I just returned from a long trip to Long Island Bahamas. It was 12 days of laid back island life. The only problem is I am having trouble getting back into normal work life. The blog was even on auto pilot for me. The highlight of the trip was getting to hear an authentic rake and scrape band while there. I've been a fan of the Bahamian root music since I first discovered the Folkways records from the Islands with the highlight of those being Joseph Spence.
I didn't have a pic of the band but this is the essense of rake and scrape plus a singer in the band I saw..
Check out the Tuff Skins at the Smoke Pot Cafe.
Rake and scrape music comes from the musical traditions of the Turks and Caicos Islands, and is characterized by the use of a saw as the primary instrument. It was brought by immigrants from those islands from the 1920s to about the 1940s, who settled on Cat Island,
and elsewhere. Rake and Scrape is traditionally used to accompany the
Bahamian Quadrille and the heel-toe polka all relics of the initial
mixture of Africa and Europe.
Many of these Turks and Caicos Islanders became some of the most famous
musicians in the Bahamas. Many eventually moved back to their
homelands, bringing with them junkanoo. Turks and Caicos are now the
second home for junkanoo.
Organology of Instruments
Membranophones: The Goombay drum is main rhythmic component in
rake-n-scrape. It is also referred to a goatskin drum, as the skin of a
goat was stretched over a wooden barrel. It is decorated by simple or
complex geometric designs in bright colors. The drum is always heated
over fire to retain it's tone. In 1971, when manufacturers started
shipping products in metal barrels, Bahamians switched the drum to
metal, slightly changing the tone of the drum.
Idiophones: The main component that makes Rake-N-Scrape unique is the
use of the Carpenter's Saw. This instrument is scraped with a nail or
butter knife. Bent against the body of the player and flexed, various
timbral effects are obtained. In more modern music, the saw is replaced with maracas or a guiro.
Aerophones: The accordion is the component that adds the round form
which enables dancers to dance the ring dance. This is of European
descent. In more modern bands, it is replaced by an electric guitar or
Jeffrey Jackson aka Experience Music dropped by last month to see Cedell Davis at a small club in Little Rock with us. On arrival he handed me the coolest t'shirt ever. I guess that is coolest t'shirt ever for those who share obsession of the 16A. It takes some serious devotion to reproduce the 16a and I can't wait to hear it.
Joe Cripp's of Brave Combo was responsible for the show and I never thought I'd like bongos and the blues but it was bad ass. The show was really good and after the show we were spinning vinyl until 4am. Hell yes.
I've been through Mufreesboro, TN so many times and I would have stalked them if I had known this system was there. I have heard TAD components but never a TAD system. Although this one looks customized.
Here is a cool pair of Luxman amps. Push Pull triodes and good build quality. I think this are rated higher than my KMQ60's. There are beauties. I'd love to hear a pair even though I am going back down the single ended triode sound next.
Luxman is called the McIntosh of Japan. It isn't hard to see why. They look incredible. I like them better nekid with no cages.
John Lennon with a Lansing Iconic. It also appears to be gold. That is alot of color going on there.
"All that business was awful, it was a fuckin' humiliation. One
has to completely humiliate oneself to be what the Beatles were, and
that's what I resent. I didn't know, I didn't foresee. It happened bit
by bit, gradually, until this complete craziness is surrounding you, and
you're doing exactly what you don't want to do with people you can't
stand -the people you hated when you were ten." -John Lennon
Homeless, blind and dressed like a Viking, Moondog was one of New
most famous eccentrics - and renowned musicians. Robert Scotto traces
the life of a legendary poet and classical composer. The book gets lots
of complaints but it is information I am after so I will be ordering
this book.Found at Amazon click here.
If you walked by the corner of 54th Street and Sixth Avenue in New
York City in the summer of 1967, the chances are you would have caught
sight of the most famous of all of the city's eccentrics. He dressed in a
Viking costume: headdress with horns, elaborate cape, spear. He was
articulate and friendly. He'd discuss the Vietnam war, the local art
scene, the grand designs of history. He would try to sell passers-by
some couplets from a mammoth work-in-progress called Thor the Nordoom.
He was blind, but refused to talk about his condition as a handicap.
Perhaps most surprising of all was that this eerie and unusual figure
was a classical composer in the tonal western tradition who followed all
the rules of counterpoint and harmony. This man was Moondog.
was a living landmark in New York, the object of pilgrimage for
hippies, composers, entertainers and writers. His claims to fame are
various: he is the most photographed street person in the city's history
and an anti-establishment hero. One of his madrigals, "All Is
Loneliness", was made into a popular song by Janis Joplin. In 1954 he
challenged the disc jockey Alan Freed in court over Freed's use of
"Moondog" as a brand name for the popular new genre called rock'n'roll. A
serious artist, but one who approached his abilities lightly and
satirically, he saw his reputation grow in strange ways until his death
in Germany in 1999.
Born 83 years before in Marysville, Kansas,
Louis Hardin was the son of Louis Thomas Hardin, an episcopal minister
who changed parishes often. The minister's relationship with his
superiors was somewhat strained, especially after he published a novel
entitled Archdeacon Prettyman in Politics, a rollicking satire of
religious frumpery. In order to support his family, Reverend Hardin
became, over the years, a merchant, a farmer, a rancher, a postman and
an insurance salesman. Young Louis's earliest memories were formed in
Plymouth, Wisconsin; he grew to his teens in Wyoming. At the age of 16,
in Hurley, Missouri, he was blinded for life when he was messing around
with a dynamite cap, unaware of what it was, and it exploded in his
Louis's older sister, Ruth, read to him every day for years
following the accident, and his encounters with philosophy, science and
myth helped to bury whatever was left in him of his parents'
Christianity. One book, The First Violin by Jessie Fothergill, inspired
him to choose music as his life's work. Until then he had been
interested in percussion, playing Indian drums for the high school band,
but from the time he read The First Violin he was overtaken by the
desire to be a composer. His father may have been a poor man of the
cloth, but he was also well educated and an eccentric in his own right;
his library contained many books on warfare and recordings of march
music. Hardin learned Braille in St Louis, Missouri, and became
proficient in several instruments at the Iowa School for the Blind.
After his parents divorced, he lived in Arkansas with his father, and
studied music in nearby Memphis. After his secret marriage to a socially
prominent older woman was annulled by her family, he decided to head
for New York with a stipend that his former wife had secured for him
through a patron. With nothing but this monthly allowance in hand, he
took the first of many great leaps in the dark - he was alone, with few
connections, without prospects, on a bus headed to his future home.
who remember Louis as the Viking probably do not realise how long it
took for him to arrive at his dress and his image. His "conversion" to
Nordic beliefs was not an adolescent pose, but something he had long
thought about, and it came in the light of harsh experience. Music,
though, was always at the centre of his life. One day, after standing
by the performers' entrance to Carnegie Hall, he was "adopted" by
members of the New York Philharmonic and its conductor, Artur
Rodzi´nski, who treated him as a serious musician (though he eventually
fell out of favour because of his dress, which was becoming more bizarre
as he fashioned it himself out of squares of material sewn together).
He began to compose poetry and music and to make new, original
instruments to play it on. He became Moondog in 1947, when he officially
identified himself with the memory of his pet, who would howl at the
moon -a sound captured on one of his earliest 78rpm records, Moondog
For more than two decades, he was a musician, poet, seer,
"beggar", living on the streets of Manhattan. With the exception of the
first of two cross-country tours in 1948 - when he left the city to
live with Native Americans out west and promote his earliest music - and
the brief times he spent at his two rural retreats in New Jersey and
upstate New York, he was a committed New Yorker. His self-reliance
became legendary. He was, as he put it, looking for an identity, both in
his lifestyle and in his music: he studied jazz, attuned himself to the
city's street sounds and became a master of percussion improvisation.
He sold his wares (sheet music, 78rpm records, booklets, broadsides) on
the streets and began to acquire friends and a reputation.
the 1950s, he produced a few albums, most featuring himself as the main
performer: one on Woody Herman's label, Mars, three on Prestige, one on
Epic, a Columbia subsidiary, and one, his arrangement of nursery rhymes,
on Angel, featuring Julie Andrews at the outset of her career and
Martyn Green at his nadir. On flute was Julius Baker, one of his oldest
friends from the Philharmonic. Pioneers of the sound industry, such as
Tony Schwartz, taped him in his street performances. The rounds and
madrigals he wrote in Braille, at times painfully in the extreme damp
and cold of Manhattan winters, had to be copied at great expense. His
music appeared in radio and television commercials or as soundtracks for
films. Gradually the public was exposed to his peculiar brand of
reactionary rebellion as he appeared in concerts as well as on radio and
In 1969, however, his life changed dramatically,
thanks to the release of Moondog by Columbia Records in its Masterworks
series, backed up by an extensive promotional campaign. That year was
Moondog's annus mirabilis. From being a cult figure and local treasure,
he became a celebrity of a different order: an internationally famous
composer of classical music who was also a unique and easily
recognisable personality. The record was released soon after he moved
out of Philip Glass's home, where he had spent a profitable year sharing
ideas with the younger composer. Moondog is comprised of a solid
half-hour of his orchestral pieces, some dating from the late 1940s. It
also features the very best of his early, larger compositions, performed
by the cream of New York's musicians, definitive statements of his
signature pieces: "Theme", "Bird's Lament", Good for Goodie", "Stamping
Ground". It became a bestseller (though he never received any royalties)
and soon passed Bernstein's Greatest Hits in the charts - a delicious
triumph for Moondog, since the great maestro had never performed his
music with the New York Philharmonic. He appeared on radio shows and all
of the television staples, in costume, and in good form: The Today
Show, The Tonight Show (where Mitch Miller surrendered his baton to
him). Adverts for the record featured the Viking against the backdrop of
Gotham. For a year he was courted, celebrated, vindicated: it was the
closest he ever came to stardom in the US.
In 1971, Moondog 2
appeared. It was perhaps an even greater artistic accomplishment, but
one burdened by too much confusion of intent and hampered by too little
publicity. For two years, from 1972 to 1974, Moondog moved to Candor,
New York, for an interlude of peaceful work before making another great
leap. That leap came when he fulfilled a long-delayed dream by
travelling to Europe and, in so doing, returning to the site of the
ancient culture that he had kept alive for so long in his clothes and
his music. Except for one brief, triumphal return tour in 1989, he never
returned to the US. He lived in Germany, and though it was a long way
from New York City, he felt at home. The "European in exile", as he once
identified himself, had returned. But, like everything else in his
life, it wasn't easy: for the first year or so he lived on the streets
in several German cities, not having the airfare to return to America.
1975 he met Frank and Ilona Goebel, whose family - appalled that such a
talented and sensitive man could be left to fend for himself, blind,
cold and uncared for - took him in. With their help, he soon enjoyed a
working environment unlike anything he had ever known. In Germany, he
wrote enormous amounts of music, including his mammoth sound saga (The
Creation), more poetry (he completed Thor the Nordoom) and a variety of
treatises (such as The Overtone Tree), and produced more albums than
during any other period of his life.
Moondog's residence in Europe
was, in every sense of the word, a triumph: he performed frequently in
Austria, France and Britain (where two of his finest albums, Sax Pax and
Big Band, were recorded), as well as in Germany. Domestication, he
said, only improved his work. Nearly everything had changed - except the
creative spark, which was as bright as it had ever been.
I saw this posted on a forum a while back. They were calling them phantom 23a horns. The material covering them look similar to the material on a Western Electric straight horn I saw. Does this look familiar to anyone?
“I like big horns and I cannot lie, those little horns make me cry” Tom Danley "Simple. A horn is just a reasonably rigid boundary for an air column. Now all you have to do is figure what shape to make it." PWK