Category: New York City

  • Harmonies and healing Frequencies: Musician Cinamon Blair carries On the musical legacy of her grandfather, left-handed Banjo & Guitar jazz musician Lee Blair

    Harmonies and healing Frequencies: Musician Cinamon Blair carries On the musical legacy of her grandfather, left-handed Banjo & Guitar jazz musician Lee Blair

    As I was recovering from the flu last week I decided to watch the documentary American Symphony on Netflix and it was absolutely heart-wrenching and timely and spoke to the incredible creativity required to survive a history as brutal and violent as American history. The story really reminded me of the healing and survival power of creative expression, especially music. Multi-instrumentalist musician and music therapist Cinamon Blair life story and family legacy is one thread of that historical tapestry that needs to be shared.

    Of Cherokee, Choctaw, and Chickahominy lineage, her roots are in the Southeast US. Her musical legacy most recently goes back to her paternal grandfather. He was jazz musician Lee Blair, who migrated from Savannah, Georgia to Brooklyn in the 1920s and played and recording with Jelly Roll Morton’s Red-Hot Peppers, Louis Armstrong, Luis Russell, Billy Kato, Thomas Morris’s Seven Hot Babies, and Charlie Skeete. It was from this rich musical legacy that Cinamon was born into. Brooklyn-born, Massachusetts-based Cinamon is currently playing with the bands Rebirth and Brown Bones as well as continuing to work on her own music.

    ~ Cinamon Blair

    Here is my interview with the effervescent Cinamon Blair.

    What styles of music growing up sparked your love of music?

    Can you tell me about your interest in music therapy and in what ways do you use musical therapy for yourself and how do you work with it for others or in what ways have you seen music be a healing force in your life?

    Are there any non-musical influences that inspire your creativity?

    What advice would you give to emerging artists who are just starting their artistic journeys?

    Can you describe the role that community and cultural heritage play in your work?

    Are there any particular influences or sources of inspiration that have shaped your artistic practice?

    Could you share a specific project or artwork that holds significant meaning to you? What was the inspiration behind it?

    How do you see your art contributing to or engaging with broader social or cultural conversations?

    Anything else you would like our readers to know about you or your art?

    Thank you to Rebirth’s Conga player I-shea Iréne Shaikly for putting together this playlist. Follow her at @ishea_music.
    Playing and harmonizing with Brown Bones.

    CHECK OUT CINAMON’S PROJECTS

    CINAMON’S RECOMMENDED ARTISTS:

    Grandfather, Lee Blair, II and Father, Lee Blair, III (on the right holding the guitar neck) and uncle, Julian Blair 
  • Imagining New York City with Rakim & James Brown

    When I first started this blog, I did for the pure joy of sharing my passion for music, culture, and history. In the past year, I’ve felt joy leave and posting has become more burdensome as I’ve felt pressure to commercialize it in some way. As the blog steamed along, I got more and more solicitations from publicists wanting me to post on their bands. I’ve never taken them up on it but it felt like a bombardment and distracted me from my original purpose. While I don’t begrudge them doing their job, I want to keep it simple, as pure love expressed. So I’m kicking off my own independence weekend by reminiscing about my time in New York City in the 90s, listening to copious amounts of hip-hop, salsa, and reggae. For hip-hop and history lovers like myself, there is a great site that traces song genealogy, called www.whosampled.com. But I have my own version right here for ya!

    From the Rakim’s 1997 The 18th Letter double album, here is a great track called “New York (Ya Out There)” produced by the illustrious DJ Premier:

    While there are other samples throughout, I call your attention to the first vocal sample by James Brown. Here’s the original song called “Down and Out in New York City” from the 1973 film Black Caesar, to which James Brown did the soundtrack:

    Love this. It was from the year I was born. Why do I love funk, rock, and folk from 70s so much? I imagine that it was this perfect combo of gritty rawness and really pretty melodies.

  • Legends of the 88s: Cuba to Chicago, New Orleans to New York

    Since September is traditionally back-to-school month, I thought I’d do a short history lesson on some of the most influential roots piano players. Whether barrelhouse, boogie woogie, boogaloo, or rumba, hard pounding rhythmic piano playing has found its home in the brothels and the concert halls, with styles traveling that swath of land and sea from the Caribbean up through the blues highway to Chicago.

    Let’s start our journey at the barrellhouse, defined as both a 1) disreputable old-time saloon or bawdyhouse and 2) an early style of jazz characterized by boisterous piano playing, free group improvisation, and an accented two-beat rhythm.


    Champion Jack Dupree
    was the epitome of New Orleans boogie woogie and barrelhouse blues piano. His birthdate disputed, but the year was between 1908 and 1910. He lived a long life, passing in 1992.

    James Edward “Jimmy” Yancey was born in Chicago in 1898 and was a famous pianist by 1915 influencing the boogie woogie style of Meade Lux Lewis and Albert Ammon, who were the predecessors of many blues pianists. Despite his musical prowess, he kept his job as a groundskeeper for the Chicago White Sox his entire life.

    We all know that New Orleans has birthed some of the greatest jazz and blues piano players including Professor Longhair, Allen Toussaint, Fats Domino, Dr. John, Harry Connick, Jr. and Henry Butler. Less well known outside of the Crescent City is one who left all those guys in awe, James Booker, who is widely regarded as one of the greatest geniuses of New Orleans piano. Often people unfamiliar with his playing will mistake his sound as two simultaneous piano players:

    Up to Chicago by way of Mississippi, Otis Spann was a blues piano player most notably with Muddy Waters, but an artist in his own right. Here he is with “Jangleboogie:”

    Born in Havana, Cuba in 1913 and considered “one of the greatest pianists in the history of Cuban music, Pedro “Peruchin” Justiz made his name in Havana’s descarga (jam session) craze of the ’50s; along with Ruben Gonzalez, Lili Martinez, and Bebo Valdes, he was instrumental in shifting the piano into a much more rhythmic role in Afro-Cuban music (source)”. Here is “Peruchin”:

    Puerto Rican pianist Noro Morales, born in 1912, was an innovator of combining rhythm and melody, rising to the top of the mambo and rumba word. He played with some of the mambo and salsa greats including Tito Rodríguez, José Luis Moneró, Chano Pozo, Willie Rosario and Tito Puente.

    I couldn’t leave out Nuyorican Charlie Palmieri. Less well known than his brother Eddie Palmieri, Charlie gave us really solid boogaloo from the 60s to the 70s. He played with Mongo Santamaria among others. If you have the chance to pick up his album, Either You Have It Or You Don’t, do it!

    I would be remiss if I didn’t mention country great Floyd Cramer, who did his own rolling country style piano playing, supporting everyone from Patsy Cline, Chet Atkins to Elvis Presley. Here he is with Chet Atkins:

    Resources & Links:
    Ragtime
    Jimmy Yancey
    Champion Jack Dupree
    Albert Ammons
    Meade Lux Lewis
    James Booker
    Bayou Maharajah: The Life and Music of James Booker Trailer for documentary
    New Orleans Pianists including Allen Toussaint, Dr. John, Fats Domino, Henry Butler, Harry Connick Jr. and others
    Otis Spann
    Pedro Peruchin Justiz
    Perez Prado
    Cuban Jazz
    Noro Morales
    Charlie Palmieri
    Eddie Palmieri
    Floyd Cramer

  • Música Boriqua & Nuyorican love


    Recently I saw the PBS special “Latin Music USA!” It was a great series on the origins and influences of the diverse styles of Latin Music in the United States. The episodes covering New York City had me reminiscing about my time living there in the late 90s. When I moved there for graduate school, it was an awesome culture shock for this California girl. To be dropped into Washington Heights (Quisqueya Heights) was a mind bending experience. I started a sonic journey into the music of Nueva York fueled by a desire to learn more about my own Latin heritage as well as love of culture and of my Caribbean brothers and sisters.

    I love to dance so I hit up everywhere from Copacabana and Latin Quarters to the down home clubs in the Boogie Down Bronx and Brooklyn. I saw some amazing bands play live including El Gran Combo De Puerto Rico and Marc Anthony. He hadn’t yet hit the mainstream audiences, but was selling out clubs performing salsa music. Anyhow, I can’t even begin to do justice to the enormity of the music which has come out of New York; all I can do is try to capture a slice of the New York I experienced, the one that lives in my memory.

    So I had “Calle Luna Calle Sol” by Willie Colon song & Hector Lavoe but that video was removed from youtube. So here is another from that dynamic salsa duo from the mid 70s. This style of salsa dura chronicled street life and social problems found in the inner cities as well as just plain stories about the beautiful dances and music of the land of our people like this one “La Murga De Panana”:

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