Category: Obituaries

  • Farewell Steve Trimboli, Impresario Behind NYC’s Beloved Scrap Bar and Goodbye Blue Monday

    Ahh, the morning social media tune-in (sigh). It’s increasingly filled with the kind of news you really don’t want to hear and certainly can’t use. On Monday, December 21, it was teeming with word that the NYC music and arts scene had lost one of its boldest and most congenial promoters, Steven Paul Trimboli, on the night before Thanksgiving due to a massive stroke.

    Steve Trimboli

    New York actually lost Steve Trimboli a few years back when he decamped from high rents NYC for Detroit with the 2014 closing of his beloved Goodbye Blue Monday.  Opened in 2005, Goodbye Blue Monday was one of the first clubs established in Bushwick with the gentrification of the Lower East Side. The West Village was where Trimboli ran another popular institution, the metal music-centric Scrap Bar from 1986 – 1995.  All totaled, Trimboli spent over 40+years in the scene, as club owner, booker, bartender and ceaseless creative pot stirrer.

    https://www.youtube.com/watch?v=AX-cP4t9uvE

    According to an article by former Observer culture writer Drew Grant, Trimboli’s Scrap Bar was “the place where punk went to die and hair metal held the wake.” It was the metal sculpture-adorned venue, a dive bar as done by H.R. Giger of Alien film fame, where MTV held some of its most raucous Christmas parties during the hair band era. It was where Johnny Thunder would go on the nod and Slash would be “serviced” under the table by porn star Savannah.

    To avoid noise issues, Trimboli created one of the weirdest sound systems I ever encountered in my life as a musician.  Guitars, bass, keys, vocals, etc. would all essentially be plugged into a giant stereo, including the drummers, who had to bash away on electronic kits (not always happily).  This was all feed into a seemingly endless array of tiny speakers placed throughout the Goth-like venue. Bands not only got to play, but to walk away with a video of their performance provided on VHS by Trimboli’s sound guy for a few bucks.  It had a liberal booking policy, mostly metal in its early days. But it woud later evolve into nightly lineups showcasing emerging indie, folk, punk, poets and even no wave-ish and experimental jazzbos.

    https://www.youtube.com/watch?v=_HWlOnQOEoQ

    Trimboli himself departed Manhattan for Bushwick in 1999, and spent the next five years trying to get his newest venture off the ground.

    Situated under the elevated J Subway line on a seriously darkened stretch of Broadway, Goodbye Blue Monday was another wholly unique institution. It matched the carnivalesque vibe of a junk shop with a dive bar/performance venue.  There was never a cover and a booking policy that would grant pretty much anyone a bit of stage time – from musicians to comics, from poets to mimes.  The stubbornly seedy joint seemed to cook 365 days a year and helped launch the careers of notables like Vampire Weekend and events like the quirky songwriting conclave, The Bushwick Book Club.

    Steve Trimboli

    “Goodbye Blue Monday was an old-school Brooklyn radical art hole both epic and legendary,” remembers Radio Free Brooklyn host Robert Prichard.  “GBM was something very rare and very precious; it was a real creative community. It was the kind of place that brought smiles to faces and inspiration into hearts. The world seems a lot smaller today without Steve (Trimboli) in it.”

    “When you’re trying to find yourself creatively, there is nothing more helpful than having a space to do it,” writes Christopher Mastumoto, MC C.B on Facebook.  “A space free of judgments where you can just go up on stage and see what sticks. Something that nowadays is very, very scarce.

    “Steven helped me get to that stage when I needed it the most.” Adds Mastumoto. “He was upfront and honest and gave unlimited opportunities to any person looking to be creative.  His venues never held you to a cover or any of that bullshit “you need to bring 15 people at $10 a pop” –  a scam many promoters still do.  It was something a young kid like me, and so many others, needed to begin to make their mark.”

    For more on the life of Steve Trimboli, read Drew Grant’s Observer article.

  • Stephen Sondheim, Legendary Broadway Composer, Dead At 91

    Stephen Sondheim, one of the most iconic figures in musical theatre history, has died in his home at the age of 91. Lawyer and friend F. Richard Pappas confirmed his passing to the New York Times on Friday, November 26. Sondheim was both a composer and lyricist for Broadway plays including Sweeney Todd and Into the Woods, and also wrote the lyrics for West Side Story and Gypsy.

    Stephen Sondheim
    Stephen Sondheim | CREDIT: DOUGLAS ELBINGER/GETTY IMAGES

    Sondheim won many awards throughout his career, including nine Tonys, eight Grammys, an Oscar and a Pulitzer Prize. In 2015, he was awarded the Presidential Medal of Freedom by Barack Obama. For his 90th birthday in 2020, a virtual concert titled Take Me to the World streamed on the Broadway.com YouTube channel in his honor. The title song comes from Evening Primrose, a musical film Sondheim wrote the lyrics and music for in 1966.

    As a composer and lyricist, Sondheim was in a league of his own. Most major composers don’t write the lyrics to their scores, and vice versa; others on the list include Irving Berlin, Cole Porter, Frank Loesser, Jerry Herman and Noël Coward. While many of Sondheim’s plays have gone down in theatre history, they were often more successful critically than commercially. They had a reputation for being dark, serious and experimental, a sharp contrast to Andrew Lloyd Webber and Disney’s later crowd-pleasers.

    Several of Sondheim’s plays have received Hollywood film adaptations, with the most recent one, a West Side Story remake helmed by Steven Spielberg, out this December. His 1970 musical Company is also returning to Broadway in December. It was set to open on Sondheim’s 90th birthday in March 2020, but was postponed due to the COVID-19 pandemic. Before his passing, Sondheim was able to attend the November 15 preview.

    Many actors and musicians have paid their respects on social media, sharing stories of how Sondheim’s work has inspired them. Lin-Manuel Miranda, who previously worked with Sondheim, compared him to William Shakespeare:

  • Joanne Shenandoah, Native American Musical Matriarch, NAMA and Grammy Award Winner, Dies at Age 63

    Joanne Shenandoah, a native of the Oneida Indian Nation who became a world-renowned singer and peace activist, has died at age 63, as reported by the Native American Music Awards & Association (NAMA).

    Joanne Shenandoah

    Shenandoah passed away late in the evening of Monday, November 22nd at the Mayo Clinic in Scottsdale, Arizona, following complications of abdominal bleeding and suffering a cardiac arrest. She was surrounded by her husband, Doug George-Kanentiio and daughter Leah.  

    Joanne Shenandoah

    A member of the Wolf Clan of the Oneida Nation, of the Haudenosaunee Six Nations Iroquois Confederacy, Shenandoah was the most critically acclaimed and honored Native American singer since her debut recording in 1989. She went on to record a total of 15 albums with numerous more collaborations, won numerous awards, including 14 Native American Music Awards, the most ever awarded to a singular artist, and a GRAMMY for her contribution on Sacred Ground: A Tribute to Mother Earth. Among her NAMA awards are Best Children’s Recording, Best Traditional Recording, Best Music Video, Best Producer, as well as multiple awards for  Best Female Artist, New Age Recording, Best Compilation, Artist of the Year, and Best Compilation.

    Shenandoah also earned two Grammy nominations for her albums, Covenant and Peacemaker’s Journey, an Emmy nomination for the PBS special “Native America,” was inducted into the Syracuse Area Hall of Fame, and received an Honorary Doctorate of Music from Syracuse University in 2002. Shenandoah was also an original board member of the Hiawatha Institute for Indigenous Knowledge, which operates in partnership with Syracuse University.

    Just this year, Joanne released her last full length recording entitled, Oh Shenandoah, a 12 track recording featuring a collection of country infused songs along with a poignant dedication to Missing Murdered Indigenous Women (MMIW), “Missing You.” Joanne, with her daughter Leah and sister Diane, delivered an emotive and moving live performance with “Missing You” at her final appearance at the 19th Annual Native American Music Awards.

    Over her five decade plus career, whether performing solo or with her musical trio featuring her daughter Leah and sister Diane, Joanne has graced the stages at The White House, Carnegie Hall, Presidential Inaugurations, Madison Square Garden, The Smithsonian, Woodstock ’94 and participated in the celebration of the canonization of Kateri Tekakwitha, the first Roman Catholic Native American saint in Rome, Italy. As a humanitarian and peace advocate, Joanne met and performed for such noted leaders such as his Holiness the Dali Lama, and Nelson Mandela.

    Joanne Shenandoah pete seeger

    Joanne’s beautiful embellishing voice, strong Iroquois traditions, unequivocal elegance and courteous grace made her a prominent role model and highly respected musical Matriarch among Native American communities as well as the mainstream music community at large. She sang with deep roots from her ancestors and flawlessly incorporated her oral traditions into contemporary Folk, Country and Americana formats. She captured the hearts of audiences all over the world and always took time to encourage and inspire younger musicians in her travels. Joanne Shenandoah made an incredible impact on this earth and has paved paths for so many. 

    Joanne Shenandoah

    Joanne leaves behind her husband Doug, daughter Leah, grandson Kieren Ryder, sisters Diane and Vicky and numerous nieces and nephews.

  • Tony Falco, Impresario Behind Hudson Valley’s Long-Running Falcon, Passes Away

    Hudson Valley lost one of its most tireless champions of music with the passing of Tony Falco, the face behind one of its most vital and varied performance venues, The Falcon. Falco passed away after a six-month battle with complications from Covid-19, he was 65 years old.

    A loving husband, father and an engaged community leader with many passions and skills, Tony founded The Falcon in the early 2000s in Marlboro, N.Y. 

    The venue became a mecca for jazz, blues, world, folk, and Americana musicians, while becoming one of Hudson Valley’s most prominent and diverse music clubs and well as its most beautiful. Called “The Village Vanguard of the Hudson Valley,” Tony imagined the Falcon as a community-focused, multi-art and musician-centric institution. At its pre-pandemic peak, the Falcon featured music on two stages nightly, rotating art exhibits — the Avalon Archives Museum — two restaurants and a network of trails and decks overlooking Marlboro Falls. 

    Born on September 12, 1956, Ferdinand and Margaret Falco in Staten Island, NY, where he was raised along with his six siblings. His journey began in 1979, while attending SUNY New Paltz, he met the love of his life — his wife of 37 years — Julie Farrell. They were married in 1984 and had four children; Adrianne, Svetlana, Lee, and Julian. In 1983, Tony graduated from New Paltz with a degree in Environmental Science. Over his scientific career, he operated and designed several wastewater treatment facilities throughout the Hudson Valley and owned Environmental Labworks, a water testing laboratory located in the same building as The Falcon.

    Rita Ryan, host of WVRK’s weekly radio show, Local Motionfeatured Tony as a frequent guest.  

    Every time we did the show together I would tell him I thought he was the ‘richest man in town’ like Jimmy Stewart in It’s A Wonderful Live. For this particular interview he met me in the parking lot of the radio station and brought me pastries from a local bakery. Said he just couldn’t show up empty handed. He loved and was loved by everyone he touched. There will never be another like him.

    Ed Palermo, who played the club frequently with his Zappa and prog rock tribute big band, said:

    Tony Falco changed my life over ten years ago when he convinced me and my band to make the trek up north to his beautiful club, The Falcon. Tony never once asked me to “dial it down a tad” or keep my mouth shut about politics or anything that ruffled so many feathers the past few years. The club continues to be the best venue for my band to play and be weird. God bless you and your family, Tony. Rest in Peace, my eternal friend.

    A versatile renaissance man, Falco worked as an artist, entrepreneur, scientist, engineer, architect, builder, pilot, teacher and environmental conservationist. He was known for his generosity and adventurous mindset, as he loved to travel the world. During the pandemic, he designed and built the Marlboro Nature Trail and had recently took up horseback riding, serving as the proud owner of two horses, Houdini and Cinch.

    Tony is survived by his wife and kids; his mother; his six siblings (Gennaro, Julia Ruffo, Eddie, Tommy, Freddy, and Christopher); his lifelong best friend Cliff ‘Sonny’ Benson; his adopted children Suong Huynh and Javier Osorio; his children’s partners, Conor Shea, Alex Neckles, Jessica Brush, and Kaitlyn VanOrman; and his extended family of Falcon friends.

    Public celebrations of his life will be held the weekend of November 6. More details will be determined and posted at www.liveatthefalcon.com. In lieu of flowers, please send donations to Amnesty International.

  • Charlie Watts, drummer for the Rolling Stones, Dead at 80

    Drummer for the Rolling Stones for over 50 years, Charlie Watts, has died. The founding member of the British rock group passed away on Tuesday, August 24. He had recently stepped back from the band’s fall tour, which is slated to kick off on September 26 in Saint Louis, MO.

    charlie watts
    British Rock musician Charlie Watts, on drums, of the group the Rolling Stones, performs onstage during ‘The Rolling Stones American Tour 1981’ (in support of their album ‘Tattoo You’), at Madison Square Garden, New York, New York, November 13, 1981. (Photo by Gary Gershoff/Getty Images)


    A statement from the Rolling Stones and Charlie Watts’ spokesperson reads:

    It is with immense sadness that we announce the death of our beloved Charlie Watts. He passed away peacefully in a London hospital earlier today surrounded by his family. Charlie was a cherished husband, father and grandfather and also a member of the Rolling Stones one of the greatest drummers of his generation. We kindly request that the privacy of his family, band members and close friends is respected at this difficult time.

    Earlier this month, Watts withdrew from the Rolling Stones’ upcoming COVID-19 pandemic-postponed U.S. tour, noting he needed to recover from an unspecified but “successful” recent medical procedure. At the time, Watts’ spokesperson said “Charlie has had a procedure which was completely successful, but I gather his doctors this week concluded that he now needs proper rest and recuperation. With rehearsals starting in a couple of weeks it’s very disappointing to say the least, but it’s also fair to say no one saw this coming.”

    charlie watts

    Despite battling and recovering from throat cancer in 2004, Watts overcame substance abuse in the 1970s and 80s and was seen as a steady hand behind the kit, melding jazz into the rock n roll sound of the Rolling Stones.

    Drummer Jon Fishman paid a natural tribute to Rolling Stones drummer Charlie Watts ahead of the bad news this week. On his August 18 “The Errant Path” radio show, Fishman spun “Moonlight Mile” and commented ”For me the sound and feel of Charlie Watts will never get old. I just love that guys drumming. It stands up no matter what’s before it or after.”  

    Trey Anastasio Band drummer Russ Lawton, upon hearing the news shared, “So sad to hear about Charlie’s passing. Always loved his feel, the tasteful drum parts he came up with and his sound too. The reason I’ve been playing Gretsch drums since I was a kid was because of him. He will be missed.” 

    Like many renaissance bands of the 60s, The Rolling Stones have lost one of their core members. However, the show must go on. Drummer Steve Jordan was announced as the fill in drummer for Watts when he announced he would sit out the tour, and will continue playing drums on The Rolling Stones 2021 tour. He has previously been the drummer for Keith Richards’ solo band The Expensive Winos since the 1980s. 

  • Don Everly, 1937-2021

    Don Everly, the remaining half of the iconic Everly Brothers, has passed away at the age of 84. Together with his brother Phil, The Everly Brothers helped revolutionize and form the early sounds of the rock and roll movement that would engulf America. Their distinguished harmonies accompanied with elements of country music would go on to influence an entire generation of fellow musicians, enabling them to be one of the first artists to be inaugurated in the Rock & Roll Hall of Fame, alongside Elvis Presley, Chuck Berry, Little Richard, Buddy Holly and Jerry Lee Lewis in 1986. Phil Everly later passed on in 2014 at the age of 74.

    Don Everly

    Issac Donald “Don” Everly was born on February 1, 1937, about two years before his brother Phillip. They spent most of their childhood in Shenandoah, Iowa, raised by musically-inclined parents who performed country music throughout the South and Midwest before moving to Iowa. Their father Ike hosted a show on local Iowa radio, first singing with with his wife Margaret, and later “Little Donnie” and “Baby Boy Phil” joined them as the Everly Family. The family would later relocate to Knoxville, Tennessee. Here, the brothers would find work on Cas Walker’s Farm and Home Hour, a regional radio and TV variety program. They managed to catch the eye of Chet Atkins, who managed RCA Victor Studios in Nashville and was also a family friend. Atkins was somehow able to get the brothers a recording deal with Columbia Records in 1956. However, the lone single “Keep a-Lovin Me,” which Don wrote and composed ,flopped and the Everlys were quickly dropped by the label.

    Again with the help of Atkins, they were later hired by Acuff-Rose music publishers in Nashville, but strictly as songwriters. However, this connection helped finally launch their career as they were soon introduced to a Cadence Records label that was looking for recording artists. At Cadence, they were presented with a song that had been rejected by dozens of other artists previously. But the Everly Brothers would record it in February of 1957, and their lives would never be the same again. “Bye, Bye Love” reached No. 2 on the pop charts, fighting with Elvis for radio airplay, and also reached No. 1 on the country and No. 5 on the R&B charts.

    Their follow up to “Love” was somehow even more successful, with “Wake Up Little Susie” topping both the pop and country charts just a few months later. Both songs, and many of their other hits like “All I Have To Do Is Dream” and “Bird Dog,” were all written by the husband-and-wife Nashville writing team of Boudeleaux and Felice Bryant that Cadence Records employed. Their early hits helped them land an opening spot for Buddy Holly and the Crickets for tours in the late ’50s. Their innovative “countrified” rock style and distinct harmonies would begin to plant the seeds of influence for some of the greatest bands of the latter half of the 20th century. The Beatles once referred to themselves as the “British Everly Brothers” in their nascent days and Simon and Garfunkel have readily admitted to them being the driving influence behind their collaboration.

    Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful. The Everlys were there at the crossroads of country and R&B. They witnessed and were part of the birth of rock and roll.

    Paul Simon

    After three years at Cadence, the Brothers would sign with Warner Bros. Records in 1960. It was here that they recorded their first successful hit that they wrote and composed themselves, “Cathy’s Clown.” It would go on to sell eight million copies and become the duo’s biggest-selling record. It’s also the first song ever that Warner Bros. released in the UK. If there’s any doubt as to the popularity of this song, it somehow even made its way into a Phish show as the opener for their show at SPAC on 7/2/19.

    The Everly Brothers would continue to churn out Top 10 hits in both the US and UK throughout the early ’60s like “Walk Right Back,” “Crying In The Rain” and “The Price Of Love.” In fact, they would average one Top 10 hit on the pop charts every four months from 1957 to 1961. However, royalty disputes would later emerge with Acuff-Rose, to the point where The Everly Brothers would only record songs from other composers/publishers so as not to pay them anything. This also meant they were cut off from working with the Bryants who had written so many of their hits.

    Both brothers enlisted in the United States Marine Corps Reserve in 1961. They did resume their career after being discharged from active duty, but their success in the US would begin to dwindle. The Everly Brothers’ last US top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be)”, a song recorded but unreleased by The Chordettes. Album sales began to dwindle as well. The Everlys’ first two albums for Warner Bros. peaked at No. 9 US, but after that, of a dozen more LPs, only one made the top 200: 1965’s Beat & Soul. By the end of the 1960s, the Everly Brothers still maintained some success in Canada, the UK and Australia, but returned to their country rock roots with 1968’s Roots which was critically acclaimed. But this wasn’t enough to keep their contract with Warner Bros. from lapsing after ten years. In 1970, Don Everly released his first unsuccessful solo album. The following year, the brothers would resume touring once more, with Lindsey Buckingham joining them in 1972. But sadly, the brother’s relationship also frayed over the years. Their last performance together took place on July 14, 1973 at Knott’s Berry Farm in Buena Park, CA with Phil smashing his guitar and walking off stage leaving Don to finish the show by himself while famously remarking, “The Everly Brothers died ten years ago.”

    Don Everly

    Both brothers would then go on to pursue solo careers, with Don Everly finding some minimal success on the US country charts in the mid- to late-1970s with his band Dead Cowboys, and playing with Albert Lee. He also recorded with Emmylou Harris on her 1979 album Blue Kentucky Girl. But nothing approached the commercial success he had experienced with his brother.

    The brothers would later reunite in 1983, with a concert at the Royal Albert Hall in London which was recorded for a live LP and video broadcast on cable television. This helped put them back on the map and included a new album EB ’84, produced by Dave Edmunds with its single “On The Wings Of A Nightingale” written by none other than Paul McCartney. It returned The Everly Brothers to both the US and UK pop charts for the first time in more than a decade.

    Their last charting hit would be in 1986 with the title track to Born Yesterday. Afterwards, their career consisted of mainly collaborations with other artists. They would go on to provide backing vocal’s on Paul Simon’s signature solo effort, Graceland. And later, in 2003 and 2004 on Simon and Garfunkel’s “Old Friends” reunion tour, they would share the stage again. As a tribute to the Everly Brothers, Simon & Garfunkel opened their own show and had the Everlys come out in the middle of it. At almost all shows, Simon made a point to express how much of an influence the brothers had on his career.

  • Biz Markie: Hip Hop’s Lovable Unsung Hero


    We lost one of hip hop’s pioneering crossover stars on Friday, July 16. Hailed as the “Clown Prince of hip hop,” Biz Markie — born Marcel Theo Hall — was renowned for his witty story-telling, distinctive lisp, self-deprecating-ly humorous lyrics and for innovating many trends that are prevalent in hip hop today. 

    A New York native, Biz was born on April 8, 1964 in Harlem and raised on Long Island. Already known around the neighborhood as “Markie,” his stage name was inspired by the first hip hop tape he ever heard, as he says in a 2019 feature for the Washington Post.

    My name, Biz, comes from the first hip-hop tape I heard. It was ’77, ’78, from the L Brothers. Grand Wizard Theodore was the DJ, and the rappers was Kevvy Kev, Master Rob and Busy Bee Starski. I loved Busy Bee. Busy Bee just stuck with me. My name used to be Bizzy B Markie, and after a while I put the Biz with the Markie. My nickname in my neighborhood was Markie.

    Being able to witness hip hop’s primitive years quickly shaped a career path for the young Biz. An avid beatboxer and DJ, he honed his skills in Manhattan nightclubs. During the era where hip hop stars had to be all-around performers, his rhyming was the weakest part of his skillset. 

    That is until he began his apprenticeship under the renowned Queens hip hop collective, The Juice Crew. 

    When I felt that I was good enough, I went to Marley Marl’s house and sat on his stoop every day until he noticed me, and that’s how I got my start,

    Biz Markie

    From there, he released an EP produced by Marley Marl of the juice crew and he began featuring on their records as well as performing at colleges in the Virginia-Philadelphia-D.C.-Maryland areas, where he began to make a name for himself.  

    biz markie

    The source of his everlasting relevance, though, comes from his 1989 smash Billboard hit “Just a Friend,” from his sophomore album The Biz Never Sleeps. It’s a love record where Biz tells the story of his relationship with a woman who denies being involved with anyone else, referring to the party in question as “just a friend.” That is until Biz indulges in his suspicions and visits her school, only to find her kissing another man. 

    The music video showcased Biz’s creativity, with his hilarious Mozart costume and impression the highlight. Biz remained true to himself despite the increasingly serious hip hop scene. 

    The record’s distinctive piano keys are interpolated from the 1968 song “(You) Got What I Need,” recorded by Freddie Scott and written by Kenny Gamble and Leon Huff. But, what truly set the record ablaze was biz’s off-key and inspired bellows about failed love. 

    “Just a Friend” hit 9th on the Billboard charts, and was certified platinum less than a year after its release. It was later ranked 81st on VH1’s 100 Greatest One-Hit Wonders in 2000, and number 100 on VH1’s 100 Greatest Songs of Hip Hop in 2008.

    Writing in The New York Times, the critic, Kelefa Sanneh, called Biz Markie “the father of modern bad singing” and wrote:

    His bellowed plea — wildly out of tune, and totally unforgettable — sounded like something concocted after a day of romantic disappointments and a night of heavy drinking.

    An unlikely hit-record, Biz’s crooning should be recognized as a landmark moment in hip hop. Rappers singing on records was unprecedented and it defied logic that such discordant wails would be sonically pleasing, yet one of hip hop’s landmark moments wasn’t supposed to happen that way

    A lot of people didn’t like the record at the beginning. They would say, “Biz is trying to sing? Aw, the record is wack.” But I wasn’t supposed to sing the [chorus]. I asked people to sing the part, and nobody showed up at the studio, so I did it myself. 

    Although he never reached the same commercial success, he kept making history. His 1991 album, I Need a Haircut made the rounds under more controversial circumstances. Biz and his label were sued by representatives of the Irish singer-songwriter Gilbert O’Sullivan, who said eight bars of his 1972 hit “Alone Again (Naturally)” were sampled without permission on Biz Markie’s “Alone Again.” 

    A judge ruled in favor of the plaintiff and ordered for $250,000 in damages to be paid out and barring further distribution of the album. That ruling would help set a precedent in the music industry by requiring that even small chunks of sampled music — a cornerstone of hip-hop aesthetics and studio production — be approved in advance. A market for sampling clearance took hold, which remains a key part of the economics behind hip-hop.

    It’s beautiful because it means all eyes ain’t on me, so when I pop up they appreciate everything they see. It’s like the McRib sandwich. It’s like the flowers outside that turn white on the bushes. It comes around when it’s getting ready to be springtime. You appreciate it, Biz said of his role as one of hip hop’s unsung heroes.  

    He returned in 1993 with, All Samples Cleared!, but it would be his last project on a major label. While some try to diminish his stature within history by labeling him as a one-hit-wonder, his sustained cultural relevance is a testament to his talent and innovation and the general appreciation that fans have for him by keeping his likeness alive. 

    The weirdest thing about my fame is that when I’m thinking that it’s almost over it just sparks back up. I made “Just a Friend” in ’89. Some people’s records die — it sprouts up. Now it’s 30 years later and it’s sprouted up again in commercials. They’re not letting me die. The public, the fans, they like me around.

    Biz Markie
    https://twitter.com/timmhotep/status/1416245151496916992?s=20
  • Bread, Ribs, Hundred Dollar Bills: Remembering Prodigy

    In an industry filled with chicanery, few have been as authentic as the late Prodigy. Born, Albert Johnson, the diminutive emcee experienced enough for several lifetimes, always staying true to himself, or in his own words, “keeping it thoro.”

    As a rapper, Prodigy was known for his opening bars that would set the tone. Encapsulating an entire record with his first couple of lines. In that sense, his upbringing served a similar purpose, setting the tone for what became an oft-dangerous career and an even more lawless life. 

    Hailing from Hempstead, New York in Long Island, Prodigy’s musical feel had been cultivated from an early age. His grandfather, Budd Johnson, was a saxophonist who worked extensively with the likes of; Dizzy Gillepsie, Quincy Jones and Duke Ellington. His grand-uncle, Keg Johnson, was a trombonist who played with Louis Armstrong and Cab Calloway.

    The musical lineage carried on with his parents as his mother, Frances Johnson, was an original member of pioneering 1960’s girl group, The Crystals. And his father, Budd Johnson Jr., was a member of a doo-wop music group called, The Chanters. 

    Additionally, Prodigy’s paternal grandmother, Bernice Johnson, operated a successful dance school in her Jamaica, Queens backyard, where he spent a bulk of his childhood. A young Prodigy was honed in musical arts at an early age and was hardened by a diagnosis of sickle cell anemia, a chronic blood disease found primarily in people of African descent, which often resulted in long hospital stints. 

    In a Vibe Magazine interview preceding the release of his solo debut, H.N.I.C., prodigy shared a glimpse of his battle with the fatal disease:

    The sickle-cell got me where doctors said I couldn’t play sports, I couldn’t overexert myself…I been going to the hospital since I was born, about 10 times a year, for about a week or two each time. I don’t know, man, some psychological sh*t goes down. I be all doped up for weeks. Morphine, Demerol—a whole bunch of drugs.

    Despite a cultured upbringing, Prodigy’s condition and his nuclear family’s real life struggles kept him conscious of the harsh realities of the outside world. 

    My pops did a lot of stupid sh*t, man,” Prodigy revealed. “One time the n***a took me to rob a jewelry store. I was like, 5. He didn’t give a f**k, though. He was like, ‘This is my son. He can see everything I do.’ I love him for that. Even though it might not be right, so what? That was my pops!

    Even though his roots were in Hempstead and Lefrak City, Queensbridge became part of Prodigy’s identity. That’s where most of his friends were from (including Havoc, the other half of Mobb Deep) and where he spent much of his time. 

    Prodigy (left) Havoc (right)

    As he became invested in the street life, the determination to make it as a rapper grew tenfold. A 16-year-old Prodigy tasted minor success with an uncredited guest-verse on the Hi-Five record “Too Young,” which was featured on the Boyz’ N The Hood soundtrack. 

    From there, the Mobb Deep story reads like a feature presentation. From waiting outside of the Def Jam records offices in hopes that someone would listen to their demo — where Havoc not only brought a gun but managed to shoot someone — to world tours, platinum selling albums (and flops), Prodigy remained “thoro” in every sense of the made-up word. 

    In many ways, his life in the streets shaped the way he acted, talked and what he rapped about. 

    Everybody sold drugs. It made me stop caring about school and start caring about how I looked. I started acting up even more after school to prove to my friends in the hood that I was still cool. I was a crazy little kid. I blame sickle- cell and my father.

    When he was embroiled in a rap beef with Jay – Z, he didn’t spend much-time trading diss records, instead he and his crew ran up on Jay – Z, according to his autobiography, My Infamous Life:

    I walked over to my people. ‘Where’s Jay-Z?’ I asked, surveying the shadows of Justin’s. ‘I don’t see him.’ So we lined the front door of Justin’s on both sides. We weren’t going to let Jay-Z leave without dealing with us first. ‘P, we’re gonna beat the lips off Jay’s face [as] soon as we see him,’ Godfather, Nitty, and Nitty’s cousin Kiko all assured me. Kiko had a gun and he wanted to shoot Jay.

    ‘No! It’s not that serious,’ I said. ‘We’re just gonna beat him up. Don’t pull that gun out.’ Through the crowd, I saw Jay and Jermaine walking with three bodyguards towards us. Jermaine Dupri was aware of my beef with him and was visibly shook, started speed walking with his bodyguard when he saw me. He quickly hightailed it out the door. Jay-Z spotted us lined up against the door waiting for him. Then from about two yards away, he extended his hand to shake mine.

    ‘It ain’t no beef,’ Jay said. ‘It’s just music, man. No drama.’

    Prodigy is cut from the cloth of “if you said it then you lived it.” That’s why he admittedly was not embarrassed when Jay put up a picture of a 12-year-old Prodigy dressed in a Michael Jackson getup on the titantron, during his Summer Jam set in 2001, in an attempt to humiliate him.

    In his mind, Michael Jackson was the biggest act in the world at the time and everyone was a fan of him, there was no shame in that (he also rumors that Ashanti, who was a student at his grandmother’s dance studio where the picture hung, is the one who delivered the image to his adversaries). In an ironic twist, Jay – Z was applauded for being able to get Michael Jackson to make an appearance at the very same edition SummerJam! Further proving Prodigy’s point, but the industry doesn’t view the world like he does. 

    The best way to summarize Prodigy’s makeup as a man, is to look at the reason behind his three-year prison sentence. After getting pulled over for an illegal U-turn, police searched his SUV, found a gun and took him in for investigation. Except, these cops didn’t care about the gun. They were the “hip hop police” and were more interested in his relationship with 50 Cent, to whom Prodigy and Havoc were signed to at the time. They tried making a deal with him that would keep him from serving any time, but Prodigy provided no information. They became desperate and one of the officers asked, “Between us, maybe you can drop a gun in a 50’s car and help us get him.” 

    In October, 2007, he was convicted for possession of an illegal firearm, halting his career and all business dealings he had in the works.

    Of course not all bad things are for naught. It was during this time that Prodigy penned his autobiography and gained considerable knowledge of self and began to transform himself into more of a spiritual being, believing in the presence of abstract entities. How else could he have made it this far? 

    The H.N.I.C. didn’t live much longer as he passed away on June, 20 2017, due to complications of his sickle cell anemia. Fans of his can find comfort in knowing that Prodigy was one of if not the realest rapper and that he wasn’t all industry like his more commercially successful counterparts.

    When hip hop went full glitz and glamour during the “shiny suit era,” of the late 1990’s and early 2000’s, Prodigy doubled down and recorded his solo debut. He put out even more gutter street music, filled with violence and more vivid tales of guns, drugs and murders, because that’s what was really happening. His appeal to a major-label subsequently plateaued and Prodigy spent much of his later years releasing music through independent labels. 

    Ultimately, he would be proud to know that his life was captured in the opening line from one of his most memorable records. Because he really did “break bread, ribs and hundred dollar bills.”

    Tupac, Ja Rule—a whole bunch of people talk about pain. “And Tupac, he even said some sh*t about my sickle-cell [on his song ‘Hit ‘Em Up’], so that inspired me to make a real song to show n***as what pain is.

  • Phil DiRe, Influential Founder of Buffalo Jazz Ensemble, Dies at 80

    Phil DiRe, founder of the Buffalo Jazz Ensemble, died on May 26 at the age of 80. Influencing the lives of many, the years 1972 to 1980 represent some of the most momentous years in Phil’s life, as well as the lives of others during that timeframe. Tony Zambito from JazzBuffalo shares the following remembrance of Phil.

    Phil DiRe

    It is not to say other years did not matter and did not become pillars in Phil’s life.  But it to say that Phil, as a musician, influenced the lives of many musicians and the history of jazz in Buffalo during this time.

    Phil DiRe
    Sabu Adeyola and Phil DiRe

    In November of 1972, Phil led the first edition of the Buffalo Jazz Ensemble in a concert at the Buffalo Central Public Library to a standing-room-only audience.  The ensemble went on to perform concerts at such venues as Artpark, Studio Arena, Keenan Center, and others.  Including gig dates at the old Bona Vista Lounge on Hertel Avenue as well as the Student Union Social Hall at Buffalo State College. 

    A poster used in 1976 for the funded city-wide program

    The Buffalo Jazz Ensemble, led by Phil, helped launch a journey of performing for several prominent musicians with Buffalo heritage.  Notable performers included pianist Al Tinney, bassist Sabu Adeyola, saxophonist Joe Ford, drummer Lou Marino, pianist Jimmy Calire, drummer Tommy Walsh, drummer Naser Abeday, guitarist James Clark, keyboardist Jeremy Wahl, and saxophonist Jay Beckenstein.  Beckenstein, who was a private student of Phil, along with Wahl formed the nucleus of what became one of the most famous jazz fusion bands in history – Spyro Gyra.

    Albright-Knox Art Gallery Outdoor Concert – Buffalo Jazz Ensemble is center right

    In 1975, Buffalo was the center of a pioneering concept in the country.  It was one of the firsts to receive city, state, and federal funding for jazz performances.  Phil negotiated a unique arrangement with the City of Buffalo under Mayor Makowski, the NY State Council on the Arts, the National Endowment for the Arts, the local Musician’s Union, and the newly formed non-profit created by Phil – Association for Jazz Performance, which would launch an ambitious program to fund an ongoing series of concerts in every park, cultural center, and school in the city. 

    The Buffalo Jazz Ensemble performed in these concerts and exposed many youths to the music of jazz.  Their very first event took place at the steps of the Albright-Knox Art Gallery, becoming a weekly event in summer, and continuing with sponsorship from the Buffalo News and Editor Stan Lipsey post-1980 starting with the Buffalo Jazz Workshop, led by Sam Falzone.

    The funded program at Buffalo Public Schools

    Prior to these pivotal years, Phil was assigned, while serving in the Marines, to the White House, where he led the White House Jazz Quartet during the overlapping Johnson and Nixon administration years.  This put Phil next to the likes of Duke Ellington, Stan Getz, Gerry Mulligan, Dizzy Gillespie, and Billy Taylor and enabled him to perform with one of his best friends in life, the legendary drummer, composer, and arranger Justin DiCioccio. 

    Phil DiRe
    At the steps of the AKG. Left to right: Tommy Walsh, Al Tinney, Phil DiRe, Joe Ford, Sabu Adeyola, James Clark, Jay Beckenstein, Naser Abeday, and Jeremy Wahl

    At the end of the 1970s, Phil accepted an invitation to move out to Las Angeles to make a living as a studio musician.  Before leaving, he turned the jazz ensemble over to Sam Falzone, where it eventually became known as the Buffalo Jazz Workshop, and operating on a smaller budget and scale.

    Phil DiRe to the left in military style jacket playing saxophone

    Feeling unfulfilled in his role as a studio musician, Phil took up a friend’s request to join him at a recently opened club in Palm Springs.  The club was owned by the famous singer Keely Smith. Phil quickly made an impression on Smith and became her music director, arranger, and conductor. This Keely Smith ensemble, which also featured noted saxophonist Sam Butera, went on to become one of the most popular bands to ever tour the Las Vegas and Atlantic City circuit. The band was the follow-up act to the great Louis Prima band of the 1950s, which featured Keely Smith as their singer. As the music director of the band, Phil found himself performing with greats such as Frank Sinatra, Sammy Davis, Jr., Billy Eckstine, Tony Bennett, and other legends in jazz as well as American popular music.

    Singer Keely Smith

    By 1982, the constant touring, time away from family, and the tragic loss of his son Michael at an early age, brought Phil back home to the Buffalo region.  In 1994, Phil founded the company SuccessWare as a way to help run his family’s HVAC business that his father began, Sunbeam Heating and Cooling. Phil persevered and wrote the core of the computer program for SuccessWare without any formal training. 

    Phil DiRe
    At Jazz at Chandlerville in 2019 with Joe Calabrese, Chuck Buffamonte, Jack Kulp, and Gary Sterlace

    The calling for jazz and blues music never left Phil.  In his later years, he took up performing with fervor again locally as well as in Florida, playing alongside friends and in special reunions.  He relished the roles of serving as an advisor and mentor, taking a strong interest in seeing the revival of jazz locally and offering support. 

    His later years served as a bookend, in many ways, to the first stone that caused a ripple effect in November of 1972.  The circling waves of the ripple effect continue to expand, touching and influencing the lives of jazz fans and musicians in the Buffalo region and beyond. 

    Phil DiRe
    At Giancarlos 2019 with Preston Brown, Chuck Buffamonte, Jerry Livingston, George Caldwell, and Brendan Lanighan

    Phil is survived by his beloved wife of 57 years Geraldine “Gerri” DiRe.  He was a devoted father of Maria, Michelle, Deanne, and the late Michael J. DiRe.  He was affectionately known as “Papa” to his many grandchildren and great-grandchildren.  To Phil, the love of family rose above all in life. 

  • Samuel E. Wright, Tony Nominee and Founder of Hudson Valley Conservatory, dies at 72

    Samuel E Wright, found of the Hudson Valley Conservatory, voice of Sebastian the crab in 1989’s The Little Mermaid, and Tony Award nominated actor has died at age 72. A longtime resident of Walden, NY, Wright passed away peacefully after a three-year battle with prostate cancer.

    samuel wright

    Born on November 20, 1948 in Camden, SC, Wright moved to New York City in 1968 to begin his acting career. After a few years in London, Wright returned to perform in 18 Broadway productions, beginning with Jesus Christ Superstar in 1971. He later landed the role of Pippin in 1972, replacing Ben Vereen as the lead.

    In 1983, Samuel Wright received his first Tony Award nomination for The Tap Dance Kid, which found Wright as the unsympathetic father of a young boy (Alfonso Riberio). More recently, he originated the role of Mufasa in Disney’s The Lion King, which garnered him his second Tony nomination, and a Drama Desk Award.

    Wright acted in several films, including Clint Eastwood’s 1988 Bird, playing the role of Dizzy Gillespie to Forest Whitaker’s Charlie “Bird” Parker. In the 1995 Apollo Theater revival of The Wiz, he played the Scarecrow in alongside Whitney Houston, Keith David and Cedric the Entertainer.

    In 1989, he earned Grammy, Oscar and Golden Globe Awards for Best Original Song for “Under the Sea,” from The Little Mermaid. The song would achieve RIAA certification and double platinum status, leading to parodies from Saturday Night Live to The Simpsons. With his new success, he moved north from New York City to Walden in Orange County. Here, he would continue to commute for the role of Mufasa, while creating a legacy in support of the arts.

    Founded in 1994, the Hudson Valley Conservatory (HVC) is the first performing arts school in the Hudson Valley offering classes in acting, music and dance, to ages 3 and up. Started by Samuel E. Wright, Amanda A. Wright and Pamela A. Murphy in 1994, HVC is a place for children to learn and grow in the arts.

    Per their mission statement, HVC pride themselves on offering a well-rounded arts education and helping children develop not just as artists, but confident, competent young adults. Students at HVC have the opportunity to take part in productions throughout the year in HVC’s black box theatre, The New Rose Theatre.

    Notable fans of Samuel Wright include Hamilton creator Lin-Manuel Miranda, who named his oldest son after Sebastian.

    Wright is survived by his wife, Amanda, and their three children, Keely, Dee and Sam. 

    To honor the life of Samuel E. Wright and continue their mission, the New Rose Theatre Group will be starting The Samuel E Wright Scholarship Fund. This fund will be used to support the children, school and community of young artists he created at the Hudson Valley Conservatory. If you would like to make a contribution to the fund, checks can be mailed to:

    Samuel E Wright Scholarship Fund
    Via New Rose Theatre Group 
    PO Box 702 
    Walden NY 12586
    or donate directly to New Rose Theatre Group by Venmo @Rose-Group