Tools for finding out more about the early 1960s Greenwich Village folk scene recreated in the Coen brothers film, “Inside Llewyn Davis.”“Inside Llewyn Davis,” the Coen brothers film set among Greenwich Village musicians in the early 1960s, is poised to generate a tidal wave of nostalgia — and stir interest among moviegoers who were unfamiliar with this milieu. It’s a safe bet that anyone who sees the film (opening next Friday) will want to know more about the folkie world that the Coens recreate so wittily and well. There are great ways to read, see and hear more about it.
Bill Evans has shared some photos from his recent California Banjo Extravaganza. For the second year in a row, he brought a pair of prominent banjo pickers out west for a weekend of shows and workshops in northern California.
Pulaski is a city in both western Virginia and south-central Tennessee, and yet, in the one song with lyrics on Andrew Bird’s new EP, he’s begging an anonymous someone to come back to Chicago. Given that signpost, Bird’s mostly likely referring to Pulaski Park on the west side of town, but place doesn’t necessarily matter on I Want to See Pulaski at Night. Because on his new EP, the prolific, fiddle-touting, whistling Bird creates a cinematic musical experience that opens itself to both individual interpretation and universal experience.
In 1962, Nancy Wilson was still being positioned by Capitol Records as a jazz-pop singer. In the years after she signed with the label in 1959, her first five albums were examples of this hybrid: Like in Love, with Willie Smith on alto sax, Something Wonderful (1960) with Ben Webster on tenor sax, The Swingin's Mutual (1961) with the George Shearing Quintet, Nancy Wilson and Cannonball Adderley (1962) and Hello Young Lovers (1962). Nancy's pure pop breakout would come in 1963, with Broadway, My Way.
All About Jazz is celebrating June Christy's birthday today!
June was born as Shirley Luster on November 20, 1925 at the Memorial Hospital in Springfield, Illinois and was raised from the age of three in Decatur, Illinois; and from the beginning always wanted to sing. She was singing with local bands when she was just 13, and later with society bands around Chicago, the big city 150 miles from Springfield, using the name Sharon Leslie. None of her family knew anything about music...
This is a project that I thought was so dope, I had to talk about it. We here at Flea Market Funk pride ourselves in giving a different perspective to vinyl and DJ culture. This, my friends, is the true spirit of recording music, the origin of the drums, and the instrument’s shift from Africa to Jamaica and spread throughout the world. Kalbata & Mixmonster were recently signed to Freestyle Records, a forward thinking record label that puts out all kinds of music. These two producers, government names Ariel Tagar & Uri Wertheim, have been putting out music you love. Ariel is a producer with releases on Soul Jazz, Brownswood and Greenmoney and remixes for Fat Freddy’s Drop, Spank Rock, The Count & Sinden and Roll Deep. Uri, is the man behind the brass Funk band The Apples, which we have highlighted here on Flea Market Funk before, a member of the cut and paste group Radiotrip, and a talented producer. He is also an expert on analog tape recording.
In 1961, trumpeter Buck Clayton was in Belgium on tour with his All Stars—Emmett Berry trumpet, Earle Warren alto sax, Buddy Tate tenor sax, Sir Charles Thompson piano, Gene Ramey bass and Oliver Jackson drums.
The bearded, ebulliant inspiration for the Coen brothers film Inside Llewyn Davis deserves a revival, writes Robin Denselow. The Coen brothers film Inside Llewyn Davis was inspired by the story of Dave Van Ronk, but the soundtrack album has only one track from the ebullient , bearded guitarist and singer who was a key figure on the New York folk scene for more than four decades, until his death in 2002. Van Ronk played blues, traditional songs and his own material, and was at his best heard live, as shown by this 54-song set.
His airy, effortless style, with its emphasis on lightly accompanied right-hand melody, was a key element in the transition from swing to bebop, and many modern jazz pianists took Wilson\'s approach as their starting point.
On this day in music history: November 20, 1955 - R&B legend Bo Diddley makes his one and only appearance on the Ed Sullivan Show. Sullivan will request that Diddley perform the song “Sixteen Tons’,...
Richard Williams on a pungent life of the jazz saxophonist, told from a black perspective. Anyone intending to write a proper biography of Charlie Parker must eventually get to grips with the nature of genius itself. Very late in this, the first of two long-awaited volumes on the life of the great modern jazzsaxophonist, Stanley Crouch comes close to the matter during a conversation with William "Biddy" Fleet, an obscure guitarist with whom Parker shared experiments in music after his arrival in New York in 1938, while still in his teens and groping his way towards his own style and a new conception of what jazz might become. "The thing I loved about Bird (Parker)," Fleet tells the author, "is this: he wasn't one of those who's got to write something down, go home, study on it, and the next time we meet, we'll try it out. Anything anyone did that Bird liked, when he found out what it was, he'd do it right away. Instantly. Only once on everything."
Sean O'Hagan: He was a one-eyed, drug-addicted piano genius who wore a wig stuffed with marijuana and once held a gun to his head on stage – now a new film tells James Booker's extraordinary story. It was the legendary Louisiana musician Dr John who memorably described James Booker as "the best black, gay, one-eyed junkie piano genius New Orleans has ever produced". Though Booker – who died from hard living in 1983 at the age of 43 – would have undoubtedly approved of the description, it does diminish his musical stature somewhat, while only hinting at his flamboyance and talent for self-destruction.