Category Archives: Music Calendar

Today: Chuck Berry is 86

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 “Roll over, Beethoven, and tell Tchaikovsky the news.”

Keith Richards Inducts Chuck Berry into the Rock and Roll Hall of Fame (1986):

“Chuck was my man. He was the one who made me say ‘I want to play guitar, Jesus Christ!’…Suddenly I knew what I wanted to do.”
~Keith Richards (1992)

“..if you tried to give rock and roll another name, you might call it ‘Chuck Berry’.”
~John Lennon

“Well, now, Chuck Berry was a rock & roll songwriter. So I never tried to write rock &
roll songs, ‘cause I figured he had just done it.”
~Bob Dylan (to Kurt Loder October 1987)

From Wikipedia:

Birth name Charles Edward Anderson Berry
Born October 18, 1926 (age 86)
St. Louis, Missouri, U.S.
Genres Rock and roll, blues,rhythm and blues
Occupations Musician, songwriter
Instruments Guitar, vocals
Years active 1955–present
Labels Chess, Mercury, Atco
Website www.chuckberry.com

Charles Edward Anderson “Chuck” Berry (born October 18, 1926) is an American guitarist, singer and songwriter, and one of the pioneers of rock and roll music. With songs such as “Maybellene” (1955), “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957) and “Johnny B. Goode” (1958), Chuck Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics focusing on teen life and consumerism and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.

From allmusic – Cub Koda:

Of all the early breakthrough rock & roll artists, none is more important to the development of the music than Chuck Berry. He is its greatest songwriter, the main shaper of its instrumental voice, one of its greatest guitarists, and one of its greatest performers. Quite simply, without him there would be no Beatles, Rolling Stones, Beach Boys, Bob Dylan, nor a myriad others. There would be no standard “Chuck Berry guitar intro,” the instrument’s clarion call to get the joint rockin’ in any setting. The clippety-clop rhythms of rockabilly would not have been mainstreamed into the now standard 4/4 rock & roll beat. There would be no obsessive wordplay by modern-day tunesmiths; in fact, the whole history (and artistic level) of rock & roll songwriting would have been much poorer without him.

  “he wrote all of the great songs and came up with all the rock & roll beats.”
~Brian Wilson

Those who do not claim him as a seminal influence or profess a liking for his music and showmanship show their ignorance of rock’s development as well as his place as the music’s first great creator. Elvis may have fueled rock & roll’s imagery, but Chuck Berry was its heartbeat and original mindset.
….read more over @ allmusic.com 

Johnny B Goode:

While no individual can be said to have invented rock and roll, Chuck Berry comes the closest of any single figure to being the one who put all the essential pieces together. It was his particular genius to graft country & western guitar licks onto a rhythm & blues chassis in his very first single, “Maybellene.”
-Rock and Roll Hall of Fame

 

Legacy:

  • Grammy Lifetime Achievement Award in 1984
  • Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986, with the comment that he “laid the groundwork for not only a rock and roll sound but a rock and roll stance.”
  • The Kennedy Center Honors in 2000
  • being named seventh on Time magazine’s 2009 list of the 10 best electric guitar players of all-time
  • On May 14, 2002, Chuck Berry was honored as one of the first BMI Icons at the 50th annual BMI Pop Awards. He was presented the award along with BMI affiliates Bo Diddley and Little Richard.
  • Berry is included in several Rolling Stone “Greatest of All Time” lists. In September 2003, the magazine named him number 6 in their list of the “100 Greatest Guitarists of All Time”.
  • This was followed in November of the same year by his compilation album The Great Twenty-Eight being ranked 21st in the Rolling Stone’s 500 Greatest Albums of All Time.
  • The following year, in March 2004, Berry was ranked fifth out of “The Immortals – The 100 Greatest Artists of All Time”.
  • In December 2004, six of his songs were included in the “Rolling Stone’s 500 Greatest Songs of All Time”, namely “Johnny B. Goode” (#7), “Maybellene” (#18), “Roll Over Beethoven” (#97), “Rock and Roll Music” (#128), “Sweet Little Sixteen” (#272) and “Brown Eyed Handsome Man” (#374).
  • In June 2008, his song “Johnny B. Goode” ranked first place in the “100 Greatest Guitar Songs of All Time”.
  • Berry’s recording of “Johnny B. Goode” was included on the Voyager Golden Record, attached to the Voyager spacecraft as representing rock and roll, one of four American songs included among many cultural achievements of humanity.
  • Berry was honored alongside Leonard Cohen as the recipients of the first annual Pen Awards for songwriting excellence at the JFK Presidential Library, Boston, Mass. on February 26, 2012
  • Today, at the age of 86, Berry continues to play live.

Album of the day – The Ultimate Chuck Berry (2007)

 

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Today: The late Big Joe Williams was born in 1903 – 99 years ago

Baby, please don’t go
Baby, please don’t go
Baby, please don’t go
Down to New Orleans
You know I love you so
Baby, please don’t go

From Wikipedia

Birth name Joseph Lee Williams
Born October 16, 1903
Crawford, Mississippi, United States
Died December 17, 1982 (aged 79)
Macon, Mississippi, United States
Genres Delta blues
Occupations Musician, songwriter
Instruments Vocals, guitar
Labels Bluebird, Delmark, Okeh, Prestige, Vocalion Records

Joseph Lee Williams (October 16, 1903 – December 17, 1982), billed throughout his career as Big Joe Williams, was an American Delta blues guitarist, singer and songwriter,  notable for the distinctive sound of his nine-string guitar. Performing over four decades, he recorded such songs as “Baby Please Don’t Go”, “Crawlin’ King Snake” and “Peach Orchard Mama” for a variety of record labels, including Bluebird, Delmark, Okeh, Prestige and Vocalion. Williams was inducted into the Blues Hall of Fame on October 4, 1992.

Blues historian Barry Lee Pearson (Sounds Good to Me: The Bluesman’s StoryVirginia Piedmont Blues) attempted to document the gritty intensity of the Williams persona in this description:

“When I saw him playing at Mike Bloomfield’s “blues night” at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard”.

From allmusic.com – Barry Lee Pearson

Big Joe Williams may have been the most cantankerous human being who ever walked the earth with guitar in hand. At the same time, he was an incredible blues musician: a gifted songwriter, a powerhouse vocalist, and an exceptionally idiosyncratic guitarist. Despite his deserved reputation as a fighter (documented in Michael Bloomfield‘s bizarre booklet Me and Big Joe), artists who knew him well treated him as a respected elder statesman. Even so, they may not have chosen to play with him, because — as with other older Delta artists — if you played with him you played by his rules.
….read more over @ allmusic.com 

Here are 2 great videos from youtube with BJW playing live:

Album of the day – The Very Best Of Big Joe Williams

 

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Today: The late Fela Kuti was born in 1938 – 74 years ago

Music is the weapon of the future
~Fela Anikulapo Kuti

Imagine Che Guevara and Bob Marley rolled into one person and you get a sense of Nigerian musician and activist Fela Kuti.
— Herald Sun, February 2011

From Wikipedia:

Birth name Olufela Olusegun Oludotun Ransome-Kuti
Also known as Fela Anikulapo Kuti
Fela Ransome-Kuti
Born 15 October 1938
Abeokuta, Nigeria
Died 2 August 1997 (aged 58)
Genres Afrobeat, Highlife
Occupations Singer-songwriter,instrumentalist, activist
Instruments Saxophone, vocals, keyboards,trumpet, guitar, drums
Years active 1958–1997
Labels Barclay/PolyGram,MCA/Universal, Celluloid, EMI Nigeria, JVC, Wrasse,Shanachie, Knitting Factory
Associated acts Africa ’70, Egypt ’80, Koola LobitosNigeria ’70Hugh MasekelaGinger BakerTony AllenFemi KutiSeun KutiRoy AyersLester Bowie
Website www.felaproject.net

Fela Anikulapo Kuti (15 October 1938 – 2 August 1997), or simply Fela was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.

Music Style

The musical style performed by Fela Kuti is called Afrobeat, which is a complex fusion of Jazz, Funk, Ghanaian/Nigerian High-life, psychedelic rock, and traditional West African chants and rhythms. Afrobeat also borrows heavily from the native “tinker pan” African-style percussion that Kuti acquired while studying in Ghana with Hugh Masekela, under the uncanny Hedzoleh Soundz. The importance of the input of Tony Allen (Fela’s drummer of twenty years) in the creation of Afrobeat cannot be overstated. Fela once famously stated that “without Tony Allen, there would be no Afrobeat”.

Afrobeat is characterized by a fairly large band with many instruments, vocals, and a musical structure featuring jazzy, funky horn sections. The “endless groove” is used, in which a base rhythm of drums, shekere, muted West African-style guitar, and melodic bass guitar riffs are repeated throughout the song. Commonly, interlocking melodic riffs and rhythms are introduced one by one, building the groove bit-by-bit and layer-by-layer to an astonishing melodic and polyrhythmic complexity. The horn section then becomes prominent, introducing other riffs and main melodic themes.

 John Dougan (allmusic):

It’s almost impossible to overstate the impact and importance of Fela Anikulapo (Ransome) Kuti (or just Fela as he’s more commonly known) to the global musical village: producer, arranger, musician, political radical, outlaw. He was all that, as well as showman par excellence, inventor of Afro-beat, an unredeemable sexist, and a moody megalomaniac. His death on August 3, 1997 of complications from AIDS deeply affected musicians and fans internationally, as a musical and sociopolitical voice on a par with Bob Marley was silenced. A press release from the United Democratic Front of Nigeria on the occasion of Fela‘s death noted: “Those who knew you well were insistent that you could never compromise with the evil you had fought all your life. Even though made weak by time and fate, you remained strong in will and never abandoned your goal of a free, democratic, socialist Africa.” This is as succinct a summation of Fela‘s political agenda as one is likely to find. ..read more @ allmusic.com

Teacher Don’t teach Me No Nonsense:

Water No Get Enemy (1975)

Album of the day – Gentleman (1973)

Sam Samuelson – allmusic:

Gentleman is both an Africa 70 and Afro-beat masterpiece. High marks go to the scathing commentary that Fela Anikulapo Kuti lets loose but also to the instrumentation and the overall arrangements, as they prove to be some of the most interesting and innovative of Fela‘s ’70s material. When the great tenor saxophone player Igo Chico left the Africa 70 organization in 1973, Fela Kuti declared he would be the replacement. So in addition to bandleader, soothsayer, and organ player, Fela picked up the horn and learned to play it quite quickly — even developing a certain personal voice with it. To show off that fact, “Gentleman” gets rolling with a loose improvisatory solo saxophone performance that Tony Alleneventually pats along with before the entire band drops in with classic Afro-beat magnificence.
…read more @ allmusic.com 

 

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Today: Paul Simon is 71

“Music is forever; music should grow and mature with you, following you right on up until you die. ”
― Paul Simon

“It’s actually very difficult to make something both simple and good.”
― Paul Simon

Marc Anthony inducts Paul Simon Rock and Roll Hall of Fame Inductions 2001:

From Wikipedia:

Birth name Paul Frederic Simon
Born October 13, 1941 (age 71)
Newark, New Jersey, U.S.
Genres Folk rock, folk pop, soft rock,worldbeat
Occupations Musician, Songwriter, producer,bandleader
Instruments Vocals, guitar, bass, piano,percussion, lute, alto saxophone, piccolo
Years active 1957–present
Labels Columbia, Warner Bros., Hear Music
Associated acts Simon & GarfunkelArt GarfunkelLadysmith Black Mombazo
Website www.paulsimon.com

Paul Frederic Simon (born October 13, 1941) is an award-winning musician whose talents in composing, performing, and vocal harmony placed him at the forefront of the singer-songwriters on an international scale. Simon’s fame, influence and commercial success began as part of the duo Simon & Garfunkel, launched in 1964 with musical partner Art Garfunkel. Simon wrote most of the pair’s songs, including three that reached No. 1 on the U.S. singles charts: “The Sound of Silence“, “Mrs. Robinson“, and “Bridge Over Troubled Water“.

Simon & Garfunkel – The Boxer – Live in Central Park, 1981:

The duo split up in 1970 at the height of their popularity, and Simon began a successful solo career, recording three highly acclaimed albums over the next five years. In 1986, he released Graceland, an album inspired by South African township music. Simon also wrote and starred in the film One-Trick Pony (1980) and co-wrote the Broadway musical The Capeman (1998) with the poet Derek Walcott.

  • Simon has earned 12 Grammys for his solo and collaborative work, including the Lifetime Achievement Award. 
  • In 2001, he was inducted into the Rock and Roll Hall of Fame
  • in 2006 was selected as one of the “100 People Who Shaped the World” by Time magazine. 
  • Among many other honors, Simon was the first recipient of the Library of Congress’ Gershwin Prize for Popular Song in 2007.
  • In 1986 Simon was awarded an Honorary Doctor of Music degree from Berklee College of Music where he currently serves on the Board of Trustees.

 From allmusic.com – Mark Deming:

Paul Simon is one of the most successful and respected songwriters of the second half of the 20th century. Rising to fame in the mid-’60s, Simon‘s songs were mature and literate, but also melodically engaging, and spoke to the concerns and uncertainties of a generation. As the 1960s gave way to the ’70s and ’80s, Simon‘s work tended to focus on the personal rather than the larger world, but he also expanded his musical palette, and helped introduce many rock and pop fans to world music.
..read more over @ allmusic.com 

From The  Washington Times (John Hayden):

The List: Top 10 Paul Simon songs

  1. Mother And Child Reunion (1972)
  2. Hearts and Bones (1983)
  3. Peace Like A River (1972)
  4. Father and Daughter  (2006)
  5. Late In the Evening (1980)
  6. The Boy in the Bubble (1986)
  7. Kodachrome (1973)
  8. Senorita With a Necklace of Tears (2000)
  9. That’s Where I Belong (2000)
  10. American Tune (1973)

Check out the article over here: Top 10 Paul Simon Songs

Paul Simon 1991 Tokyo 11/14 America:

“Mother And Child Reunion” (Live) – Paul Simon – Berkeley, Greek Theatre – October 20, 2011:

 

Album of the day – Paul Simon (1972):

From allmusic.com – William Ruhlmann:

If any musical justification were needed for the breakup of Simon & Garfunkel, it could be found on this striking collection, Paul Simon‘s post-split debut. From the opening cut, “Mother and Child Reunion” (a Top Ten hit), Simon, who had snuck several subtle musical explorations into the generally conservative S&G sound, broke free, heralding the rise of reggae with an exuberant track recorded in Jamaica for a song about death. From there, it was off to Paris for a track in South American style and a rambling story of a fisherman’s son, “Duncan” (which made the singles chart). But most of the album had a low-key feel, with Simon on acoustic guitar backed by only a few trusted associates (among them Joe Osborn, Larry Knechtel, David Spinozza, Mike Manieri, Ron Carter, and Hal Blaine, along with such guests as Stefan Grossman, Airto Moreira, and Stephane Grappelli), singing a group of informal, intimate, funny, and closely observed songs (among them the lively Top 40 hit “Me and Julio Down by the Schoolyard”). … read more over @ allmusic.com

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Today: The late Art Blakey was born in 1919 – 93 years ago

Music washes away the dust of every day life.
~Art Blakey

You can’t seperate modern jazz from rock or from rhythm and blues – you can’t seperate it. Because that’s where it all started, and that’s where it all come from – that’s where I learned to keep rhythm – in church.
~Art Blakey

From Wikipedia:

Birth name Arthur Blakey
Also known as Abdullah Ibn Buhaina
Born October 11, 1919
Pittsburgh, Pennsylvania United States
Died October 16, 1990 (aged 71)
New York City, New York, U.S.
Genres Hard bop, bebop
Occupations Drummer, bandleader
Instruments Drums, percussion
Years active 1942–1990
Labels Blue Note
Associated acts Art Blakey & the Jazz Messengers, Art Blakey Quartet, Art Blakey Quintet, Art Blakey & the Afrocuban Boys
Website www.artblakey.com

Arthur “Art” Blakey (October 11, 1919 – October 16, 1990), known later as Abdullah Ibn Buhaina, was an American Grammy Award-winning jazz drummer and bandleader.

Along with Kenny Clarke and Max Roach, he was one of the inventors of the modern bebop style of drumming. He is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz. For more than 30 years his band, Art Blakey and the Jazz Messengers, included many young musicians who went on to become prominent names in jazz. The band’s legacy is thus not only known for the music it produced, but as a proving ground for several generations of jazz musicians;  Blakey’s groups are matched only by those of Miles Davis in this regard.

Blakey was inducted into the Jazz Hall of Fame (in 1982), the Grammy Hall of Fame (in 2001), and was awarded the Grammy Lifetime Achievement Award in 2005.

From allmusic.com – Chris Kelsey:

In the ’60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music’s mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted. As it turned out, many listeners who had come to love jazz as a sophisticated manifestation of popular music were unable to accept the extreme esotericism of the avant-garde; their tastes were rooted in the core elements of “swing” and “blues,” characteristics found in abundance in the music of the Jazz Messengers, the quintessential hard bop ensemble led by drummer Art Blakey. In the ’60s, ’70s, and ’80s, when artists on the cutting edge were attempting to transform the music, Blakey continued to play in more or less the same bag he had since the ’40s, when his cohorts included the likes of Charlie Parker,Miles Davis, and Fats Navarro. By the ’80s, the evolving mainstream consensus had reached a point of overwhelming approval in regard to hard bop: this is what jazz is, and Art Blakey — as its longest-lived and most eloquent exponent — was its master. … read more over @ allmusic.com

Art Blakey & The Jazz Messengers Moanin’ – Live In Belgium 1958:

Art blakey’s Jazz Messengers – Dat Dere (1961):

Album of the day – Moanin’ (1958):

From allmusic.com – Michael G. Nastos: 

Moanin’ includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson‘s classy, slowed “Along Came Betty” and the static, militaristic “Blues March” will always have a home in the repertoire of every student or professional jazz band. “Are You Real?” has the most subtle of melody lines, and “Drum Thunder Suite” has Blakey‘s quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. “Come Rain or Come Shine” is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin’ ranks with the very best of Blakey and what modern jazz offered in the late ’50s and beyond.

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