Monthly Archives: May 2019

In rotation: 5/3/19

Northwich, UK | Omega Records founder Steve Harrison excited for Northwich’s Dead Dead Good Weekend: As the town counts down to the Dead Dead Good Weekend, Gemma Sproston speaks to Steve Harrison, founder of Omega Records and the independent label from which this three-day festival takes its name. During its glory days, Omega Records was the lifeblood for music fans across the north west and beyond, playing a pivotal role in the indie and dance explosion of the late 80s and early 90s. Famous for launching The Charlatans’ career – amongst other bands – the store and label hold an affectionate place in people’s hearts and they’re responsible for so many first memories, whether its singles, albums, fanzines, gigs or festivals. Customers and friends included Morrissey, Doves, Johnny Marr, Ian Brown, John Squire, Billy Duffy, Bernard Sumner, Tim Burgess, Peter Hook, Stephen Morris and Tony Wilson, and former employees have gone on to work across the music, film design and TV industry.

Boise, ID | 11th-Annual VPS Boise Record Show and Swap at The Basque Center, Saturday, May 4: The annual Boise Record Show and Swap bills itself as “Boise’s first, oldest and only all-vinyl record convention”—and considering the traction that Boise’s own record headquarters, The Record Exchange, gets each time it throws an event or expands its collection, there’s no doubt it will bring in a crowd on Saturday, May 4. The Vinyl Preservation Society will open the doors to the old-school party at The Basque Center at 9 a.m. for VIP ticket holders ($10) and 10 a.m. for everyone else ($5). Along with vinyl sourced from four states, people can check out a raffle and other record-related merch like vintage audio equipment (turntables, anyone?), concert posters and collectibles. Don’t forget your records—or your wallet.

Hudson Valley, NY | Experts are Talkin’ Vinyl in New Series: Original Vinyl Records, the Hudson Valley’s newest record store, announces their new in-store live event series Talkin’ Vinyl. Beginning on Sun., May 5 from 4 to 5 p.m. Original Vinyl Records, located at 314 Rte. 94 South #7 in Warwick, is inviting vinyl experts to come and share their knowledge about artists and recordings and the back story for legendary albums. On May 5 historian Joe Conzo, Sr. will play never before heard recordings from his private collection from Tito Puente, Machito and Ray Barretto. Conzo, who is currently writing a book on the “Big Three” bandleaders Machito, Tito Puente, and Tito Rodríguez, owns an unrivaled collection of Machito live recordings. He is the producer of many recordings by Latin artists on prestigious labels such as Sony Music and Pablo. He currently serves as the Director of the Tito Puente Legacy Project – an archive of Puente memorabilia based at the school.

Melbourne, AU | Review: Revolutions: Rebels and Records, Melbourne Museum: A retro exhibition brings the Sixties back but with detail you’ve never seen before. Revolutions come in many forms. Some spin at home in black vinyl while others take to the streets for riots and placards. For this exhibition based on the Victoria and Albert Museum (V&A) collections of costumes, posters and more, the revolution is a period of the late 1960s that made noises in London then echoed out across the world. You might think you’ve seen the Sixties before but Revolutions looks deeper. The scale of Revolutions is mind-bending with 500 objects telling the story of 1966-1970…Because the objects could only tell so much of the story, there’s an aural layer. The accompanying headphones play through a Sixties playlist complete with vinyl crackles between tracks.

Kingston, ON | When it comes to vinyl, what’s old is new again: Out with the new and back in with the old. Vinyl records, once having been a thing of the past, have in recent years been brought back out into the limelight. It hasn’t just been 15 minutes of fame for these classic beauties. Record stores have also become reborn again and are a lot more common nowadays. With that in mind, Zap Records presented the Kingston Record Show and Sale on Saturday, a one-day event held at Princess Street United Church. Vendors lined up with table upon table of records inside the church. You could find any type of music your heart desired, from jazz to metal to blues and everything in between. The doors to the event opened at 11 a.m. and the event carried on until 4 p.m. Zap Records has been doing this at least once a year. If this one proves to be successful, they will continue with the huge sale again in the fall.

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TVD Live: Jakob Dylan, Cat Power, and Jade Castrinos at the Lincoln Theatre, 4/27

Jakob Dylan grew up amid his own small-town musical crossroads—Woodstock—but the subject of his new documentary is the one that flourished on the other side of the country in Los Angeles’ bohemian Laurel Canyon in the late 1960s. An added treat to his bringing the film to festivals ahead of its release is accompanying it with a live performance much like the one captured in Echo in the Canyon—accompanied by Cat Power and Jade Castrinos.

Their eight-song set at the Lincoln Theater Saturday, kicking off the Washington DC International Film Festival, included some of the highlights from the film, which had its origins with a 2015 all-star concert saluting the era that also included Beck and Regina Spektor. But it also veered into areas the film did not because of time.

A documentary on Laurel Canyon could focus on the singer songwriter heights of Joni Mitchell, James Taylor, Linda Ronstadt, the Eagles and the eventual formation of Crosby, Stills, Nash & Young. Or it could look at the epicenter of experimentalism that was Frank Zappa’s home base. Or that Jim Morrison wrote “Love Street” for the Doors about the vicinity.

Instead, the directorial debut of Andrew Slater, the former president of Capitol Records, with Dylan as the interviewer, focuses intently on a few bands—the Byrds in particular, but also Buffalo Springfield, the Mamas and the Papas, and the Beach Boys, whose Brian Wilson lived there while writing Pet Sounds. Although CS&N all are on camera, the narrative never reaches the point where they form their trio.

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TVD Live Shots: Killswitch Engage, Parkway Drive, After
the Burial, and Vein at
the Warfield, 4/18

The San Francisco Bay Area doesn’t let a little thing like a 6:30 start time on a Thursday night stop them from enjoying a quality evening of metal, especially when it comes to a Parkway Drive and Killswitch Engage co-headliner. The San Francisco crew lined up early and got rowdy for opening sets by Vein and After the Burial.

By the time Parkway Drive took the stage, the Warfield was packed to the rafters and floor went sideways when they launched into “Wishing Wells” off of last year’s Reverance. It had been well-over a year since these Aussies have hit the stage here and they had clearly been missed. No doubt these guys could have easily headlined this show on their own and as the sweaty kids hobbled out of the pit after the set wrapped with “Bottom Feeder,” the obvious question was how the heck was Killswitch Engage going to follow that? The answer: crushingly.

After a quick change-over KSE was on the stage and frontman Jesse Leach was up in the crowd and wailing to “This Fire.” While some of the faces of front had switched out, the floor was no-less furious as the band raged on, guitarist Adam Dutkiewicz always making sure the mood stayed light as he pogoed around the stage. Not too shabby for a band that’s not only been crushing it for nearly 20 years, but has maintained relevance throughout. Now about that new album, it’s been a while…

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TVD Radar: Norma Tanega, Walkin’ My Cat Named Dog vinyl reissue in stores 6/7

VIA PRESS RELEASE | Norma Tanega was discovered while singing to Catskill summer campers by producer Herb Bernstein who brought her to Four Seasons songwriter Bob Crewe. Crewe signed her to his New Voice label, and success was instantaneous: the title song to Walkin’ My Cat Named Dog went to #22 on the charts.

But, despite the album’s folk-pop trappings, Norma Tanega was not an artist destined to stay at the top of the charts for long; her voice was unconventional, and her songs were too idiosyncratic, not sticking to typical song structure or even meter (for example, “No Stranger Am I” is set to a 5/4 time signature). Tanega’s songs were so unusual that she had to hire session musicians to play them on the North American tour she took to support the album instead of her erstwhile back-up band The Outsiders. Upon returning, she then embarked on a British tour that was to change her life forever; there she met Dusty Springfield, and the two embarked on an artistic and romantic relationship that prompted Tanega to move to London for five years.

After the pair broke up, Tanega wound up moving to California and shifted to playing percussion in more experimental settings, following the wayward muse that makes Walkin’ My Cat Named Dog such an entrancing and unique listening experience to this day; in fact, the new FX show What We Do in the Shadows uses “You’re Dead” for its theme song.

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Our Jazz Fest Picks
for Day Six, 5/3

Get ready for the home stretch. With eight days of festing, pacing is in order. The second Friday of the New Orleans Jazz and Heritage Festival is packed with great bands. Here are our picks. The full schedule is here.

A few years back Jazz Fest brought in a group from the African country of Benin and they promptly blew peoples’ minds with their elaborate dance styles, frenetic percussion, and outrageous costumes. This year another group from of Benin, 3L Ifèdé, will kick off the Gentilly stage on the second Friday. I couldn’t find out much info as all of their publicity materials are in French, but suffice it to say that this group will be well worth checking out.

Cellist Leyla McCalla has been putting on amazing sets at the Jazz Fest since her first solo appearance back in 2012. But all of those performances were on the Lagniappe stage with its restricted views and seated crowds. This year, she has graduated to the Fais Do Do stage. I expect a huge crowd, so get there early.

Leo Nocentelli played with the Meters at the first Jazz Fest 50 years ago. He lived in Los Angeles for decades but is back home in New Orleans. This should be a chance for the guitarist to really show off his skills on a day when two other acclaimed, but much younger guitarists, Luther Dickinson of the North Mississippi Allstars and Gary Clark, Jr., follow him on the Gentilly stage.

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Graded on a Curve:
New in Stores for
May 2019, Part One

Part one of the TVD Record Store Club’s look at the new and reissued releases—and more—presently in stores for May, 2019. 

BOOK PICKS: Gillian G. Gaar, World Domination: The Sub Pop Records Story (BMG) This item and its counterpart below came out late last year as the initial two entries in the BMG imprint’s RPM series, which in a nutshell is shooting to do for notable record labels what Continuum’s 33 1/3 series has done for individual albums. The comparison isn’t a tidy as all that, as these books are bigger and info-loaded as well as perspective-driven; it’s unlikely folks will be finishing either in a day or two. I obviously didn’t. Gaar’s volume tackles a tale that I witnessed unwind, at least partially as an indie rock fan from my vantage point on the east coast, and I was a little worried that it was going to handle the subject unsatisfactorily, either through a lack of new info or by overemphasizing certain aspects of the saga.

I needn’t have worried. Gaar takes a good long time setting up the underground background of the label and she does a nice job illuminating the differing personalities of Bruce Pavitt and Jonathan Poneman, and doesn’t shy away from the fact that they nearly imploded the label before Nirvana broke big; ‘twas Grunge that yanked them from the jaws of bankruptcy. In a sense, the heroes of this story are Rich Jensen (whose accounting and basic discipline served as an anchor after the Kurt & co. cash came rolling in) and Megan Jasper (who righted the ship after the inevitable grunge backlash and Pavitt’s exit). Sub Pop’s ultimate success story (tapping into ’00s indie) isn’t exactly a mystery, so Gaar expands the tale to include how the label smartly navigated the sweeping changes in the industry from the ’90s forward. A-

Randy Fox, Shake Your Hips: The Excello Records Story (BMG) Fox does something similar with his spotlight on one of the great mid-20th century indie labels (which includes the persevering Nashboro gospel label), detailing its extensive long-term success in the mail order business through label owner Ernie Young’s “Ernie’s Record Mart.” Many sensibly think of Excello in relation to the swamp blues of Lightnin’ Slim, Lazy Lester, and of course Slim Harpo, but the label cut a ton of R&B throughout the ’50s, and when they didn’t score hits, those records reliably “sold through” via placement in package deals that customers could purchase through the mail. The records reached all the way to the UK, which is part of the reason why Slim Harpo had such an impact on the burgeoning Brit blues-rock and Beat scene.

As the story progresses, Ernie Young is depicted as a businessman and a record producer by necessity, but also as something of a rarity in the music biz, a fundamentally decent guy (in marked contrast to his New Orleans connection Jay Miller, who is revealed as sort of a shithead and definitely a bigot); really, the worst you could say about Young was that he drove a hard bargain (maybe sometimes a little too hard), but here’s the thing; EVERYBODY GOT PAID. This includes royalties. I’m going to guess that as the RPM series (hopefully) continues, unpaid royalties will be a not-uncommon thread in the individual stories. Another part of Fox’s scheme that’s such a treat is how much time he gives to specific recordings in a way that had me stopping to listen, even to tracks I already knew well. This is a special thing. A

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In rotation: 5/2/19

Chicago, IL | Vinyl record sale to benefit Libertyville Township food pantry: Anyone looking to add to their collection of vintage vinyl, replace a worn favorite or rekindle memories will get the chance at an upcoming pop-up sale in Libertyville. “There’s going to be some interesting finds for people to dig through,” said Lance Schart, one of the organizers and participants in the second annual vinyl record sale to benefit the Libertyville Township food pantry. Last year, the inaugural event held in the garage of one of the sellers raised $1,400 in cash and 400 pounds of food for the pantry. “We’re looking to double everything this year,” Schart said. That means more visibility in a larger space, and more selections and offerings for visitors. The sale will be held from 9 a.m. to 3 p.m. Saturday, May 11, at 330 N. Milwaukee Ave., an empty storefront in downtown Libertyville. Six local residents who each have been collecting for more than 30 years will be offering more than 2,000 new and vintage vinyl selections. A variety of genres will be represented and more records will be added to the inventory every hour.

The best turntables for 2019: If you’re serious about vinyl, or you’re looking to get more out of your existing collection of records, buying the right turntable is an essential part of the process. After looking at dozens of models at a variety of prices, we believe the EAT B-Sharp is the best turntable. With its outstanding build quality, sublime audio, and thoughtful extra features, it could easily be the last turntable you ever buy, which is probably a good thing, considering it’s not the cheapest turntable we’ve ever auditioned. Our team has over 50 collective years in the consumer and pro audio markets, and some of us are downright obsessed with playing music the old-school vinyl way. We’ve spent countless hours dropping needles on everything from Nat King Cole to Nipsey Hussle, and we know which gear produces the best sound.

Mumbai, IN | Of vinyl and folk artists: How Amarrass is putting rural musicians on the map, reviving interest in records: “The legends are out there. We don’t know them, but that means it’s an opportunity to go out and find them,” says Ankur Malhotra. Malhotra speaks of the music legends who live in rural India, far from urban gig venues and studios. A shared passion for music and shame at not being able to name ‘the greats’ of Indian folk motivated him to start the record label Amarrass Records in 2009 with Ashutosh Sharma. The duo got on the road with microphones in hand, scouring the Rajasthani countryside for rural talent. Among others, they found Sakar Khan, simply described as one of the greatest kamancha players the world has seen. The musician, who had been playing all his life, finally released his only album At Home: Sakar Khan in 2012 with Amarrass, which received five stars on Songlines. In 2012, Khan was awarded the Padma Shri for his contribution to Indian folk music. “These are people for whom the sole purpose, the sense of being on this Earth is to perform and play music,” Malhotra explains.

The Rolling Stones And ABKCO Announce Deluxe Reissue Of ‘The Rock And Roll Circus’: The Rolling Stones may have had to put their highly-anticipated return to North America on hold while singer Mick Jagger recovers from heart surgery, but that doesn’t mean the famous rock band is sitting around doing nothing but counting their riches like some kind of British Scrooge McDuck. Earlier this week it was announced that The Rolling Stones Rock And Roll Circus, the band’s 1968 all-star concert film featuring guests like John Lennon and Yoko Ono, The Who, and many more, will be given an expanded reissue this coming summer. The concert, which was professionally filmed in front of a live audience in London in December 1968, featured performances by The Stones, in addition to notable pop (and non-pop) acts of the day including, Jethro Tull, Taj Mahal, Marianne Faithfull, and The Dirty Mac–a spontaneous supergroup comprised of Eric Clapton, Keith Richards, The Jimi Hendrix Experience drummer Mitch Mitchell and John Lennon.

David Bowie “Diamond Dogs” Red Vinyl LP out Friday 24th May. Shop sales only: Released on 24th May 1974 ‘Diamond Dogs’ gave David Bowie his third UK number one album and his first top 10 album in the US. To celebrate the 45th anniversary there will be a special limited edition red vinyl version of Diamond Dogs on 24th May 2019, exactly 45 years since its original release. Preceding the album by more than 3 months, Rebel Rebel peaked at number 5 on the official U.K. singles chart. The original single mix was substituted by the shorter, ‘phased’ New York Remix single version in North America, featuring a new arrangement and overdubbed vocals. The album originally peaked at number 1 in the official albums chart in the U.K. and number 5 in the Billboard album chart in the U.S.. This will only be available to ‘bricks and mortar’ retail stores and not through online stores.

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TVD Live Shots: Sammy Hagar & The Circle with S.Ø.S at Harrah’s, 4/26

LAUGHLIN, NV | Fifty years into a remarkable career, Sammy Hagar continues to sell-out venues across the country, and Friday night’s show in Laughlin was no exception. It was standing room only at Harrah’s as Redheads from around the world gathered to pay tribute to one of the most gifted showmen in rock and roll history. And as one might expect, Sammy Hagar & The Circle put on a clinic for the 5,000+ in attendance and showed everyone lucky enough to be there that “There’s Only One Way to Rock!”

As a professional music photographer, I am blessed to be able to see a ton of amazing live music in ridiculously cool locations all across the country. Some of the bands I see are huge, others are just getting their careers started and have little if any following. From the thousand-plus shows I have seen live, there is one thing I can tell you with absolute certainty—there are very few bands out there that have what I consider the “IT” factor—that special mojo that keeps them fresh and relevant on the ever-turbulent musical rollercoaster. Sammy Hagar checks off all those boxes and then some. In tandem with the legendary bassist Michael Anthony, guitar virtuoso Vic Johnson, and drummer extraordinaire Jason Bonham (collectively known as The Circle) you have all of the ingredients necessary to fuel one of the most amazing bands on the planet today.

Kicking off Friday’s show in Laughlin was S.Ø.S, the solo project of California-based singer/songwriter and literal son of The Red Rocker himself, Andrew Hagar. Accompanied by Shredmaster Scott on the electric guitar (a true bad-ass, if you ask me), these two kicked off the party in stellar rock and roll fashion with five killer songs that I would consider Gonzo Garage Folk. Their set was original, energetic, and most importantly real in a world where far too often new music is shallow, unimaginative, and boring.

Andrew captivated the near-capacity crowd with tracks like “Always Winning” and “Dirty Feet,” but my favorite of the night was “Triggerman,” a well-written song about the epidemic of senseless shootings in our society today. I felt this one pushed the masses over the edge and highlighted why the younger Hagar will be a force to be reckoned with in the not so distant future. If you have not heard of Andrew Hagar or S.Ø.S, give their latest EP, “From the Other Side,” a spin.

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TVD Live: The New Orleans Jazz and Heritage Festival,
4/25–4/28

PHOTOS: STEVEN KASICH | The first weekend of the New Orleans Jazz and Heritage Festival got off to a wet start when massive storms forced a delayed opening on Thursday and soaked the New Orleans Fairgrounds. But after the front passed, the weather was picture perfect the rest of the weekend, although the grounds were still a bit soggy on Friday and Saturday.

Carlos Santana (pictured at top) and his namesake band drew one of the biggest crowds of the weekend dwarfing first time festival performer Katy Perry and many of the other big names. Allotted a two-hour set, the Woodstock veteran pulled out all the stops creating a Latin soul dance party on the Acura stage.

Santana was even given an extra twenty minutes past the usual cutoff time of 7 PM. He used it well by inviting local hero Troy “Trombone Shorty” Andrews on stage. The two traded licks and then a hug to huge cheers from the smitten audience.

Local bands fared well including Kumasi. Their horn section set the tone for an Afrobeat set that had everyone dancing at the considerably smaller Jazz and Heritage stage.

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TVD Premiere: The
Y Axes, “Get Away”

San Francisco-based indie outfit The Y Axes specialize in punk pop-tinged synth rock that recalls the early work of The Bangles as well as modern acts like Uffie. Their combination of muscular riffs and effervescent vocals have captured the attention of talking point outlets like Consequence of Sound, adding some national vindication to the systematic strides they’re making in the Bay Area live scene.

TVD is pleased to bring you the premiere of their newest track, “Get Away,” a thought-provoking slice of pop rock, pulled from their forthcoming LP No Waves, due in stores June 7th. Speaking on the inception of the song, lead-singer Alexi Belchere reflects, “‘Get Away’ was our attempt at writing a fun banger, so naturally our intentions were self-sabotaged and I wound up writing lyrics about what happens when you stop suppressing emotions.”

“The song talks about what we do to survive—turning up our headphones to block out thoughts, holding out for when everything gets better. Eventually this either breaks us or get released when we stop ‘pretending everything is ok.'”

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Graded on a Curve:
Nick Cave &
The Bad Seeds,
Henry’s Dream

Is it just me, or is Nick Cave a bad poet and a parody of a Vegas lounge crooner?

I know the man has an enormous cult who think he’s this big literary genius (wrote a novel and everything!), but what I hear when I listen to 1992’s Henry’s Dream (The Bad Seeds’ seventh) is bad Walker Brothers-school shlock with more pretentious lyrics.

Murder ballad “John Finn’s Wife” may be a lot of things, but immortal poetry ain’t one of them; lines like “Dancers writhed and squirmed and then/Came apart and then writhed again/Like squirming flies on a pin” ain’t exactly going to win Cave an exulted place on Parnassus, people.

Cave’s music is certainly distinctive. His voice is stentorian and sepulchral–if a funeral parlor could sing, it would sound like our Nick. The music is brooding, blues-based and lachrymose to a fault, the stuff of seances, barroom wakes and Halloween soirees. Lyrically, Cave’s fixated upon death, murder, suicide–the usual gothic suspects. He also has a disconcerting knack for the flowery and literary. If you can tell me what “the loom of the land” means, I’ll give you five bucks (or as Nick would probably say, doubloons).

But to go back to the beginning, I suspect it’s just me. Cave’s such a gloomy Gus I want to pat him on the back and tell him everything’s going to be okay. Which is just another way of saying I can’t help but think of his unremitting morosity as anything but an annoying affection–a shtick that grates on my nerves, and fast.

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Our Jazz Fest Picks
for Day Five, 5/2

PHOTO: DAVID GRUNFIELD | I don’t envy the extra work that went in to figuring out how to reconfigure the schedule for what was supposed to have been “Rolling Stones Day.” But the fine folks at the New Orleans Jazz and Heritage Festival rose to the occasion and created a delightful lineup out of a debacle. Here are our picks. The full schedule is here.

Big Chief “Little” Charles Taylor of the White Cloud Hunters is one of the most revered of the downtown black Indians with an instantly recognizable voice. His skills with the needle and thread are formidable and over the years he has created some really memorable suits. But it has been some years since he sewed a new suit. Don’t miss seeing him and this year’s creation first thing in the morning.

I will be torn in the second time slot between two of the best local rock bands in New Orleans. I saw both Egg Yolk Jubilee and Johnny Sketch and the Dirty Notes (pictured at top) at the recent French Quarter Festival and believe they both put on one of their best shows in recent history.

It’s hard to believe that at one point in New Orleans history, in the late 1960s, the brass band tradition was dying out. The story is long, and it almost happened again in 2005 after Katrina and the failure of the federal floodwalls devastated the city. But now there seems to be more brass bands in town than ever. Case in point, are the Sons of Jazz. This group of young musicians is on fire.

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Graded on a Curve: Teodross Avery,
After the Rain: A Night for Coltrane

Dr. Teodross Avery hit the scene on saxophone way back in the mid-’90s in a decidedly post-bop way, but in the intervening years much of his energy not devoted to academics found him working as a sideman in settings ranging from jazz to neo-soul to hip-hop. A couple of years ago he released an out-of-nowhere duo CD with Marvin “Bugalu” Smith that loosened things up considerably, and now he’s back with the live quartet recording After the Rain: A Night for Coltrane. Digging into a multifaced array of tunes from John Coltrane’s discography (four originals and two covers), the group dive into the sound of the Classic Quartet in expansive mode. It’s out May 10 on LP and CD through Tompkins Square.

In Other Words by the Teodross Avery Quartet was released in 1994 on Impulse, though it didn’t dent my consciousness back then, mainly because my jazz fandom was leading me into more avant-garde areas. In Other Words is a thoroughly post-bop affair (I’ve since checked it out); one could even call it a neo-trad thing, with Avery very much in Young Lion-mode (this designation is a nod to the all-star Vee-Jay LP of 1961, which itself was riffing on the title to the WWII novel of Irwin Shaw, that is considered a highpoint in post-bop/ hard-bop jazz, a style highly valued by the neo-trad movement).

As said, in 1994 my jazz interest was taking me into areas somewhat afield from the neo-trad experience, like trying to locate a copy of the Charles Gayle William Parker Rashied Ali recording Touchin’ on Trane, which came out in ’93 via the FMP label. I mention this record because it ties in nicely with the thematic thrust of Avery’s latest, though the depth of Coltrane’s influence on the saxophonist spans back to the very beginning; his bio relates that a hearing of Giant Steps at age 13 was pivotal to his musical development.

Indeed, the impact of Coltrane on In Other Words is easy to discern. The same is true of Avery’s second album, My Generation from 1996, though that one introduced a connection to hip-hop, with Black Thought from The Roots guesting. As its title makes clear, hip-hop also impacts 2017’s Post Modern Trap Music, though it’s a more subtle ingredient than one might expect.

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In rotation: 5/1/19

Trade opinion: Record Store Day, the inspiration for Local Bike Shop Day: Saturday 13th April 2019 saw another successful Record Store Day (RSD) with thousands of record shops across the globe coming together to celebrate their unique culture and community. It has become one of the biggest annual occasions on the music calendar with exclusive vinyl records created, artist performances and events throughout the world to mark the day. RSD has become the success that it is today because it is both, exclusive to indie record stores and, an entirely inclusive event, inviting everyone to take part…Like RSD, Local Bike Shop Day (LBSD) is an annual event for independent bike shops across the UK to come together and celebrate the passion and knowledge that sets them apart from the larger national chains. The inaugural LBSD in 2018 was a huge success bringing together over 50 bike shops across the UK in celebration. This year is already promising to be bigger and better with over 140 bike shops taking part.

Meet the Record Label Turning Video Game Soundtracks Into Cool Vinyl: It’s not often artists like Weezer and Courtney Love are mentioned in the same breath as Hollow Knight, Darkest Dungeon and Nuclear Throne. For Ghost Ramp, a boutique record label based in Southern California, representing video games soundtracks alongside traditional music is a typical day at the office. Founded in 2008 as the music blog of Nathan Williams, the frontman of San Diego punk/pop group Wavves, Ghost Ramp evolved into a fully-blown independent record label in 2011, when it backed a handful of west coast indie acts such as Antwon, Cloud Nothings and So Stressed. Fast forward to 2015 and Ghost Ramp extended its purview to video games, when Williams and label manager Patrick McDermott – both lifelong gamers – pressed an official limited-edition vinyl run of Austin Jorgensen’s score for the quirky post-apocalyptic side-scrolling role-player LISA.

The music world’s Holy Grail: The 45 rpm 7″ vinyl single Do I Love You (Indeed I Do ) by Frank Wilson on Tamla Motown record label, value £25,000, original pressings, 1979 re-release £30, DJ copies, £60….Frank Wilson (1940-2012) was an American songwriter, singer and record producer for Tamla Motown records who had written and produced many hit records for Motown artists, Marvin Gaye, The Temptations, The Miracles, The Four Tops, Diana Ross/The Supremes and many others. One day, he decided to cut a single of his own for release. The song was first pressed and recorded in 1965. No one is absolutely sure of how many demos were made; 250 is the accepted figure, but some say it could be higher. After playing it for Berry Gordy, head of Motown records who gave the song a lukewarm opinion, Frank had all the demos destroyed, although two, possibly three copies survived, one of which, when auctioned, sold for £25,742 in May 2009.

NZ | Rare Elvis Presley record found in old pile of records and donated to museum: Elvis may have left the building, but somehow, one of his extremely rare, 64-year-old records ended up in a South Island secondhand shop. And the original New Zealand-pressed E-Z Country Programming No. 2 LP from 1955 was discovered by none other than a travelling church organ tuner. Oamaru musicologist Dr Ron Newton, who has a PhD in NZ organ history and a museum of pipe and reed organs, was tempted to throw the valuable piece of vinyl away until he did some research. “Then I looked it up and discovered it was sought after by collectors all around the world, and I thought, this record needs to go to a museum,” Newton said. It is a copy of the first 12″ vinyl LP recording of Elvis’s music ever made and is sought by collectors because of two featured tracks: “Mystery Train” and “I Forgot To Mention To Forget.”

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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