www.oscarbrand.com

 Oscar Brand (1964)

  Oscar Brand and Joni Mitchell -
"Blow Away The Morning Dew" (1965)

Erie Canal (Mariposa, 2010)

Oscar Brand’s life is one of hyperbole and artistic integrity. He is a master of media, a performer of world-wide renown, a composer, broadcaster, author, recording artist, educator and foremost a man who stands on principle and persists. Born in Winnipeg in 1920, Mr. Brand is linked forever to Long Island by his Brooklyn College years and subsequent residence. Upon discharge from the Army, Brand started broadcasting “Folk-song Festival” in 1945 over WNYC. He continues to this day, 65 years later, pumping out “Oscar Brand’s Folksong Festival” and has been noted in the Guinness Book of World Records as the longest running radio show continuously aired and hosted by the same person. His show provided an important outlet during the McCarthy era for blacklisted artists and he was singled out by the HUAC as a “pipeline of communism” by standing up for First amendment rights. Brand also was on the advisory panel for Children’s Television Workshop (CTW) and ”Sesame Street” where he was a tireless advocate for children and especially inner city ghetto kids.   

His credits include music in 75 films, musical director for many NBC TV programs, host of Canadian TV’s “Let’s Sing Out”, numerous famous advertising jingles including Oldsmobile, Maxwell House coffee and Log Cabin syrup, lyrics and music for Broadway productions including “A Joyful Noise” and HYMAN KAPLAN and the composition of the Canadian national folksong “Something To Sing About” which was prominently featured in the opening program for the recent Vancouver Winter Olympics. Brand has additional radio responsibilities on NPR’s “Voices In the Wind,” “Morning Edition” and co-hosting the 5 hour broadcast of the “Sunday Show.” As a performer, Mr. Brand has recorded 90 LPs and has shared the stage with Leadbelly, Woody Guthrie, The Weavers, Pete Seeger and Josh White.

His encyclopedic knowledge has been focused in 7 books. Writing about folksongs as well as compiling collections of thematic songs, Oscar wrote the 4 volume Bawdy Songs and Backroom Ballads as well as The Ballad Mongers: Rise of the American Folksong and Songs of ’76: A Folksinger’s History of the Revolution. Knowledge and a ready ear has enabled Brand to bring numerous artists to the wider public’s attention including his discovery and championing of Bob Dylan, Joan Baez, Woody and Arlo Guthrie, Peter Paul and Mary, Joni Mitchell, Judy Collins, Huddie Ledbetter and Pete Seeger. A lifetime of achievement has been highlighted by the Peabody Award given for his work with the NPR “Sunday Show”, a personal Peabody Award, Emmy’s for TV work, an Edison Award and numerous other high honors. His life and work were celebrated on 1/18/10 on WoodSongs Old-time Radio Hour, an international radio and TV show for his upcoming 90th birthday and his 65 years broadcasting and on 2/7/10, the Canadian Broadcasting Company show “Sunday Edition” was a tribute to Mr Oscar Brand. All these accolades and performances pale however to the significance of his influence on a seminal television character, Oscar the Grouch, who has captivated children of all ages for some 40 years!

We are proud and honored by the opportunity to add another line to Mr. Brand’s curriculum vitae as we induct him into the LI Music Hall of Fame.

www.caroleandpaula.com

 The Magic Garden Theme Song

Goodbye Song

Hello Song in Swahili

Carole and Paula have been friends since their high school days in Brooklyn, NY. They were teachers together in the NYC School System, sang for the NY Shakespeare Festival for several summers and formed their own company, CAP Productions, Inc. in 1978. They are loved and remembered as the stars of  The Magic Garden, now a part of the permanent collection at The Paley Center in NYC (formerly the Museum of Television and Radio).  Their program, the most popular regional show in children’s television history, ran for 12 1/2 years on WPIX-TV, NY and affiliated stations.   They created 3 highly successful records for children (one a Grammy Nominee) and their sold-out live performances in over a hundred venues include fund raisers for numerous charities.

Their enthusiastic fans now bring their own children to see their childhood friends and role models, “Carole and Paula”.  Fan-based Facebook pages include sites with over 26,000 happy fans sharing their memories of Carole and Paula and The Magic Garden.

www.teddy-charles.com

 2009 - his first studio recording in 40 years

Nostalgia in Times Square

Wikipedia: Teddy Charles

Born on April 13, 1928, Teddy Charles (Cohen) is considered one of the greatest jazz vibraphonists of all time. He has played alongside such jazz legends as Charlie Mingus, Charlie Parker and Miles Davis, his distinctive vibes style making a major contribution to the development of be-bop, hard bop and creating many of the innovative sounds that define modern jazz.

As a student at Julliard in the mid 40s, he haunted New York's jazz clubs, occasionally sitting in with the bands on vibes or piano. His break came unexpectedly one night when he was asked to sit in on piano with Coleman Hawkins' band for the overdue Thelonious Monk. Soon after, Charles began to appear regularly with the top jazz groups of the day: Artie Shaw, Benny Goodman, Buddy De Franco, and playing alongside and writing for such jazz stars as Coltrane, Parker, Max Roach and Miles Davis. In the early 1950s he began leading his own groups, composing, producing and recording dozens of original works such as No More Nights, Blues Become Elektra and Word from Bird.

Teddy has an impressive discography, dating back to February of 1949, and continuing to the present day. Teddy's vibes work is a crucial component of the greatest jazz recordings of all time, both as a bandleader and as a band member. His discography encompasses the Who's Who of jazz in the 20th Century. Teddy has recorded hundreds of tracks with dozens of jazz luminaries, including Chet Baker, Stan Getz, Shorty Rogers, Elvin Jones, Teo Macero, King Curtis, Tal Farlow, Billy Taylor, Zoot Sims, Percy Heath, Curtis Fuller, Art Blakey, Charlie Mingus, Miles Davis and The Bird himself, Charlie Parker. Charles ventured beyond jazz into blues, R &B and pop beginning in the mid-1950s, recording with iconic blues harpist Sonny Terry, with R&B artists Robert "Bubber" Johnson and Lavern Baker, and with American icons Dion and Aretha Franklin.

Teddy's astonishing discography can be found here: http://www.attictoys.com/jazz/TC.HTM

When jazz's popularity began to fade in the 1960s, Charles took a break from the music world to follow the other great love of his life: the sea. He left the icy streets of New York and headed for the balmy Caribbean where he sailed the famous Golden Eagle (formerly owned by DuPont), and became one of the pioneering American charter boat skippers in the Caribbean. He later bought and restored the derelict Tiki, the famed 85' schooner from the 1950s TV series Adventures in Paradise, and began running a charter service out of Martinique. Captain Ted is considered by many to be the most experienced owner-operator of commercial sailing charters on the east coast, sailing extensively from Martha's Vineyard to the Leeward Islands in the Caribbean. Ted was formerly the owner and Captain of the Schooner Mary E., and now operates the Skipjack Pilgrim out of Greenport, NY.

In the 1980s, Teddy came out of music retirement. He recorded a comeback album for Soul Note in 1988, and has recently appeared with Max Roach, David Amram, and Lee Konitz. Teddy toured the Netherlands in 2008, and was a featured artist at the Los Angeles Jazz Institute Festival this past May. At age 82, Teddy can be found performing on occasion, working with a new generation of young musicians who are creating their own jazz legacy with this Master of the Vibes.

www.dreamtheater.net

 Forsaken

Erotomania

Wither

Dream Theater is a progressive metal band with strong Long Island roots and a loyal fanbase. Their live shows offer a significant amount of humor, casualness, and unpredictability, sometimes even inviting fans to perform on stage with them. 

The group formed in 1985, when Berklee School of Music students Portnoy, John Myung and John Petrucci decided to start a band together. Originally known as Majesty, the fledgling act recruited keyboardist Kevin Moore and singer Chris Collins into the fold. Collins eventually left, replaced by Charlie Dominici, while another band forced them to drop the Majesty moniker in favor of Dream Theater, named after a demolished California cinema.

1989’s When Dream And Day Unite made an immediate impact on the underground progressive rock scene, but Dream Theater wanted to push further. Replacing Dominici with James LaBrie, the group signed to Atco (later absorbed by Atlantic) and recorded 1992's groundbreaking Images And Words. Featuring the hit, "Pull Me Under," the album introduced Dream Theater to hordes of new fans that continue to support the band to this day.

Many more albums followed, including 1994's Awake, 1997's Falling Into Infinity and 1999's Scenes From A Memory. Personnel changes, label turnover, and the ill-timed release of 2001's Live Scenes From New York -- which arrived on September 11th, 2001, with cover art featuring a New York skyline against a backdrop of flames -- roiled the group but never truly deflected it from its musical path.

The band has a legion of dedicated fans. "The biggest reason we've been able to endure that is our devoted fan base," says (now former drummer) Mike Portnoy. "Our fans are as big a part of the story as we or our music is. They're the reason that we're able to keep a major label deal and go and play sheds and large theatres and stuff like that without mainstream exposure. It's due to this incredible fan base that stands by us through thick and thin from year to year."

www.jamesarts.com/releases/
june09/drucker_060109.htm

 New York Philharmonic: Weber Concertino for Clarinet

Leaving A Legend

Wikipedia: Stanley Drucker

At the conclusion of the 2008-2009 Season, New York Philharmonic Principal Clarinet Stanley Drucker celebrated 60 years as a member of the Orchestra. In honor of this milestone anniversary, he became an honorary member of the Philharmonic Society of New York, the first orchestral musician so honored.

The Philharmonic estimates that he has performed in 10,200 concerts, which is approximately 70% of the total number of their concerts since 1842. He has been Principal Clarinetist for a record 48 years, making close to 200 appearances as soloist and chamber musician with the orchestra. He played under 9 Music Directors, among them Bruno Walter, Dmitri Mitropolous, Leonard Bernstein, Pierre Boulez and Zubin Mehta. He has performed in 60 countries on tour. He is listed in the Guinness Book of World Records as "Longest Career as a Clarinetist."

Mr. Drucker maintains an active solo career, appearing with ensembles throughout the world. He has been nominated twice for Grammy Awards in the category of Best Instrumental Soloist/Classical with Orchestra: In 1992 for his recording of the Copland Concerto with the Philharmonic and Leonard Bernstein, and in 1982 for John Corigliano's Concerto with the Philharmonic and Zubin Mehta. Mr. Drucker is featured on a number of other Philharmonic recordings: under the direction of Leonard Bernstein in Debussy's Premiere Rapsodie; in Carl Nielsen's Clarinet Concerto; and in the World-Premiere live performance (1977) of the Corigliano Clarinet Concerto, which is a part of the Orchestra's acclaimed CD box set, The Historic Broadcasts: 1923-1987. Mr. Drucker's other recordings include New York Legends: Recitals with Principals from the New York Philharmonic; Schumann's Complete Works for Winds and Piano; the Mozart Quintet for Clarinet and Strings in A, K.581, and a two-CD set of the two clarinet sonatas, Trio in A minor, and Quintet in B minor of Brahms entitled Drucker Plays Brahms. He is also heard on the World-Premiere broadcast of William Bolcom's Clarinet Concerto, part of the New York Philharmonic Special Editions boxed set An American Celebration.

In recognition of his highly respected and widely acknowledged musical excellence and dedication, he was named Musical America's 1998 Instrumentalist of the Year. Born in Brooklyn in 1929, Mr. Drucker began clarinet studies at age ten with Leon Russianoff, his principal teacher, and later attended the High School of Music and Art and The Curtis Institute of Music. He was appointed Principal Clarinetist of the Indianapolis Symphony Orchestra at age 16, of the Adolf Busch Chamber Players at age 17, and of the Buffalo Philharmonic at age 18.

He lives in Massapequa with his wife, Naomi, Director of the American Chamber Ensemble and recipient of a LIMHoF LISA Award. Their son is Lee Rocker, solo artist and former bassist of the Stray Cats and Big Blue, and their daughter Roseanne is a singer living and recording in Nashville.

www.ericbnrakim.com

Microphone Fiend

Paid In Full

Don't Sweat The Technique

Eric B and Rakim are considered to be one of the most influential and innovative artists in hip-hop history.  They are well-known for their music during rap's "Golden Age" between the mid 80's to the mid 90's. They are widely regarded as the premiere DJ/MC combo.  Eric B. is praised for his unique beat-making and turntable skills.  He is also credited with popularizing the use of James Brown samples. Rakim still tops polls as the greatest MC of all time.  He is known for his internal raps, smooth jazz-like delivery and complex poetic rhymes.

Eric B. was born in Elmhurst, Queens and Rakim grew up in Wyandanch,NY.  Eric B. became a DJ in high school and eventually got a job as a mobile dj for the popular radio station, WBLS, where he met Rakim.  The two then got together with Queens hip-hop producer Marley Marl and made their legendary single "Eric B. is President" in 1986.

In 1987, the group recorded their classic album, Paid in Full, in one week at Power Plays Studio.  4th and Broadway released the album, and it quickly climbed into the R & B top ten. The famous album cover featuring the group in Gucci leather suits and dollar bills behind them became one of the most iconic hip-hop images of all time.  Paid in Full made Eric B. and Rakim instant stars, and music critics immediately dished out lavish praise.  MTV ranked it at number one in "The Greatest Hip-Hop Albums of All Time." Rolling Stone listed it at #227 on its "Top 500 Albums of All Time." Spin Magazine listed the album as #22 on its list of the 125 Top Albums of the Past 25 Years. Time Magazine listed it as one of the eighteen albums of the 1980s in its "All-Time 100" albums.

After the huge success of their first album, they released the equally successful Follow the Leader. The album contained one of their most well-known singles,"Microphone Fiend." They also landed in the top ten when they teamed up with pop singer Jody Watley for the hit song "Friends."  In 1992, they released the album Let the Rhythm Hit 'Em, as well a few songs for movie soundtracks.  Their single "Juice (Know the Ledge)" from the Juice Soundtrack, is one of their most popular songs. Shortly afterward, the group split up.

Through the years, both Eric B. and Rakim have released solo albums.  Rakim has also made notable guest appearances on albums by Jay-Z and Kanye West.  However, Eric B. and Rakim's popularity as a group still remains today with their old songs regularly featured in films, video games and countless hip-hop collections.

en.wikipedia.org/wiki/Morton_Gould

www.schirmer.com

 American Salute

Wikipedia: Morton Gould

Born in Richmond Hill, New York, in December 1913, Gould was recognized early on as a child prodigy and at the age of six had his first composition published.

When Radio City Music Hall opened, the young Gould was its staff pianist. By the age of 21 he was conducting and arranging a series of orchestral programs for WOR Mutual Radio. He attained national prominence through his work in radio, with his combination of classical and popular programming. During the 1940s Gould appeared on the "Cresta Blanca Carnival" program and "The Chrysler Hour" (CBS), reaching an audience of millions.

At a time before the term "crossover music" wasn't even an idea, Gould's music integrated jazz, blues, gospel, country-and-western, and folk elements into compositions which bear his unequaled mastery of orchestration and imaginative formal structures.

Always open to innovative forms of creating music, as early as 1978, Gould records for the Chalfont and Varese Sarabande labels using then-new digital technology.

His music was commissioned by symphony orchestras throughout the United States, the Library of Congress, the Chamber Music Society of Lincoln Center, the American Ballet Theatre, and the New York City Ballet. Gould's talents as an arranger are featured on a series of recordings recently re-released by BMG.

As a conductor, Gould led all the major American orchestras as well as those of Canada, Mexico, Europe, Japan, and Australia. A member of the American Society of Composers, Authors, and Publishers since 1939, Gould served on the board from 1952 until his death and was president from 1986 until 1994. He also served on the board of the American Symphony Orchestra League and on the National Endowment for the Arts music panel.

His awards and honors included a 1966 Grammy (for Charles Ives's First Symphony with the Chicago Symphony Orchestra, a recording that led the way for a new appreciation of Ives' work. Gould received 12 nominations during his life), a American Symphony Orchestra League Gold Baton, a 1985 Medal of Honor for Music from the National Arts Club and his 1986 election to the American Academy and Institute of Arts and Letters. He was also a 1994 Kennedy Center Honoree, the 1994 Musical America Composer-of-the-Year and recipient of the 1995 Pulitzer Prize for Music (for Stringmusic) and a 2005 Grammy Lifetime Achievement Award.

A longtime resident of Great Neck, Morton Gould's music talents were surpassed only by his wit and warmth, accessibility and generosity with his colleagues and his uncompromised sense of personal integrity. The last was in full display when Gould refused to appear before the House Un-American Activities Committee even when offered recording contracts and Broadway musicals in exchange for his testimony.

His music is published by G. Schirmer, Inc. Gould's more than 100 LPs were recorded for many labels, including RCA and Columbia. Most recently, many of his works have been recorded by the Albany Symphony on Albany Records.

bobgruen.com

 Night Talk: Interview, Part 1

 Night Talk: Interview, Part 2

One of the greatest rock and roll photographers and creator of many iconic images. Was John Lennon's personal photographer during his time in New York City. Also known for photos of among many others, Eric Clapton, Jerry Garcia, Led Zeppelin, Sean Lennon, Yoko Ono, Joe Strummer, The Who and Green Day.

Great Neck born Bob Gruen's career photographing rock stars began with Bob Dylan. He later served as John Lennon's personal photographer during his time in New York City. With anyone else, one could stop right there and still consider it a highly notable career. But while Gruen is best known for his photograph of Lennon wearing a New York City T-shirt, he has also captured iconic images of numerous other rock legends, including KISS, Patti Smith and the Rolling Stones. Other notable celebrities and rock bands photographed by Gruen during his ongoing career include Eric Clapton, Jerry Garcia, Led Zeppelin, Joe Strummer, The Who, and, more recently, Green Day. Bob's unique photographs have been exhibited in major museums from London, England to Sao Paolo, Brazil

Yoko Ono has said of Gruen: "Bob's magical photos and brilliantly telling captions together present a kaleidoscope of John Lennon's New York Period. It is beautiful, clear, and truthful. I know. I was there." Many of those photos can be found in Gruen's book "John Lennon: The New York Years". Other collections of his work include "New York Dolls: Photographs" and "The Clash". The Long Island Music Hall of Fame is delighted to welcome, Bob Gruen - a Long Islander who has given the world an up-close look at some of rock's greatest legends - into our 2010 class of inductees.

www.mahalo.com/roy-haynes

 Autumn Leaves

Drum Solo (1973)

  Wikipedia: Roy Haynes

Among drummers, few have the unique combination of variety, unique style, hard swinging attack and discography as does LI’s Roy Haynes. Roy was born in Roxbury, Boston, MA in 1925 and has been playing steadily since his pro debut at age 17. He has impacted jazz from the Swing era through the onset of Bebop, Hard Bop, Jazz Fusion and Avante-garde explorations. His earliest full-time gigs were on the drum seat backing Lester Young and later Charlie Parker. His drum education was self exploratory along with attendance at the University of 52nd Street and uptown at Minton’s and through this he developed a unique style of drum and cymbal work that extracts the rhythm from melody. His crisp and rapid snare work earned him the nickname “Snap Crackle.” Haynes has recorded widely including sessions and recordings with Stan Getz, Bud Powell, John Coltrane, Thelonious Monk, Miles Davis Dizzy Gillespie, Eric Dolphy and into the present day with Chick Corea and Pat Metheny. He was Sarah Vaughan’s tour drummer for many years and currently fronts The Hip Ensemble which includes 2 or his sons.

Roy describes what he does as assigning rhythmic phrases like a tap dancer and that his goal is to keep the music tight but loose. Part of this involves spreading the rhythm and “keeping it moving, keeping it crisp.” Obviously this approach has worked since Haynes’ 2 most recent CDs, “Fountain of Youth” and “Whereas” were both Grammy nominees, he was placed in the “Downbeat” hall of fame in 2004, was the “Downbeat” drummer of the year in 1996, His work has transcended genres.  Charlie Watts of the Rolling Stones wrote a tribute song for him and Roy has appeared with the Allman Brothers and Phish. From January 11-23 of 2009, Columbia University’s radio station WKCR did a Roy Haynes career retrospective that lasted 301 hours and he was honored by France with his naming as a Chevalier des l’Ordres Artes et des Lettres. For more than 65 years Roy Haynes has been prolific, adventurous, unique and distinctive. He is an international star but when he comes home, he comes here!  Congratulations, Mr. Haynes from a wanna be skin pounder to the real deal.

www.alkooper.com

Tribute Documentary

Something's Going On (Live at The Bottom Line)

Flute Thing

Al Kooper is often referred to as the "Zelig" or "Forrest Gump" of Rock. Somehow, in a career that spans 50 years, he has managed to turn up at key points in the last five decades.

Born in Brooklyn, he grew up in Hollis Hills, Queens, New York. As a teen, he hung around Tin Pan Alley and the Brill Building, watching and learning. In 1958, Kooper began his professional career as guitarist in The Royal Teens ("Short Shorts"). He metamorphisized into a Tin Pan Alley songwriter with cuts by Gary Lewis ("This Diamond Ring"), Gene Pitney, Keely Smith, Carmen MacRae, Pat Boone, Freddie Cannon, Lulu, Lorraine Ellison, Donnie Hathaway and later was sampled by The Beastie Boys, Jay-Z, Pharcyde, and Alchemist to name but a few.

In the mid-sixties, Al was a member of The Blues Project ("Flute Thing") and then founded Blood Sweat & Tears, remaining only for their debut and classic album "Child Is Father To The Man." He then slipped his producer hat on and began with the top ten album "SuperSession" in 1968 featuring Mike Bloomfield & Stephen Stills ("Season Of The Witch"). His debut solo album, "I Stand Alone" is a highly regarded work.

In one of those "Zelig" moments, producer Tom Wilson, invited Kooper to watch a Bob Dylan session. By the afternoon's end, Al had played the signature organ riff on Dylan's "Like A Rolling Stone." He played off and on with Dylan for many years beginning in 1965, live and in the studio as well as producing "New Morning". His playing skills have graced the works of The Rolling Stones (playing piano, organ and FRENCH HORN for The Rolling Stones on "You Can't Always Get What You Want"), George Harrison (keyboards on George Harrison's #1 hit "All Those Years Ago"), The Who (keys on "The Who Sell Out"), Jimi Hendrix (keys on "Electric Ladyland"), Peter Paul & Mary, B.B. King, The Tubes, Cream, Tom Petty, Joe Cocker, BB King, Taj Mahal, Alice Cooper, Roger McGuinn, Betty Wright, Trisha Yearwood, Tracy Nelson and scores more.

As a producer he is best known for discovering Lynyrd Skynyrd and producing their first three albums including "Sweet Home Alabama," "Free Bird," "Gimme Three Steps," and "Saturday Night Special." He was also involved in the introductions of Janis Joplin and Little Feat. His other producing clients included, The Tubes, Nils Lofgren, Eddie & The Hot Rods, Ray Charles, BB King, The Staple Singers, Lorraine Ellison, Bob Dylan, Joe Ely, Thelonious Monster and Green On Red. His autobiography "Backstage Passes & Backstabbing Bastards" is considered by many to be a rock n roll must-read. He scored Hal Ashby's first film "The Landlord," John Waters film "Cry Baby," Michael Mann's TV series "Crime Story" and Peter Riegert's "King Of The Corner." In 1996. He co- produced the critically-acclaimed "For The Love of Harry: Everybody Sings Nilsson." For one week in 1995, he took over New York City's The Bottom Line for a retrospective of his career. With members of the original Blood, Sweat and Tears, The Blues Project, The Rekooperators and friends, his 2CD release, "Soul Of A Man" brought his work back into the spotlight.

During the 1990s, Kooper was a member of the Rock Bottom Remainders, a loosely affiliated rock band made up of authors including Dave Barry, Stephen King, Dave Marsh, Amy Tan, Barbara Kingsolver, Matt Groening and perhaps ten other writers. Five Towns College in Long Island bestowed an honorary Doctorate of Music on Kooper in May of '97. Dr. Kooper's live show accompanied by his band of Berklee professors, "The Funky Faculty," has been acclaimed all over the USA and in Japan, Italy, Spain, Demark, Finland, Norway and The Czech Republic.

In an issue devoted to The 500 Greatest Recordings of All Time, Rolling Stone magazine included 12 albums with serious participation by Al Kooper.

There are many more credits, but in interest of space, we will close with his most recent solo album "BLACK COFFEE" released in 2005 to much critical acclaim featuring four stars in MOJO magazine and three stars in Rolling Stone. It was awarded the Memphis Blues Award for Comeback Album Of The Year. His humorous appearances in the Martin Scorcese Dylan biopic "No Direction Home" were consideered a highlight by many. In 2006, he was awarded the Milestone Lifetime Achievement Award. In 2007, the AES voted him the Les Paul Award presented to Al by it's namesake, and in 2008, he was inducted into the Musicians Hall Of Fame. At 68, he shows no signs of retirement with a new album "White Chocolate", more live concerts, and the brisk sale of his book published for the third time in 2008.

www.theagencygroup.com/
agency_overview_bio_martin.html

Steve Martin started in the music business at the age of 17, booking bands in Eastern Long Island, in venues such as Hot Dog Beach, The Barge, Artful Dodger, and the legendary OBI. Continuing on this path during college in the late 1970’s, he headed the concert committee at the State University of New York in New Paltz. To the delight of his classmates, while there Steve successfully booked on-campus performances by major artists including Bruce Springsteen, Patti Smith, Jerry Garcia Band, and Hot Tuna.

His professional career in New York City began in 1979 as a concert promoter producing shows in New York, Boston, and Washington, DC for famed artists such as Muddy Waters, Tom Waits, Dire Straits, Weather Report and Miles Davis. 

In 1982, he became an agent at Magna Artists, but shortly thereafter left Magna to launch his own company, the Music Business Agency (MBA).  Among Steve’s clients at MBA were Billy Bragg, Jimmy Cliff, Fela, Yellowman, Robert Hunter, Jorma Kaukonen, and Hot Tuna.  In 1989, he sold MBA to the William Morris Agency (WMA) and became one of WMA’s principal booking agents, signing major acts including The Band, Ziggy Marley, Crash Test Dummies, and Barenaked Ladies to his roster.

In 1994, Neil Warnock asked Steve to join The Agency Group as one of the first agents in the company’s newly opened New York City office. Steve was instrumental in growing the company from 4 agents in the New York office to over 50 agents among the New York, Los Angeles and Toronto offices, thereby substantially contributing to The Agency Group’s status as the top independent music talent agency in the world.

Steve Martin is currently President of The Agency Group, North America. The agency employs over 60 agents who guide the careers of over 1,500 artists worldwide. His personal roster consists of over 60 artists including legendary performers such as Dolly Parton, David Gilmour, New York Dolls, Ray Davies, Squeeze, King Crimson, and Dream Theater.

Steve was awarded “Agent of the Year” by Pollstar Magazine in 2008.

donniemcclurkin.com/

We Fall Down

I Will Trust You, Lord

That's What I Believe

McClurkin's smash release of Live In London and More (spurred on by the hit single, "We Fall Down" ) and his other recordings have brought home a trophy case full of awards and honors, including a 2007 Trumpet Award and a 2007 NARAS Recording Academy Honoree-NY Chapter, a performance at the star-studded Dream Concert held at Radio City Music Hall (a fundraiser for Dr. King's monument in Washington, DC); two Grammy Awards, Best Traditional Gospel Album- Psalms, Hymns & Spiritual Songs (2006), Best Soul Contemporary Gospel Album- Again (2004); NAACP Image Award for Outstanding Gospel Artist (2004), a BET Award (2001), a (2002) Soul Train Music Award and a number of Dove and Stellar Awards. McClurkin was also nominated for a 2006 Image Award.

His television appearances have included performances on shows like Good Morning America, CBS Saturday Early Show, The View, Essence Awards, BET Awards, Trumpet Awards, UNCF: Evening of the Stars, Extra! TV Guide Channel, and cameos on sitcoms such as UPN's Girlfriends, The Parkers and Paramount Studio's award winning film The Fighting Temptations starring Cuba Gooding, Jr. and Beyonce Knowles. He has been featured in USA Today, New York Times, Essence Magazine, Ebony & Jet Magazine, Billboard, Daily Variety, Hollywood Reporter and many others.

Born in 1959 in Amityville, New York, McClurkin served as an assistant to Pastor Marvin Winans at Detroit's Perfecting Church for over a decade before he was ordained and sent out by Winans in 2001 to establish Perfecting Faith Church, in Freeport, New York. After overcoming an abusive childhood McClurkin was compelled to share his story with others in his book, Eternal Victim/Eternal Victor! As a teen he was drawn to street evangelism and prisons; his evangelistic approach and passion to minister to people are evident whenever he's before an audience. Whether it is on Sunday mornings or in a large arena, his mission is to reach people with the good news of the gospel. "As much as I love music and singing, more now than ever before, I feel my greatest strengths and calling lie in pastoral ministry. It's my very existence and my greatest joy," said McClurkin.

www.wrcn.com/Denis-McNamara/7534890

Wikipedia: WLIR

If all Denis McNamara ever did was to switch WLIR 92.7FM’s format from album oriented rock to New Wave in 1982, his fame would have been assured. That bit of magic single handedly created an entire new genre in radio and took the station to the pinnacle of industry prominence as a taste maker and trend setter. Denis truly did “Dare To Be Different", and as a result he has spent his professional life making gold from dross. He began at NYU where he was the General Manager for WNYU and was a newswriter at WNEW in its early progressive rock days. He came to the nascent WLIR in 1975, and helped build the largest ratings machine LI radio ever produced. ‘LIR was famous for its yearly Party in the Park and Tuesday Night Concert Series, and these were frequently presided over by the “Voice.” Denis took free form progressive radio into modern rock, on into New wave, finally setting the stage for alternative.

WLIR became WDRE in 1987 and Denis continued to refine and devlop his innovative new music format. When WLIR finally folded in 1991, Denis moved over to the music industry side where he was the Sr. VP for the Universal Music Group and international A&R director for Polygram and Polydor, later to become Sony. His final work there was in the Broadway soundtrack genre. Once again, McNamara dove into the future by becoming the music director for Vtuner.com, an internet based broadcast format carried over wi-fi LANs. Denis is currently the executive producer at NYM and is back on the air at WRCN 103.9 FM in Medford , NY . He was selected for a position on the B.O.D. of the L.I. Music Hall of Fame shortly after its inception, was honored with its LISA award, and is now being inducted into the Hall of Fame.

mfpclub.com

The Ramones (1977)

Talking Heads (1978)

The address 19 Bryant Avenue in the village of Old Roslyn resonates with musical legend and history. It was a dilapidated Country/Western bar owned by Jay Lenihan when partners Michael ‘Eppy’ Epstein and his cousin Richie Hersch bought and took control of it in 1971. The duo set the scene for the greatness that was to come to that site when, on Memorial Day 1971, fellow L.I. Music Hall of Famer Richie Havens performed in Old Roslyn at the height of his Woodstock-induced fame . After teaming up with local WLIR-FM, Eppy and the club quickly became the epicenter for amazing concerts and concert broadcasts, creating a phenomenal synergy. The club was the setting for many musical "firsts", as well as a number of not-so-secret major shows. "My Father's Place" presented Billy Joel’s first show after the release of his debut solo LP “Cold Spring Harbor", Bruce Springsteen’s first show out of NJ along with seminal radio concerts (including a classic by Lowell George and Little Feat in 1974). "MFP", as it was lovingly nicknamed, was also a virtual clubhouse for the Rolling Stones' Mick Jagger, Ron Wood and Keith Richards, as they hung out with the cream of the Reggae world, who were welcomed, and strongly supported, by the enlightened booking policy of the club.

The real MFP story is in the music. The venue kept live performance vital when the rest of LI was discoing the night away, or jumping on the clone bandwagon. Besides Reggae, Punk music found a place to grow, and some of the acts that hit the Roslyn stage right after a CBGB debut included the Talking Heads and the Ramones. Comedy was also a staple, and now-famous purveyors of laughs including Eddie Murphy, Billy Crystal, Cheech and Chong  and  George Carlin graced the MFP stage. Despite the creativity, and perhaps as a result of the widespread fame of the venue, the club had the usual issues with the local municipality and the changing music world, eventually forcing the club to close its doors. But even then, it was done in style, with Blue Oyster Cult presiding over the event. And now, so says the Long Island Music Hall of Fame, "Long live My Father’s Place!"

eddiepalmierimusic.com/

The Palmieri Effect

The Truth (Live in Puerto Rico, 1987)

Adoracion (1993)

A long-time Queens resident, Eddie Palmieri has a musical career that spans over 50 years as a bandleader of both Salsa and Latin Jazz orchestras.  Born in Spanish Harlem in 1936, Eddie began piano studies at an early age, as did his celebrated older brother, the late Salsa legend and pianist, Charlie Palmieri.  For Latin New Yorkers of Eddie’s generation, music was a vehicle out of El Barrio. At age 11, he auditioned at Weil Recital Hall, next door to Carnegie Hall, a venue as far from the Bronx as he could imagine.  Possessed by a desire to play the drums, Palmieri joined his Uncle’s orchestra at age 13, where he played timbales.  Says Palmieri, “By 15, it was good-bye timbales and back to the piano until this day. I’m a frustrated percussionist, so I take it out on the piano.”

Eddie Palmieri has a discography that includes 36 titles and has been awarded nine Grammy Awards.  The first Grammy Award he received was in 1975 for the recording entitled “The Sun of Latin Music,” a historic moment, as it was the first time the National Academy of Recording Arts & Sciences (NARAS) recognized Latin Music.  He would win again the following year for “Unfinished Masterpiece,” “Palo Pa ‘ Rumba” in 1984, “Solito” in 1985 and “La Verdad” in 1987.  He received both a Latin Grammy and a traditional Grammy for the 2000 release with Tito Puente entitled “Obra Maestra/Masterpiece,” “Listen Here!” would win in 2006 and “Simpatico” in 2007, a collaborative effort with trumpet master Brian Lynch.  That same year, “Simpatico” was recognized by the Jazz Journalist Association as Best Latin Jazz Album.  In 1993, Mr. Palmieri was appointed to the Board of Governors of the New York chapter of the National Academy of Recording Arts and Sciences, and in 1995 he was instrumental in creating the new category for Latin Jazz.  His album “Palmas” was among the nominees in this newly created category, and in 1996 he was nominated once again for his album “Arete.”

Eddie began his professional career as a pianist in the early ’50s with Eddie Forrester’s Orchestra.  In 1955 he joined Johnny Segui’s band. He also spent a year with the Tito Rodriguez Orchestra before forming his own band, the legendary “La Perfecta” in 1961.  La Perfecta was unique in that it featured a trombone section in place of trumpets (led by the late Barry Rogers), something that had been rarely done in latin music, demonstrating the early stages of Palmieri’s unorthodox means of orchestration. They were known as “the band with the crazy roaring elephants” because of the configuration of two trombones, flute, percussion, bass and a vocalist. With its one of a kind sound, La Perfecta soon joined the ranks of Machito, Tito Rodriguez and other major Latin orchestras of the day. Palmieri’s influences include not only his older brother Charlie but also Jesus Lopez, Lili Martinez and other Cuban players of the 1930s and 1940s; jazz luminaries such as Art Tatum, Bobby Timmons, Bill Evans, Horace Silver, Bud Powell and McCoy Tyner.  Says Palmieri, “In Cuba, there was a development and crystallization of rhythmical patterns that have excited people for years.  Cuban music provides the fundamental from which I never move. Whatever has to be built must be built from there.  It’s a cross-cultural effect that makes magnificent music.”

His unconventional style would once again surprise critics and fans with the 1970 release entitled “Harlem River Drive.”  This recording was the first to merge black and latin styles resulting in a free-form sound that encompassed elements of salsa, funk, soul and jazz. This new fusion moved effortlessly from mood, groove, texture and excitement with its multi-dimensional guitar, funky piano riffs, notable brass and unforgettable rhythm section.  Led by Eddie, the group also included his brother Charlie, as well as excellent players from both communities such as Victor Venegas, Andy Gonzales, Bernard “Pretty” Purdie and Ronnie Cuber.  Further to this proclivity for creating and performing in funk latin style, Little Louie Vega invited Eddie to record “Nuyorican Soul,” in 1997, a release which became a huge hit with dancers and dj’s in the house and underground music scene.

In 1988, the Smithsonian Institute recorded two of Mr. Palmieri’s performances for the catalog of the National Museum of American History in Washington , D.C. , a rare public honor.  In 1990, he was invited by Paul Simon to serve as a consultant on his release Rhythm of the Saints.  Mr. Palmieri was awarded the Eubie Blake Award by Dr. Billy Taylor in 1991, and is among the very few Latin musicians recognized by both the Legislative Assembly of Puerto Rico and New York State.  In 2002, Yale University awarded Mr. Palmieri the Chubb Fellowship Award, an award usually reserved for international heads of state, but given to him in recognition of his work in building communities through music.   In 2005 he received the Lifetime Achievement Award from Urban Latino Magazine and acted as Godfather of the Puerto Rican Day Parade in New York City, as well as received the EL Award from El Diario Newspaper. Mr. Palmieri’s composition “Azucar Pa’ Ti” was inducted into the 2009 National Recording Registry of the United States Library of Congress as a significant and compelling sound recording of 1965. All inductees were selected for showcasing “…the diverse beauty, humanity and artistry found in the American soundscape.”

www.loureed.com/00/

Rock and Roll

Perfect Day (with Elvis Costello)

Sweet Jane (Live in Paris, 1974)

Lou Reed is arguably the architect or midwife for some of the later 20th century’s most powerful musical movements. The songwriter, composer and guitarist was born Lewis Allen Reed. After living through a middle class Freeport childhood, Reed went to the pinnacles and the nadirs of life, and lived to tell the tale through his storied music, poetry and ventures in the visual arts. Reed began his music career as a staff writer for Pickwick Records where he first met John Cale. The two formed the Velvet Underground with Maureen Tucker and Sterling Morrison, Thus began one of rock’s most influential ensembles; a maelstrom whose ripple effect on music would be felt thereafter. Lou left the group in 1970 to puruse the solo career that has spanned 4 decades of creative ferment, controversy, starts and stops and never looking back.

Lou Reed was educated on the streets, and he has consistently populated his work with the denizens of the underbelly of urban society. Marginalization, contempt for mainstream, and emotional impact are always a part of Reed’s oeuvre  - although that doesn’t always preclude success, as the status achieved by classic songs like “Sweet Jane”, “Rock and Roll” and “Walk On the Wild Side” make clear.

Close mentor Delmore Schwartz helped to instill a poetic aspect into much of Lou’s work. And aside from injecting that poetic nature into his contributions to rock music, Reeds ventures into prose, spoken word, experimental composition, theatrical scoring, tai-chi instruction, and photography are indicative of the seemingly boundless creativity found in one of music’s most enigmatic figures. Though sometimes accused of creating work deemed too ‘beyond’ most listeners, Reed has always been able to remain true to his own visions. And those visions are now accompanied by long-time artistic, and life, partner and wife Laurie Anderson.  Lou Reed’s visions and creations are still unfolding, expanding, wandering and exploring. He is our own – Freeport born and bred. And we recognize him as a man who will always be himself; for there is no other artist like him. The Long Island Music Hall of Fame is honored to be able to bestow upon Lou Reed entrance into our pantheon.      

www.maryweiss.com

Leader of The Pack (Mary Weiss at The Podarosa Stomp, JazzFest, New Orleans (2008)

Give Him A Great Big Kiss (1965)

Right Now And Not Later (1965)

The Shangri-Las Biography (Adapted from the biography by Richie Unterberger for the Vocal Group Hall of Fame)

The Shangri-Las were among the greatest of the girl groups; if judged solely on the basis of attitude, they were the greatest of them all. They combined an innocent adolescent charm with more than a hint of darkness, singing about dead bikers, teenage runaways, and doomed love affairs as well as ebullient high-school crushes. These could be delivered with either infectious, handclapping harmonies or melodramatic, almost operatic recitatives that were contrived but utterly effective.

Originally the Shangri-Las were comprised of two pairs of sisters from Queens, NY (identical twins Marge and Mary Anne Ganser and siblings Mary
(lead) and Betty Weiss). They had already recorded a couple of obscure singles when they were hired by George "Shadow" Morton to demo a song he had recently written, "Remember (Walkin' in the Sand)." The haunting ballad, with its doomy "Moonlight Sonata"-like piano riffs, wailing lead vocal, and thunderous background harmonies, seguing into an a cappella chorus backed by nothing except handclaps and seagull cries, made the Top Five in late 1964.  It also began their association with Jerry Leiber and Mike Stoller's Red Bird label, which would handle the group for the bulk of their career.

The quality of Morton's work with the Shangri-Las on Red Bird (with assistance from Jeff Barry and Artie Butler) was remarkable considering that he had virtually no prior experience in the music business. The group's material, so over-the-top emotionally that it sometimes bordered on camp, was lightened by the first-class production, which embroidered the tracks with punchy brass, weeping strings, and plenty of imaginative sound effects.
Nowhere was this more apparent than on "Leader of the Pack," with its periodic motorcycle roars and crescendo of crashing glass. The death-rock classic became the Shangri-Las' signature tune, reaching number one.

Several  hits followed in 1965 and 1966, many of them excellent. "Give Him a Great Big Kiss" proved they could handle more conventionally, bubbly girl group fare well; "I Can Never Go Home Anymore," a runaway tale that took their patented pathos to the extreme, would be their third top ten hit.
The Shangri-Las had a total of 11 singles to hit the top 100.

These all show up on oldies collections, but lots of listeners remain unaware of the other fine singles in their catalog, like the moody "Out in the Streets," the dense orchestral swamp of "He Cried", and another teen death tale, "Give Us Your Blessings." Some of their best songs, in fact, were B-sides; "Dressed in Black," yet another teen death drama, had a marvelously hushed and damned atmosphere, and "Paradise" was co-written by a young Harry Nilsson. Their most unusual single of all was "Past, Present and Future," which didn't feature a single sung note, presenting a somber spoken monologue and occasional spoken background chants over a classical piano track reminiscent of "Remember (Walking in the Sand)." It was too unconventional to rise above the middle of the charts, especially given that the narrative could quite possibly be construed as the recollections of an assault/rape victim.

Unlike some girl groups, the Shangri-Las were dynamic on-stage performers, choreographing their dance steps to their lyrics and wearing skin-tight leather pants and boots that were quite daring for the time. Their attitude was punk prior to punk's existence.

The Red Bird label ran into serious organizational difficulties in the mid-'60s, and wound down its operations in 1966. The Shangri-Las moved to the Mercury Label.

Even today, the Shangri-Las' history remains somewhat murky and mysterious; the original members have rarely reunited for oldies shows or talked to the press. The situation was exacerbated by frustratingly substandard reissues of their Red Bird work, which made it impossible to collect all of their fine sides without buying numerous packages, many of which boasted shockingly shoddy sound quality. Happily, the situation was rectified in the mid-'90s with excellent, comprehensive compilations of the Red Bird material in both the U.K. and U.S.

The Shangri-Las signed with Sire Records in 1977 but no material was ever released. In March 2007 Norton Records released a solo album by Mary Weiss called Dangerous Game.

www.tzadik.com

John Zorn Documentary (part 1)

John Zorn Documentary (part 2)

Electric Masada - Karaim (part 1)

Drawing on his experience in a variety of genres including jazz, rock, hardcore punk, classical, klezmer, film, cartoon, popular and improvised music, John Zorn has created an influential body of work that defies academic categories.

A native of Queens, he has been a central figure in the downtown Manhattan scene since 1975, incorporating a wide range of musicians in various compositional formats. He learned alchemical synthesis from Harry Smith, structural ontology with Richard Foreman, how to make art out of garbage with Jack Smith, marick with Kenneth Anger and hermetic intuition from Joseph Cornell.

Early inspirations include American innovators Ives, Varese, Cage, Carter and Partch, the European tradition of Berg, Stravinsky, Ligeti and Kagel, soundtrack composers Herrmann, Morricone and Stalling as well as avant-garde theater, film, art and literature. He received the William Schuman Award for composition from Columbia University, the Cultural Achievement Award from the Foundation for Jewish Culture and is a MacArthur Fellow.