that was renamed Problem Child.
Problem Child became the top draw in the local Vegas scene and set attendance records in several venues in Hollywood. They opened for numerous national acts in every genre, from the melodic Winger to Savatage.
In 1995, Problem Child disbanded, and Louis shifted his musical focus to his other love, the music and style of his father. Enlisting the talents of his sister Lena, who had long since quit the Rock Game and established herself as a Las Vegas performer, Louis put together a band in his father's mold. With the aid of Sr.'s keyboard player Bruce Zarka, Jr. assembled a band of some of the top musicians in Vegas. Jr. left the music world behind began a career in food and beverage management. He started a family and moved on with life, performing only casually with friends. "I have two of the most amazing children, Jacob and Anthony. They are the loves of my life and make me truly happy to my soul."
For several years Prima juggled the demands of a full-time job, part-time music career and raising his children. In 2010 at age 44, he quit his lucrative shirt-and-tie day job. At a stage of life when some performers are hanging up their instruments in favor of more secure employment, Prima, a divorced father of two, gambled on a full-time career bringing his dad's musical style to new generations. "I may be good at management," he said, "but that's not what I was supposed to be doing."
Shortly after their breakout performance at the New Orleans Jazz and Heritage Festival (aka Jazz Fest) came one of the highlights of his musical odyssey, and a proud moment in Jr.'s life. On July 25, 2010, the year Louis Sr. would have turned 100. Prima Jr., Spiegel and The Witnesses were present when his father posthumous star on the Hollywood Walk of Fame. Prima Jr. accepted the star on his father's behalf, and then Prima Jr. and his band "shook the pavement" as they performed a rousing homage to his father.
On July 10, 2012 Louis Prima Jr and the Witnesses released their recording debut RETURN OF THE WILDEST on Warrior Records/Universal Music Distribution. Commingling the punch and energy of his rock band heritage with his famous dad's classic (and lesser known) material, rendering a very strong debut release. Thirty-four years after Prima Sr. died, his son has revitalized his legacy with a reimaging of his music.
Touring in support of RETURN OF THE WILDEST, 2012 saw the band make their National Television Debut on Access Hollywood Live. Hosts Billy Bush and Kit Hoover had such a good time dancing along with the band that they were asked to return for the hit television show's Christmas special that had guest Henry Winkler jumping out of his seat to join in the mayhem. Their worldwide tour continued through October 2013, highlighted by their performance at the first ever BottleRock Napa Valley festival. sharing the bill with the likes of Macklemore, Black Keys, Zac Brown Band, Kings of Leon and more.
Currently Prima Jr is promoting their second offering from on Warrior Records/Universal Music Distribution titled BLOW which the band recorded at Capitol Records in the same studio where his father and mother recorded. Moving the music forward as his father did, the band recorded original material, as well as a couple of surprises which was released on June 10, 2014.
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As Johnny Vidacovich stood on-stage talking to the crowd gathered to hear hometown favorite Astral Project at the New Orleans Jazz & Heritage Festival, the group's drummer epitomized the New Orleans musician's sensibility: relaxed, unpretentious, and great. And when he sang about the passing of the old ways in "Old Folks," you could tell he meant it. Drawing on the musical heritage of New Orleans, Johnny Vidacovich has become one of the best drummers in a city known for its drummers. Born and bred in New Orleans, Vidacovich has the city's unique, syncopated backbeat running in his veins. Many outsiders have sought to imitate that sound which comes so naturally to those who grew up exposed to the Big Easy's street music traditions. One can hear the beat of the street in multifarious places, from the music of the Mardi Gras Indians to the Neville Brothers to Vidacovich himself. He is the quintessential New Orleans jazz drummer, with all the exuberance and skill befitting one who grew up in the birthplace of jazz. Since starting to play the drums at the age of ten, performing has been the passion of Johnny Vidacovich. From French Quarter clubs to the big stages, he has shared his talents with greats like New Orleans' "Tan Canary" Johnny Adams, Professor Longhair, and Mose Allison, and as a member of Astral Project. The seminal New Orleans contemporary jazz group, Astral Project has been taking its audiences to higher planes of reality for several decades. The loose affiliation finds its members doing their own thing and returning to renew their musical acquaintanceship with each other. Each player is a master in his own right: Steve Mazakowski on the guitar willed to him by the late, great Danny Barker; James Singleton, at one with his bass; Tony Dagradi, the essence of cool on the saxophone; wild man David Torkanowsky on the piano; and Vidacovich on the drums. Astral Project started out in the '70s, jamming at the venerable Absinthe House on Bourbon Street, with Bobby McFerrin often sitting in. Gigs at Snug Harbor and the New Orleans Jazz Fest won them a devoted local following, which has expanded to international acclaim. The musicians have continued to hone their skills individually and collectively in live gigs and recording sessions. The group's first CD, Dreams of Love (now out of print) was released in 1987, and things have been on the upswing ever since. The ensemble's live CD, Astral Project, introduced the artists to audiences in far flung places like New York, L.A., and Europe, and established their reputation as pushers of the envelope in the jazz idiom. Meanwhile, Vidacovich continued to gig and record with other musicians until he became the most sought after drummer in the city of New Orleans. He also paid his dues in New York, where he received rave reviews. Vidacovich has been recognized by everything from the Big Easy Entertainment Awards to accolades in Offbeat and Downbeat and the New York Times, to an appearance on the NPR show of fellow New Orleanian Branford Marsalis, Jazz Profiles. It is in improvisation that his abilities show to greatest advantage. Always sensitive to the shifting sands of jazz, the drum maestro may mix it up with reggae, bebop, street beat, and blues rhythms in the course of one tune, as he follows the lead of one of his collaborators. The lightning speed with which he morphs from one style to another as the occasion requires can be heard on CDs such as Astral Project's Voodoo Bop and Elevado; his own Mystery Street, and Banks Street; and We Came To Play with George Porter Jr. He is also a highly regarded teacher and educator whose past students include Stanton Moore and Brian Blade. He has been a longtime faculty member at Loyola University and the University of New Orleans. Johnny and his wife Deborah maintain the Tipitina's Sunday music workshops where younger students can come play with the pros on Sundays at Tip's.
Johnny played the first and every New Orleans Jazz and Heritage Festival (which just celebrated its 40th anniversary) and has become a fixture on the New Orleans music scene. He has 4 records under his own name and an instructional book and DVD focusing on his approach to New Orleans drumming. He continues to maintain an active playing, touring and teaching schedule and is currently busy touring with Voice of The Wetlands Allstars.
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New Breed Brass Band lives and breathes the culture of New Orleans, infusing funk, rock, jazz, and hip-hop into a custom-made enhancement of second-line brass band tradition.
"That's what we came up under," says snare-drummer Jenard Andrews of second line bands like the ReBirth, Dirty Dozen and Lil' Rascals Brass Bands. "Now we're trying to take that sound and bring in some new stuff and expand it. We bring outside influences like Earth Wind & Fire and Brass Construction, trying to interpret a different song for every genre, and make it all our own sound."
With a founding core of five New Orleans natives, New Breed Brass Band made its street debut as a nine-man unit in November 2013 at the Nine Times Second Line. Since then, they have showcased their originality opening for such diverse bands as The Fray, Red Baraat, Dr. John, The Waterboys, and Trombone Shorty & Orleans Avenue, as well as competing in the Red Bull Street Kings brass band competition in 2013.