The Perlich Post: November 2024

Wednesday, November 13, 2024

Watch Amyl & The Sniffers get bleeped on The Last Leg

Here's Amyl & The Sniffers performing on The Last Leg while host Adam Hills tries to censor the inappropriate bits in real time.

Can't Steal My Fire tribute to David Olney out now via New West Records

Along with new versions of David Olney's songs by Mary Gauthier, Dave Alvin and Buddy Miller, the tribute album has a rare Townes Van Zandt live recording.

Here's the scoop from New West Records HQ...

New West Records is proud to release Can’t Steal My Fire: The Songs of David Olney. This album features new versions of David Olney songs recorded by Lucinda Williams, Steve Earle, Willis Alan Ramsey, Jimmie Dale Gilmore, Mary Gauthier, Jim Lauderdale, and Buddy Miller among others. The tracklist is also highlighted by a never-before released live recording by Townes Van Zandt, and produced by Gwil Owen.

Originally from Rhode Island, Olney moved to Nashville in the early ‘70s and fell in with a group of songwriters including Townes Van Zandt, John Hiatt, Steve Earle, Guy Clark, and Rodney Crowell. With his rock band David Olney and the X-Rays he toured tirelessly. He went on to release a string of brilliant albums and his songs were recorded by Emmylou Harris, Steve Earle, Del McCoury, Linda Ronstadt, and many others. But the bright lights of stardom never shone on David, and he died the way he lived: onstage in a club, far from home, singing a song.

This album gathers some of David’s friends and colleagues to pay tribute to his unique vision. Many of these artists are legends in their own right; all are here because of their deep admiration and respect for the man and his Songs. Get a copy of Can't Steal My Fire: The Songs of David Olney via Bandcamp right here. If it's out of stock on vinyl, New West Records should have more copies available for ordering directly the week of November 18th. Check their site right here. Listen to a few songs, including Townes Van Zandt's live reading of "Illegal Cargo" following the tracklisting and endorsements.

Can't Steal My Fire: The Songs Of David Olney

1. Deeper Well - Lucinda Williams 5:40

2. Sister Angelina - Steve Earle 3:17

3. Voices on the Water - The McCrary Sisters 3:27

4. Jerusalem Tomorrow - Buddy Miller 4:35

5. If My Eyes Were Blind - The Steeldrivers 3:38

6. Women Across the River - Willis Alan Ramsey 3:31

7. 1917 - Mary Gauthier 5:11

8. Always the Stranger - R.B. Morris 4:36

9. If It Wasn’t for the Wind - Jimmie Dale Gilmore 3:26

10. Running From Love - Anana Kaye 4:53

11. That’s My Story - Greg Brown 4:44

12. Sonnet #40 - David Olney 1:19

13. Titanic - Afton Wolfe 4:17

14. Steal My Thunder - Dave Alvin with the Rick Holmstrom Trio 6:09

15. Delta Blue - Jim Lauderdale 3:34

16. She’s Alone Tonight - Janis Ian 3:34

17. Illegal Cargo - Townes Van Zandt 3:10

“My father’s songs were true, they were strong, and they were enough to hold him. Death is tragic and reckless and still somehow his passing was a rare and beautiful event. A final magic trick, a sort of perfect symmetry played out. Flame snuffed out while a gentle apology was uttered into this cruel and glorious world. He was a dark eyed man, tender, comedic and profound; tapped into life in a unique and expansive way. Driven to roam, the lonely highway kind and yet incredibly empathetic. He was deeply of this world and also outside of it – observing it. His gaze was honest, seeing both darkness and light. He was angry and he was hopeful. He spoke in many voices – gentle and vicious, ashamed and joyful but always simple and beautiful, always genuine. He did not use people, he did not use stories, he lived within them. And he died the way he lived – in a song. This project shines a light on those songs. The friends and comrades on this album knew and loved my father through and because of his songs. They have come together to make this beautiful tribute to him and his words in their own voices. A song is a dream –A dream is sometimes a prayer – You hope they are heard. I hope these are heard.” – Lillian Olney

“David Olney tells marvelous stories, with characters who cling to the hope of enduring love, all the while crossing the deep divide into that long, dark night of the soul.” – Emmylou Harris

“Mr. Olney never had a hit single or won a Grammy Award, but in folk-rock and Americana circles, he is revered for his poetic sensibility and gruff-voiced storytelling, especially by his fellow songwriters, including his musical hero, Townes Van Zandt.” – The New York Times

“Anytime anyone asks me who my favorite music writers are, I say Mozart, Lightnin’ Hopkins, Bob Dylan and Dave Olney. Dave Olney is one of the best songwriters I’ve ever heard.” – Townes Van Zandt

Tuesday, November 12, 2024

Happy 80th Birthday Booker T. Jones!

Celebrating the 80th birthday of Hammond hero Booker T. Jones with a few performances and interviews worth checking.

Music maven Cary Baker releases new book on busking

Cary Baker shares stories and interviews with some of the more intriguing musicians he's encountered on the street in his great new book, Down On The Corner.

Here's the scoop from Cary...

"Friends, this is kind of a big day for me: Today (November 12th) marks the official street date for my first book, 'Down on the Corner: Adventures in Busking & Street Music' (Jawbone Press).

"Thanks to all who helped me in the early stages, the artists who let me interview them, Grammy winner Dom Flemons for the on-point foreword, the artists and authors who wrote cover blurbs, to more experienced authors who lent invaluable advice, my literary agent Murray Weiss, Jawbone Press for its early belief and ongoing support every step of the way, and most of all those of you who ordered it early on from Amazon or Bookshops [dot] org.

"'Down on the Corner' was a labor of love, and is very personal to me. I hope it shows." - C.B.

Down On The Corner – Adventures In Busking and Street Music

"One day around 1970, my father announced to me that he’d like to take me to Maxwell Street Market, an open-air flea market adjacent to Downtown Chicago. He wanted to show me where his parents used to take him shopping as a child. When he parked his car in the University Of Illinois lot, the first thing I heard, long before I could see where it was coming from, was the sound of a slide guitar—not just any guitar but a National steel resonator guitar.
"We followed the music and found ourselves standing on the west side of Halsted Street, midway between Roosevelt and Maxwell, where Blind Arvella Gray was playing the folk/blues song ‘John Henry’—a song that seemed to have no beginning and no end. Sensing that his audience was generally passing by rather than gathering around, Gray kept playing that one song for his entire shift. He’d even altered the lyrics to refer to the local streets.
"In that moment, I developed a lifelong affinity for the informality, spontaneity, and audience participation of busking." – excerpt from Cary Baker's Down On The Corner

Down On The Corner is the story of music performed on the streets, in subways, in parks, in schoolyards, on the back of flatbed trucks, and beyond, from the 1920s to the present day. Drawing on years of interviews and eyewitness accounts, it introduces readers to a wide range of locations and a myriad of musical genres, from folk to rock’n’roll, the blues to bluegrass, doo-wop to indie rock.

Some of the performers he features—Lucinda Williams, Billy Bragg, The Violent Femmes—went on to become international stars; others settled into the curbs, sidewalks, and Tube stations as their workplace for the duration of their careers. Anyone who has lived in or travelled through a city will have encountered street musicians of one kind or another. For the first time, veteran journalist and music-industry publicist Cary Baker tells the complete history of these musicians and the music they play, from tin cups and toonies to QR codes and PayPal.

‘This book allows us to hear the full story of feeding the street, as it has been done for over a century in the United States. It gives us a glimpse into the lives of the buskers who have enriched our daily existence with music and performance art. It’s a dollar in the hat, with the acknowledgment that the world is always a better place when busking is a part of the picture. Special thanks to Cary Baker for giving a new voice to a music tradition that will continue to live on forever and will find new homes wherever the music takes it.’ – Dom Flemons, from his foreword

Cary Baker chats about his new book with Chris Morris at Book Soup (8818 Sunset Blvd, West Hollywood) on Nov. 14.

About Cary Baker...

Just hangin' out with Swamp Dogg & Bobby Patterson

Born on Chicago’s South Side, Cary Baker began his writing career at sixteen with an on-spec feature about Chicago street singer Blind Arvella Gray for the Chicago Reader. His return to writing follows a forty-two-year hiatus during which time he directed publicity for six record labels (including Capitol and IRS) and two of his own companies, working with acclaimed artists such as R.E.M., Bonnie Raitt, The Smithereens, James McMurtry, The Mavericks, Bobby Rush, Willie Nile, and more. Prior to his PR years, Baker wrote for the Chicago Reader, Creem, Trouser Press, Bomp!, Goldmine, Billboard, Mix, Illinois Entertainer, and Record magazine. He has also written liner notes for historical reissues from Universal, Capitol/EMI, Numero Group, and Omnivore. He has been a voting member of the Recording Academy since 1979. He lives in Southern California.

A resolute preservationist, storyteller, and instrumentalist, Dom Flemons has long set himself apart by finding forgotten folk songs and making them live again. His work has been recognized with a GRAMMY, two Emmy nominations, a USA Fellowship Award, and inclusion in an exhibit at the Country Music Hall Of Fame & Museum. Raised in Phoenix, Flemons comes from a family of civil rights leaders, Tuskegee Airmen, and preachers who were prominent figures in the Black community of Arizona. After graduating from Northern Arizona University (which presented him with an honorary doctorate in 2022), Flemons moved to North Carolina and co-founded The Carolina Chocolate Drops. After leaving the group in 2013, he established a solo career that led him to collaborate with hundreds of artists in the Americana music scene. His latest project is Traveling Wildfire (Smithsonian Folkways), a follow-up to his 2018 GRAMMY nominated album, Black Cowboys.

What folks are saying about Down On The Corner

“Down on the Corner sings out the stories of these various buskers robustly, illustrating Cary Baker’s passion and appreciation for the art that happens out on the streets and fills the air with song and, if the musicians have a good evening, the performers’ pockets with a little dough-re-mi.” – No Depression

“Baker provides a smart history of street music…For all of the book’s nostalgic pull, which is considerable, it is also of this moment. After reading it, you will never be able to walk past a street performer without tossing a little something into his or her hat, cup, guitar case or other eager receptacle.” – Chicago Tribune

“Baker takes us through the history of busking from from 1920 to 2022, beginning with the blues and gospel singers who worked the streets of Dallas, New Orleans, New York and Memphis, including Blind Lemon Jefferson, Reverend Gary Davis and hillbilly artists. A wonderful read about a neglected and important part of music history.” – Morning Star (U.K.)

“The book shines when it highlights how busking brings people together.” – Publishers Weekly

“Leave it to Cary Baker to write the Bible of the sonic adventure. In a hypnotic way, this intriguing book makes the endeavor of hitting the street and going for it on the same level of excitement as taking off for the moon. Baker clearly has the boogie woogie of street music and busking in his veins, and the way he has collected and written this fascinating tome seems like an art form in itself. It’s serious business. Wisely divided into chapters by geography, Baker is able to make an exciting sense to what sometimes seems a jumble of geography, and thank goodness for his extremely sharp planning.” –Bentley’s Bandstand, Americana Highways

“Baker writes with a deft balance of reportorial precision, storytelling expertise, a way with evocative phrases that sometimes rivals the great bluesmen, and-perhaps most critically-the dedication of a lifelong music enthusiast. Itself a celebration of busking, Down on the Corner is to be celebrated both for its content and for heralding Cary Baker's welcome return to the world of musical authorship.” –Living Blues

“Cary shares anecdotes and origin stories from Old Crow Medicine Show, Poi Dog Pondering and the late rowdy raconteur Mojo Nixon. He also checks in with heavy-hitters like Lucinda Williams, Elvis Costello, Madeleine Peyroux and Glen Hansard. He navigates a course from coast to coast, as well as the U.K and Europe. It’s a thoroughly engaging read.” – Coachella Valley Weekly

“This is a fun book. Informative, fly-on-the wall…and full of rather lovely vignette ‘stories’. It’s also a good introduction to many well-loved and less known blues artists, street musos and eccentrics…I immersed myself in the tales, the stories included in the book, and it has led me into researching about a number of the artists, the buskers and street performers included. And you can’t say much better than that!” – International Times (U.K.)

“I’m a lifelong crate digger who’s read countless books, articles, and liner notes about music that interests me. Yet I learned much from Baker’s book. Sometimes the knowledge I gleaned from Down on the Corner was about acts I’d never heard of, and other times I got schooled with a deeper understanding of the histories of bands and solo artists whose music and stories I already knew. But my biggest takeaway from the book? It made me want to prowl the outdoor public spaces of my current hometown of Durham, North Carolina in search of some good street music.” – It’s Psychedelic Baby (U.K.)

“Tired of ghost-written music memoirs and fawning bios? Had enough of deep-dive discographies? Bored with overpriced coffee-table tomes? Looking for something new and interesting to read? I have just the thing: Cary Baker’s inspired new non-fiction number Down On The Corner: Adventures In Busking And Street Music.” – Tinnitist

“Busking, as Cary Baker notes, has been common in cities ‘as far back as ancient Rome.’ He highlights a wide variety of musicians like Wild Man Fischer, Mary Lou Lord or Ramblin' Jack Elliott, and key locations such as Chicago's blues nexus, Maxwell Street.” – MOJO

“While we get a feel for the history of busking, the book also addresses some of the modern concerns and challenges for street musicians…What Cary Baker and the musicians he interviewed really get across is the great joy of performing, and the need we as a society have for the music.” – Michael Doherty’s Music Log

LINKS
The Strange Brew Street Sounds: Cary Baker's Adventures in busking

Watch the Robert Mugge doc The Gospel According To Al Green

Check out the excellent 94-minute documentary The Gospel According To Al Green directed by Robert Mugge 40 years ago.

Brodie West Quintet @ Tranzac Club, Wednesday

Toronto jazz saxophonist Brodie West plays a quintet show at the Tranzac on Wednesday night starting at 7 pm. Don't miss it!

LINKS

Stir Vancouver Saxophonist Brodie West's music is full of quiet surprises

Monday, November 11, 2024

Haley Fohr (Circuit des Yeux) & Bill Nace Duo, Völur @ Standard Time, Monday

Haley Fohr and guitarist Bill Nace will be joined by Völur at 165 Geary (Unit A) tonight starting at 8:30 pm sharp.

HALEY FOHR & BILL NACE

"I wish I could take credit for bringing Bill Nace and Haley Fohr together, but the idea was their own. I just figured out a way to make it happen; Covid delayed the inaugural performance a year, until February of 2022, when they played the opening night concert of Frequency Festival at Constellation in Chicago, but the wait was worth it. I was and remain a huge admirer of both artists, musicians driven by gut instinct and for whom nothing is outside the realm of possibilities. Although Nace’s playing might initially hit with gale-force intensity, beneath the lacerating surface is a detail-rich poetry, as one needling phrase or another whipsaw gesture opens up a rich tapestry to slowly-morphing patterns and internal networks of sound. Nace might play guitar or he might choose tashigoto, but it doesn’t matter in the end, because he utterly transforms whatever he touches into something new.

I first heard Fohr in her Circuit des Yeux guise, where she unbound voice throbs at the heart of mini-symphonies, blending primal howls and elegant arias into a devastatingly rich art-pop. I also had the pleasure of presenting a concert where she improvised using wordless voice and electronics that opened up radically different pathways. Their work seemed miles apart but their shared fearlessness seemed to guarantee a creative supernova. There’s no point in trying to pin down or describe what happens when they collaborate, because such encounters are deliriously unpredictable, apart from the promise that what they make together will leave you confused, transformed, and reeling. What more could a listener ask for?" - Peter Margasak

VÖLUR

Toronto folk doom trio of Lucas Gadke (Blood Ceremony), Laura C. Bates and Justin Ruppel merge distorted strings with thundering percussion. Hard treble screeches out over crushing bass, and blood curdling vocals. Thundering silences give way to whispering distortion. Sounding like some funeral march anthem from the fiery pits, group vocals unite in an occult hum. Borrowing from post rock and folk traditions channeled through an obliterating lens of doom metal, Völur helps you become one with the flame.

Get tickets for the show right here. Watch a recent Haley Fohr & Bill Nace performance along with one from Völur in Toronto last year below.

Happy Birthday Michael Weston King!

Raising a glass to Michael Weston King with My Darling Clementine's update of "Stranger In The House" followed by Elvis Costello's performance with George Jones.

Also Known As: Dimitri Grimm, Dimlite, Hugo Sonia, Misel Quitno, etc

Swiss producer Dimitri Grimm recorded the 4-song My Human Wears Acedia Shreds EP for Now-Again at his creative peak way back in 2011.

Here's the scoop...

If Dimlite’s Prismic Tops EP served as a stunning reintroduction to one of electronic music’s most underrated talents, then My Human Wears Acedia Shreds is a warning to listeners and peers alike: keep up or be left behind. This quartet of songs finds the Swiss producer creating wide-eyed and progressive music that synthesizes free jazz, prog and krautrock, and much more.

While the enigmatic producer Dimitri Grimm (who records using various handles including Dimlite, Hugo Sonia, Misel Quitno, Kink Artifishul, Dym quell Holo, The Slapped Eyeballers, etc) built his reputation with a string of pioneering releases on Germany’s Sonar Kollectiv label that took hip-hop as their starting point, by 2011, Dimlite was more Soft Machine than drum machine, a kindred spirit of purveyors of avant-pop such as Panda Bear, and the playful prog giants of the past. This quartet of songs contains a richness that makes these some of the most satisfying compositions recorded under the Dimlite alias. Just check “Metal Snake Rider”, an expansive opus packed into just over three minutes of non-stop invention.

At times it’s even pretty, though Dimlite seems uneasy about the beauty he creates, never allowing anything too perfect to take shape before clipping its wings or trampling it back into the dirt. It’s this tension in his music that makes it so captivating: a constant tussle of wills between the dreamer and the cynic, the traveller and the trapped. Just check “Loins” (listen below) in which his drumming alter-ego Misel Quitno thumps out a brutish ode to Can while Dimlite’s celebratory harmonies are taunted by the anxious squall that lurks beneath. Though ask its creator and he’ll tell you simply, “it’s about loins and using them properly”.

By the time you have adjusted to the dream-world of My Human Wears Acedia Shreds, Dimlite will pull the plug, dropping you back into your monochromatic doldrums. It’s OK though. As you unravel the secret code in EP closer “Gone-O-Tron”, you’ll know it’s not forever.

Since retiring the "Dimlite" handle in 2012, the mysterious sound designer has kept busy, releasing music digitally as "Dim Grimm" between 2013 and 2023 which you can check out here. Perhaps some shrewd label boss will see the value in compiling his finest moments from the decade on vinyl. In a surprise move, Mr. Grimm reverted to his passport name Dimitri Grimm for a series of "musical posters" collected under the title "For Beauty's Source" available digitally here.

There's likely more to come. We've heard from a reliable source that even after the Dimlite name was mothballed, our man continued recording new Dimlite material at his secret home retreat, quietly stockpiling the experimental new work for some future release. Until then, we can still enjoy some of his finest work as Dimlite preserved for posterity on the 4-song EP, My Human Wears Acedia Shreds, available via Now Again right here. Listen to a few tracks below followed by a couple of Dimitri's more recent mixtapes from 2022.

Sunday, November 10, 2024

Irene Torres heats up Hugh's Room Live, November 10

Irene Torres presents the music from her latest album Travesía with her full band in a matinee at Hugh's Room on Sunday, November 10.

IRENE TORRES

at Hugh's Room (296 Broadview Avenue)

Sunday, November 10

Doors 1 pm, Concert 2 pm

Tickets: $30 advance, $37 door

Irene Torres, born in Lima, Peru, moved to Canada with her family as refugees when she was six years old. Now a proud Canadian citizen, she is an established member of Toronto's diverse music scene. Her career is distinguished by a blend of musical experiences, drawing a wide array of global influences.

Irene's early life introduced her to a variety of musical styles. Influenced by artists like Arturo Zambo Cavero, Sharon Jones and Susana Baca, she developed an appreciation for eclectic genres, shaping her diverse future musical pursuits. It was during her twenties in Toronto that she discovered her true passion for music, a journey that began with an encounter with jazz vocalist Ben D’Cunha. This experience led to her deep understanding and skill in music and singing, leading to studio work and fronting many bands.

Her entrance into the professional music scene was marked by a performance at an Errol Fisher concert, opening doors to new opportunities and collaborations. Working with musician David McMorrow, Irene furthered her knowledge and appreciation of jazz.

"Irene is a singer from the heart. I catch myself not concentrating on playing my percussion because she gets me involved in the lyric. She is capable of transmitting emotion to audiences that don’t necessarily understand the Spanish language." - Luis Orbegoso (percussionist)

In 2009, Irene co-founded "Irene Torres & The Sugar Devils," exploring blues and soul music. The band's tours across North America and the release of two albums helped establish her presence in these musical genres.

"I had been aware of Irene Torres from being on the scene in Toronto over the last few years with her RnB band and always thought she was great. Then...at a private house concert one night I heard her sing in Spanish. It was as though she was transformed by singing in her native language. She had me hanging on every word, every note. I rushed up to her afterwards and told her that she HAD to record in Spanish. I still feel the goosebumps." - Lou Pomanti (producer)

Irene's versatility as a musician is evident in her collaborations with various groups, including "Santerias" and "Battle of Santiago." These collaborations showcase her ability to adapt and excel in different musical styles. Her creative path took a significant turn in 2012 after meeting Jaymz Bee, leading to further creative projects and connections in Toronto's music scene.

"Irene Torres has a comfort level as a performer that makes her a star. Not only does she have a fantastic voice and talent, but also her music has something very special and unique to say. Everyone who meets her feels immediately at home." - Jaymz Bee (Radio host, producer)

Her latest project, "Travesía," translating to voyage, represents a significant new phase in her career. The album, featuring traditional Peruvian instrumentation and personal storytelling, showcases her growth as an artist and dedication to her cultural roots.

Irene Torres brings an amazing band to Hugh's Room, including: Jeronomo JJ Acuna - guitar; Eric St-Larent - guitar, keyboards; Dhany Mario Rivas Rosas - cajón, castanets; Luisito Orbegoso - cajón, bongos, trombone; Matoas Recharte - congas, percussion, zapateo; Andtrew Stewart - bass

Get tickets right here. Check out a recent Irene Torres performance at Lula Lounge below.

Saturday, November 9, 2024

The Rizdales return to The Cameron House, Saturday

Don't miss the way overdue Toronto return of The Rizdales' Tom & Tara for a Cameron show on Saturday. There may be dancing.

Remembering Phil May of the Pretty Things on his birthday

Raising a glass to singer/songwriter and visual artist Phil May on his birthday with a few performances and interviews.

LINKS
MOJO Phil May's final interview

Friday, November 8, 2024

One For The Weekend: The Night Trains

The Night Trains' "Lovesick" – a fave track of Acid Jazz chiefs Dean Rudland & Eddie Piller – gets an overdue 7" release.

Here's the scoop...

‘This could be my favourite record that Acid Jazz have ever released’
- Dean Rudland, Acid Jazz Records

When Acid Jazz was in its mid-1990s pomp, it released a lot of great records. Sometimes they flew past at such a pace, we had moved on to something else before we realised how good they truly were. ‘Lovesick’ by the Night Trains is one such record.

A phenomenal mixture of a distinctive sample turned into a un-ignorable groove, an unforgettable melody (and the soulful vocal from Marcia Johnson), weaved around a Miles-like trumpet. It should have been a hit. But it wasn’t. Instead, it is a cult classic, which we are being fully indulgent in releasing on a 7-inch single.

Night Trains were the brain child of DJ/bassist Hugh Brooker, and they released the first ever acid jazz single in 'Open Channel D’, appearing on early groundbreaking Acid Jazz compilations. It resurfaced on the label in 1993 with the ‘Sleazeball’ album, from which Lovesick was the lead single. Hugh has in many forms kept the group going until the present day. A testament to persistence and good taste, in the face of industry indifference. Hugh is one of the originals and we are proud to still work with him to this day.

This is the first time that ‘Lovesick’ has appeared on a 7", and it is flipped with the previously-unreleased on vinyl ‘Only Know About Love' on the B-side.

Limited to 500 copies and presented in a new colour version of the new Acid Jazz geometric housebag, with the classic label. The Night Trains' "Lovesick" single is out November 29th but you can pre-order a copy via Bandcamp right here. Watch a Night Trains performance of "Lovesick" below.

Ace readies Goldwax rare singles 7x7" box for November release

The Goldwax 7x7' singles box Memphis Soul Rarities 1964-1969 is due from Ace on November 29. Check the tracklist below.

Here's the scoop from Ace Records...

The renowned Memphis 60s soul label Goldwax was a medium-sized operation with just short of a hundred releases. Though it ran a tight ship, inevitably some of their recordings fell by the wayside.

The label is revered by fans of the classic age of soul music around the world. In the late 70s the Japanese Vivid Sound label contacted Goldwax owner, Quinton Claunch and accessed his tapes. They found a dozen excellent, previously unheard, tracks and issued them, along with Goldwax favourites on a short series of LPs in 1977. In 2000 Ace Records purchased the label from Claunch and his partners gaining full ownership of the tapes, which lead to more musical discoveries.

Dan Greer and George Jackson appear as George & Greer.

Our releases on Ace and Kent over the past twenty plus years have seen most of these recordings featured, primarily on CD - the medium of the early years of the 21st century. More recently the renewed demand for vinyl has led to new 12” compilations and to augment those we have come up with a neat, boxed collection of seven singles that will appeal to the soul collectors who live for this format.

Of the 14 tracks, only three have been singles before - the sublime harmony vocals of the Vel-Tones and the Lyrics with their mid-60s Goldwax releases and Barbara Perry’s R&B explosion ‘A Man Is A Mean Thing’ first released on Kent but now long gone and craved for.

Goldwax’s star James Carr kicks us off with ‘Your Love Made A U-Turn,’ a funk groove from 1969. This would surely have prolonged his and the label’s lifespans had it been issued at the time. Our flip however would have needed to be an underground hit; it is doubtful that any radio station would have entertained such smutty lyrics in the 60s. Connoisseurs of the mid-60s Detroit soul sound will be thrilled to have the Ovations ‘I Miss You’ on a 45 at last; it really has all the ingredients of a Motor City classic. ‘What Did I Do Wrong’ makes a great stomping B side - complete with virtuoso harmonica.

The label was known for its gritty southern sound, so ‘To Me It’s Storming’ is an atypical, softly melodic, mid-tempo song sung by, but oddly not penned by, George Jackson and Dan Greer. George does get to sing his own, tougher, composition ‘Let The Best Man Win’ on the flip. Apart from her aforementioned New Breed classic, Barbara Perry’s 45 features the charming, country-soul beat ballad ‘Welcome Home Baby’, which is a real grower.

We do have one exclusive debutant with Willie Walker’s original take on the Homer Banks written ‘Lucky Loser’. This version is in the classic Goldwax southern sound and groove, recorded two years before his funked-up version was released on Chess. James Carr’s rendition of this song was recorded at the same session but did not have the splendid brass section Willie’s boasts. The flip is a southern rave-up from Chicagoan Lee “Shot” Williams who regularly visited Memphis and was given a two-song contract and recording session which didn’t earn a release until we belatedly found the tape.

The Lyrics/Vel-Tones original releases make up our sixth disc. The “ender” is a dramatic big city-style ballad from Phillip & The Faithfuls, which was clearly inspired by the Righteous Brothers. It is coupled with a beguiling oddity from an unknown artist. ‘It’s Really Alright’ is as catchy as they come and despite its limited orchestration makes a wonderful 45 and a mystery to be solved.

You can pre-order a copy directly from Ace Records right here.

Thursday, November 7, 2024

Happy Birthday Lavay Smith!

Cheers to singer Lavay Smith on her birthday. Here are a couple of swingin' performances with her Red Hot Skillet Lickers.

Saxophonist Ivan Mazuze explores Arab & Indian connections with Penuka

Norway-based Mozambican saxophonist Ivan Mazuze greatly expands his sound palette with a new set of collaborators on the Penuka album.

Here's the scoop...

Acclaimed Mozambican, Norway-based saxophonist and composer Ivan Mazuze breaks new ground with his latest album Penuka, where he delves into the profound influence of Arab and Indian cultures on African traditional music presented through a contemporary jazz lens. The music is a testament to the centuries-old cultural exchanges facilitated by trade routes across the African continent.

Mazuze’s deep dive into this historical tapestry forms the core of the album, showcasing how African musical traditions have absorbed and reinterpreted elements from Arab and Indian musical heritage over time.

“This album is a celebration of the enduring cultural connections between Africa, the Arab world, and India,” explains Mazuze. “Through Penuka I aim to offer a fresh perspective on how these influences have shaped African music, blending traditional rhythms with modern jazz improvisation.”

The rhythm section on Penuka features seasoned musicians with longstanding musical relationships with Mazuze. This includes artists with roots in Cuba, Norway, and Mali, all currently based in Norway. Their collaboration adds layers of rhythmic complexity and global flair to Mazuze’s compositions, enhancing the album’s dynamic fusion of styles; in addition, Mazuze collaborates with a diverse array of guest artists, each bringing their unique cultural backgrounds to the project; these include musicians from India, Pakistan, Morocco, Senegal, Gambia, and Zimbabwe, whose contributions enrich the album’s eclectic sound palette and introduce new musical expressions such as Gnawa and languages such as Shona, Urdu, Wolof, Rajasthani and Indian Sargam. Penuka is a collaborative effort that bridges continents and cultures. It reflects the diversity and vibrancy of our interconnected world, celebrating the richness of musical expression that emerges from cultural exchange, Mazuze emphasized.

Penuka is commissioned by Global Oslo Music in Oslo, Norway. Established in 2008, Global Oslo Music was started with the vision of becoming Oslo´s most active and current stage arena for live music with roots firmly based in, and reflective of the diverse number of world cultures found in Norway´s capital city and across the globe. Through club evening events and concerts, Global Oslo Music presents and exposes its audiences to the international music scene, with musicians from around the world, but who primarily live and work in Oslo. Global Oslo Music aimed to establish an open and creative arena for artists who wished to explore new forms of collaboration across all cultural genres, to cultivate new artistic forms and has provided opportunities for new artistic forms to meet and contend with more traditional ones. Check out a performance of the title track following the album credits below.

Ivan Mazuze – Penuka

Bongile (4:35)

Penuka (6:09)

Mamidje (5:20)

M & S (4:36)

Belonging (4:22)

Ayaan (6:00)

Adufo (4:50)

Kanawa (4:39)

Nhaka (4:57)

Yangulanu (5:48)

Musicians:

IVAN MAZUZE - Vocals (1, 2, 6, 7), Soprano saxophone (1, 2, 4, 5, 6, 7, 8, 9, 10), Alto saxophone (1, 2, 3, 4, 5, 8, 9, 10), Tenor saxophone (1, 2, 4, 5, 6, 8, 9, 10), Flute (2, 3, 4, 5, 7, 8, 9, 10), Mbira (3), Shakers (2)

SIKANDER LANGA - Vocal (1)

MINUDDIN KHAN - Malikpur vocal (1)

RAHIS BARTHI - Vocals (1), Tablas (1, 6)

MAXWELL VIDIMA - Vocals (3, 4)

RESHAIL MANSOOR - Vocal (6)

JAI SHANKAR - Vocals (7), Tablas (7, 9)

KHALEED LAAOUAM - Vocals (8), Guembri (8), Krakreb (8)

MARIAMA NDURE - Vocals (10)

OLAV TORGET - Guitar (all tracks), Ngoni (9, 10)

ROHINI SAHAJPAL - Sitar (6)

JØRN ØIEN - Keyboards, Synths (1, 2), Keyboards (3, 4, 5, 9, 10), Piano (6, 7, 8)

PER MATHISEN - Bass (all tracks)

PAPA ASANE SAMB - Sabar percussion (2, 3, 4, 5, 10)

MODOU MBAYE TAMA - Talking drums (2, 3, 4, 5, 10)

RACIEL TORRES - Drums (all tracks)

More about Ivan Mazuze

“Ivan Mazuze pushes the boundaries of contemporary jazz to include a variety of influences and sounds beyond its usual borders. Assured and virtuosic playing by Mazuze and his collaborators pull it all together into a kind of global musical language with an accessible and melodic appeal.” - Anya Wassenberg, All About Jazz, USA.

Ivan Mazuze is a Norway-based composer, award-winning saxophonist and world jazz artist of Mozambique origin. Mazuze initiated his studies in music in 1987 at the National Music School in his home country Mozambique.

Piano was his first instrument and after seven years of classical piano training, he joined the woodwind section with a jazz study approach and a focus on improvisation. Mazuze continued his studies at the University of Cape Town, South Africa in the Department of Jazz and Musicology. He holds an honors degree in jazz and composition studies and is a master's graduate in ethnomusicology. He writes ethnomusicological articles about music and trance in ritual practices which have been released in the educational magazine The Talking Drum.

From the start, Mazuze had a clear vision of what he had to do to reveal himself as a solo artist in the music industry. In 2002 he won the Old Mutual Jazz Competition in the category of Composition in Cape Town, South Africa.

He realized that educating himself and mastering his instruments were not enough, so while studying he set up his own production and publishing company Imazuze Music to handle the business side of his career. As with all aspiring musicians at a young age, Mazuze dreamt of the day when he would record his own music.

For this disciplined musician, the dream became a goal, the goal became part of his ambition and the result was his debut album Maganda in 2009. Maganda is a reflection of Mazuze’s musical journey and experiences in jazz and African "worlds" of music. Maganda was nominated for the following categories and awards: Best Afro World Group, Oslo World Music Festival 2009; Best Contemporary Jazz Album, SAMA Awards 2010 (South African Music Awards); Best Afro Jazz Album and Jazz/Instrumental Album, Mozambique Music Awards 2010; Recommended Best Newcomer and Saxophonist of 2010, African Jazz Network.

In 2012 Mazuze released the album Ndzuti (2012) which means “shadow” in the ancient language of Xichangana of southern Mozambique. The music on Ndzuti has elements from both southern and West African traditions with jazz-based structures.

Ndzuti was chosen as a recommended album at African Jazz Network 2012 and as one of the key albums of 2012 by Music Information Center Norway (MIC) in 2012. Ndzuti was one of the 10 Best Albums of 2012 in Songlines Magazine.

Mazuze released his third album Ubuntu (2015), a highly acclaimed album among the Nordic media critics. The album features Norwegian and South African-based musicians. In 2018 Mazuze released the album Moya - the word "MOYA" translates as ‘spirit/soul’ is an album rich with melodic and rhythmic delights that have been lovingly selected and sculpted from African and Indian traditional music, in an all-embracing way, soul music. Moya was partly funded by the Arts Council Norway.

Amongst other awards and recognitions, Mazuze received a specialisation scholarship from the Norwegian Jazz Forum for 2015 and 2020. This scholarship has been granted to various jazz bands and musicians in Norway based on their artistic merit. Its purpose is to contribute to professional jazz musicians the freedom to immerse themselves in their art form. Mazuze has received various work-related composition grants for his albums Ndzuti, Ubuntu and Moya. Grants include Oslo Municipality (2011) and Norwegian Composer’s Association (2011/2014). He is the recipient of scholarships within composition work-related from NOPA (2017), Norwegian Composer’s Association (2017) and TONO (2016). He received composers grants from the Norwegian Composer's Association (2020), NOPA (2020) and TONO (2021).

As a Norway-based artist since 2009, Mazuze has been representing "world jazz" coming out of Norway at numerous music events and festivals in many parts of the world. This is in collaboration with Norwegian-based cultural institutions such as Arts Council Norway and Music Norway.

He has performed at music venues and festivals such as the Oslo Jazz Festival, Seoul Music Week, Amersfoort Jazz Festival, Nasjonal Jazzscene, Cosmopolite Scene, Pisa Jazz Festival, Jazztage Gorlitz Festival, Jazz no Franco, Peperoncino Jazz Festival, International Academy of Music Festival, DiVino Jazz Festival, Copenhagen Jazz Festival, Havana International Jazz Festival, Musica Sulle Bocche Jazz Festival, Grahamstown Jazz Festival, Joy of Jazz Festival, Locomotive Jazz Festival, Nick la Rocca Jazz Festival, Mela Festival, Cape Town International Jazz Festival, WOMEX in Copenhagen, by'Larm, Musicastrada Festival and many more.

As a Mozambique-born and educated saxophonist and composer, Ivan Mazuze emerges from a long tradition of jazz musicians in southern Africa and is continually an important representation of this genre. Since 2013 he has been a contributing artistic mentor for the International Jazz Day celebrations in Oslo and Drammen in Norway. Additionally, he is the initiator for the implementation of the International Jazz Day in his home country Mozambique. Its first edition was in 2015.

Since starting his artistic career, Ivan Mazuze has been active on a variety of artistic and cultural and advisory boards, committees and venues including the National and International folk music, joikand folk dance representation in Norway, Riksscenen, 2015-2021, the Norwegian Jazz Forum 2021-2023, Samspill International Music Network in Norway in 2021, Buskerud Theatre 2021-2023, musical leader together with Unni Løvlid for the Talent Program at the Førdefestivalen in Norway, 2016/2017, a member of the Jury for Talent program Jazzintro2022, a launch program for young Norwegian jazz musicians that showcase at the country's largest jazz festivals. Since its inception in 1998, Jazzintro has been very important in highlighting and highlighting the talents of Norwegian jazz. Many of today's big jazz names have participated in Jazzintro early in their careers. He is currently a board member for Cosmopolite Scene in Oslo, part of the advisory committee for Arts Council Norway. He is a cultural consultant for Interkultur at Drammen municipality in Norway where he is responsible for presenting international profiled cultural expressions to the Drammen region as well as developing exciting new concepts.

In 2023, Mazuze wrote Penuka (album), a commissioned work for Global Oslo Music and presented during winter of 2024. It is financed by the Arts Council Norway. This work has led to the release of his latest album Penuka: A Contemporary Jazz Exploration of Arab and Indian Influences on African Traditions Blending Traditional Rhythms with Modern Jazz Improvisation. “Mazuze now expands the battle zone with an artistically ambitious record”- AudunVinger, Jazznytt Norway. Penuka was released on CD via Global Sonics on October 11, 2024. Get a copy using the link below. Watch a 2018 performance by Ivan Mazuze's Quartet right here.

LINKS

Ivan Mazuze: https://imazuzemusic.com/

Get a copy of the Penuka CD right here: https://imazuzemusic.com/my-store

Wednesday, November 6, 2024

Remembering Doug Sahm on his birthday

Remembering the great Doug Sahm with a 1975 performance, an interview with Pete Finney and a scene from the film Cisco Pike.

Tuesday, November 5, 2024

Rare Gianfranco Reverberi giallo thriller score reissued by Four Flies Nov 22

Four Flies reissue of Rivelazioni Di Uno Psichiatra Sul Mondo Perverso Del Sesso OST from '73 includes 8 digital bonus tracks.

Here's the scoop from Four Flies...

Four Flies is thrilled to present the very first release of Gianfranco Reverberi’s hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".

In 1973, a mysterious 45 rpm single surfaced under the name ‘Sharon Chatam e la sua Orchestra.’ The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, “Psicolimite,” was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the ‘Sharon Chatam’ moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible. Have a listen below.

This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.

While the film, despite some critics praising it as “psychotronic,” is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.

Reverberi’s reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).

But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.

The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks. The deluxe double LP reissue is out November 22 – get a copy right here. Read an interview with Four Flies produttore discografico Pierpaolo De Sanctis discussing the Reverberi reissue on the It's Psychedelic Baby site right here.