Classic Moments in Jubilee Showcase: Church before Church

 

Music doesn’t have boundaries. We impose things like genre, or let a marketing department impose a genre and then just go along with it, and then say short-sighted things like, “I love all music… except country/hip hop/hated-genre-of-the-moment.”

Music does have power. Songs can speak and speak to us. Songs can move and move us. Songs can embolden us.

 

 

I don’t go to church – I don’t hold beliefs that draw me in that direction – but I am as vulnerable to a good gospel song as any devout worshipper. The clap of hands, the boom of a voice raised in full heart, the rhythm that stomps or the held note that draws a thread tight from the soul… it encompasses the best of what music can do.

From the early ’60s through the early ’80s, Sid Ordower (a Jewish man who felt the power of gospel) brought that boundary-less power into the homes of Chicago television viewers with a show called Jubilee Showcase. Sunday mornings, viewers could sit down and experience powerful performances from gospel stars like James Cleveland, Andrae Crouch, the Soul Stirrers, the Staple Singers and more and still have time to get to church. The show not only shared the music of the brightest stars in the gospel firmament, but also launched careers of fledling artists.

A new DVD, Classic Moments in Jubilee Showcase, brings this wonderful show out of the past and out beyond Chicago. The disc contains four full episodes picked from thoughout the show’s timeline. From early black-and-white footage of the Staple Singers (with the ever-lovely Mavis Staple opening up those spectacular pipes) and the Soul Stirrers (the group from which Sam Cooke launched, though Cooke does not appear in this DVD) to later performances of Jessy Dixon, Inez Andrews, another appearance from the Soul Stirrers and a whole program of gospel mega-star Andrae Crouch, this DVD displays the range of gospel music, from high church hymns to stomping spirituals. The highlight of the collection for me is when the Soul Stirrers perform “Oh, What a Meeting” with powerful lead vocals from Willie Rogers. (I don’t have a clip to share, but you can hear a different recording of the song here and see what the performance looked like it all its technicolor glory below.)

 

 

The disc extras contain short, but often illumnating, documentarian bios of Ordower and some of the featured artists. And if you become as interested in the history of the show and its creator, Sid Ordower, you can look forward to a documentary of the show. Producer of the upcoming documentary, Steven Ordower says:

“Currently in development, Jubilee, is a documentary film featuring rare performances from a local Emmy award winning Chicago gospel music television show that aired from 1963-1984, called ‘Jubilee Showcase,’ the brainchild of civil rights activist and producer, Sid Ordower. Jubilee will feature exclusive footage – never before seen by a national audience – from many of gospel’s greatest singers. Ordower’s history as a participant in the struggle for equal rights will be interwoven with the historic performances from his show. This approach is intended to contextualize gospel music within the civil rights movement specifically, and the African- American experience in general. This documentary will consist of contemporary interviews, still photography, originally shot footage, and archive clips from what some have described as ‘the greatest single collection of gospel music in the world.’”

For more information on the DVD, including ordering information and to see some of the informational clips about the artists appearing on the DVD, visit the site:

Jubilee Showcase Official Website

King Mob: Make the Black Sun Rise

 

I get a little nervous when I see the term “supergroup” thrown out. It’s been used so often in recent years that it’s become synonymous with “disappointment”. So, when I opened my e-mail and started reading about a “supergroup” caled King Mob, I was ready to delete and move on… until I saw the name Glen Matlock1. Then there was mention of Martin Chambers of the Pretenders. Alright, I’ll listen to that.

 

 

Hell, I’ll listen to that twice (actually, I lost count of the number of times I listened to it).

Rounding out King Mob are Chris Spedding, best known as a versatile session guitarist who has worked with Roxy Music, Harry Nilsson, Brian Eno, Tom Waits and on and on; Stephen W. Parsons (a.k.a. Snips), who was in the Sharks with Spedding and has composed music for films; Sixteen, a young guitarist who also has a psychosurf outfit called One Fathom Down.

King Mob’s album, Force 9, is out now, and if you’re living in the right place, you can get a free download of “Selene, Selene” (if you’re in the U.S., you’re S.O.L.). If you’re living in the right place, you can also see the band performing live at 229 the Venue in London this Thursday, November 17 (tickets available here).

If you’re not living in the right place, well, here’s another video as a consolation.

 

 

King Mob Official Website

King Mob @ Facebook


1 You know that band the Sex Pistols, yeah? You know that guy Sid Vicious, yeah? Well, before and after Sid, there was Glen.

Give: Daniel Knox and John Atwood

 

NTSIB friend and Couch by Couchwest (the internet-based answer to South by Southwest for the lazy and the poor) alumnus Daniel Knox and photographer John Atwood could use your help.

Atwood writes:

Songwriter/composer Daniel Knox and I were recently selected by the Byrd Hoffman Watermill Foundation to be artists in residence this fall at Robert Wilson’s Watermill Center in Watermill, NY.

Through the course of the residency, Daniel will expand, develop, and complete a long-form piece of music written and arranged for piano, voice, horns, strings, and percussion, based on my photography.

The residency will culminate in a premiere performance of the final piece alongside an exhibition of the integral photographs at the 92YTribeca, New York, NY on 26 January 2012.

Your support will “help cover production expenses for the exhibition: framing, printing, and equipment rental, accompanying musicians, publicity materials and costs.”

Atwood’s photographs have graced the covers of Knox’s Disaster and Evryman for Himself albums, and this further step in their collaboration is an exciting one. Check out the Kickstarter video below, then visit the site to see how you can help.

 

 

John Atwood @ Flickr

Daniel Knox Official Website

 

Daniel Knox – Disaster from Daniel Knox on Vimeo.

Taqwacore

 

I’ve been saying this a lot lately in conversation with friends: I always thought that my idealism would fade away as I became older. But aside from a supremely apathetic phase in my 20s, my idealism has remained intact. Certainly it has become a crankier form of idealism as I’ve become more informed about the world and watched as humanity has failed to live up to its potential again and again, but I still believe that if everyone put aside self-absorption and pettiness, we could have a great thing going on her on earth. And as an avid/rabid music listener, I’ve always been open to finding good music wherever it may be hiding, from whatever race, creed, class and corner of the globe it may be coming from.

So when I was tripping around Netflix looking for something interesting to watch one day, Taqwacore: The Birth of Punk Islam and The Taqwacores caught my eye quickly and held my attention. I was posting about it on my social media networks before I even watched it.

The Taqwacores is a feature film based on Michael Muhammad Knight’s novel of the same name. Knight is a Muslim convert from an Irish Catholic family who wrote about a fantasy he had of a punk house full of Muslims. Or, at least, he thought it was a fantasy until the book was published and got into the hands of young Muslims across the U.S. who identified with the characters, ideas and music portrayed. Soon, as Knight says, they connected the dots, and a loose network of misfit Muslims was strung together. Friends were made, bands were born and taqwacore become a word used for Muslims living in the spirit of punk, questioning, fighting, learning and living by their own ideals.

Taqwacore: The Birth of Islam Punk is a documentary about Knight and the real-life people and bands that were brought together by his book, ultimately culminating in an all-inclusive celebration and exhibition of the power of music to knock down barriers and draw people together.

I came away from this duo of films invigorated and excited that people are still out there using music as a tool for the betterment of the world, to include the excluded, to give voice to subversive thought, to be heard over the din of blind, self-serving authority figures.

Check out this thoughtful interview conducted by Jian Ghomeshi with Michael Muhammad Knight and Taqwacore: The Birth of Punk Islam filmmaker Omar Majeed for Q TV.

 

 

The trailer for The Taqwacores:

 

The trailer for Taqwacore: The Birth of Punk Islam:

 

The Taqwacores soundtrack is well worth a listen on its own. Here are a few tracks.

 

 

 

JC Brooks and the Uptown Sound: If Life Was Easy As a Song

 

JC Brooks and the Uptown Sound release their Bloodshot Records debut, Want More, today and it is a fine, fine soul album that feels and breathes and dances with a deep shimmy, not playing out as a lifeless set-piece as can easily happen when a modern band takes up a sound closely associated with an earlier era. Lyrically, it’s a relatable album that speaks in real terms instead of heart-shaped metaphors. Musically, it’s a straight-up rump-shaker of rich grooves that just seems to grow richer with each listen. And, personally, I was singing along within two or three spins of the album.

JC was kind enough to answer a few questions for us…


 

 

When and why did you start singing? How did the Uptown Sound come together?

Because my mom was always singing, I started singing around the house as a toddler. I did Chorus in elementary and middle school, and formed my first band in high school. JCBUS came together because Ben, our bassist, and I answered an ad put out by Billy, our guitarist, who was looking to make aggressive dance music.

 

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A press release describes your music as “post-punk soul”. What does that mean to you? How do you think your music fits into this era?

Post-punk soul, to me, is emotive music that doesn’t try to fit into the typical “soul” girdle of warmly lit, grease-lensed love. We discuss love in our music, but usually more graphically than traditional soul, and we also don’t only take the point of view that the common portrayal of love is the ‘be-all, end-all’ ultimate goal. We write about the lighter side of lust and the general messiness of love, its hindsight is less hazy and more 20/20 when we write about why a relationship went wrong, etc. I don’t think our music fits into the post-punk era so much, but it does harken to a post-punk aesthetic that’s been pressed through a soul filter.

I hear some Stax influence in your music, like Otis Redding and the Dramatics. Who else are you influenced by?

For me personally: Patti LaBelle and Tina Turner are huge performance influences. Vocally, I draw inspiration from Otis, Teddy Pendergrass, Anita Baker and Amy Winehouse.

For the band: Bad Brains, Gang of Four, Living Colour, The Stooges, Bowie, Tower of Power, The MGs… the list could go on and on.

 

 

How did the idea to soul up Wilco come about?

Well, it started with Billy wondering what Syl Johnson (we were working with Syl at the time for the Numero Group revue) would sound like covering music like Wilco or Bowie, and from there it blossomed into the version we do now.

 

 

How did things come together with JCBUS and Bloodshot?

We stormed the Bloodshot office and held them hostage until they agreed to our demands…

What have you and the band been listening to lately?

Right now, I’m listening to a lot of Adele, Tune-Yards, JD MacPherson, Jill Scott, Joe Bataan… A lot of stuff all the time, really, but the artists I listed above have been getting a lot of play lately.


 

Listen to and download their first single, “Everything Will Be Fine”.

Everything Will Be Fine by JC Brooks and the Uptown Sound

 

JC Brooks and the Uptown Sound Official Website

 


Photos by Nate Burrell, courtesy of KDHX

New Guadalupe Plata Single

 

You may recall us covering this dirty Spanish band with sharp edges before. They have a new single out called “Casino El Camino”, and it’s a two-parter. Listen up!

 

Good stuff and available for free download. How many people do you know who love you enough to give you good stuff for free?

Guadalupe Plata @ Bandcamp

Guadalupe Plata @ Facebook

Founder of Living Blues Needs Your Help

 

An important dispatch from Rick Saunders:

JiM O’NEAL (second from the left in the above photo) – Founder of Living Blues Magazine & Rooster Blues Records Has Cancer and No Insurance. Please Help!

Jim O’Neal, the founder of Living Blues Magazine and the late great Rooster Blues Records has been diagnosed with Lymph cancer and is currently undergoing treatment. Like so many in the music industry, and blues in particular, Mr. O’Neal does not have insurance. You can help Mr. O’Neal and his family by sending a donation and helping to spread the word. It’s good karma, baby!

A fund has been set up at Commerce Bank in Kansas City.

Checks may be sent to:

Jim O’Neal Blues Fund
P.O. Box 10334
Kansas City, MO 64171.

You can also donate at www.paypal.com to the account “onealbluesfund@aol.com”.

Of course, musicians being who they are are always quick to help their own and a series of benefit shows are being arranged. If you live near any of these locations please show up for a night of great music for an even greater cause. The good that Jim O’Neal done for blues music and musicians can hardly be repaid. But here is your opportunity to try.

THE JIM O’NEAL BENEFIT CONCERT SERIES

OCT. 20, 2011
SURF CLUB, HYATTSVILLE, MARYLAND
With Memphis Gold and others

OCT. 28, 2011
KNUCKLEHEADS, KANSAS CITY, KANSAS
Kenny Neal, Memphis Gold and others

NOV. 19, 2011(date is tentative)
BUDDY GUY’S LEGENDS, CHICAGO, ILLINOIS
Kenny Neal, Memphis Gold, Eddie Clearwater, Eddie Shaw, Billy Branch, Elmore James Jr., Nora Jean Bruso and others

For further details and confirmations of time and artists, please check www.Stackhouse-Bluesoterica.blogspot.com.


photo: Panny Flautt Mayfield

Giveaway: The Dead Exs

 

Regular readers of our blog will recognize the Dead Exs from previous posts by my co-blogger Jennifer and our friend @Popa2unes. Jennifer has described their sound as “a delicious blues-funk stew lightly seasoned with garage-rock flair”, and their dirty, fuzzed-up grooves fit in well here.

Now Popa has generously donated a signed copy of the Dead Exs’ CD Resurrection for one of you lucky people to own. All you need to do is drop a comment below that includes your name or preferred internet handle and a reliable e-mail address and then wait patiently. The giveaway will close on October 24 at 5 PM EST, and the winner will be chosen at random and announced on October 25.

And while you’re here, you can download the song “More Stuff” by right-clicking on the link below. Enjoy!

The Dead Exs – More Stuff

 

 

 

The Dead Exs Official Website

Bobby Bare, Jr., and Hayes Carll Write a Dirty Song

Not only do I personally approve of and encourage the writing and performing of dirty songs (rock ‘n’ roll was built on some smutty songs, y’all), but I love to watch collaborations come together. If you feel the same, you’re going to love the new video preview from the folks at Don’t Follow Me (I’m Lost), the upcoming Bobby Bare, Jr., documentary.

A word from Lee Baker, the producer:

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EXCLUSIVE BACKSTAGE ACCESS! BOBBY BARE JR. & HAYES CARLL

CHECK IT OUT! A clip from the new rock documentary DON’T FOLLOW ME (I’m Lost) — a film about BOBBY BARE JR. – featuring Hayes Carll!

Go to: www.indiegogo.com/dontfollowmeimlost AND click the GALLERY tab to watch!

AND please help us reach our goal-we have 18 days left!! Every $ counts! We can’t do it without you.

Thank you for your support.