Bill Laswell (born February 12, 1955 in Salem, Illinois and raised in Albion, Michigan) is an American bassist, producer and record label owner. He is married to Ethiopian singer Gigi.

Laswell ranks among the most prolific of musicians, being involved in hundreds of recordings with many musicians from all over the world. Laswell's music draws upon many different genres, most notably funk, various world music, jazz, dub and ambient styles. He has also played or produced music from the noisier, more aggressive end of the rock spectrum, such as hardcore punk and metal.

According to music critic Chris Brazier, "Laswell’s pet concept is 'collision music' which involves bringing together musicians from wildly divergent but complementary spheres and seeing what comes out." The credo of one record label run by Laswell, and which typifies much of his work, is “Nothing Is True, Everything Is Permitted”. Though projects arranged by Laswell may be credited under the same name and often feature the same roster of musicians, the styles and themes explored on different albums can vary dramatically: Material began as a noisy dance music project, but subsequent releases have been centered around hip hop, jazz, or backing spoken word readings by beat generation icon William S. Burroughs. Similarly, most versions of Praxis have featured guitarist Buckethead, but have explored different permutations with each new album.

Though some artists have chafed against Laswell's distinctive recording and production style — most noticeably some of his for-hire production gigs including Motörhead, Swans and White Zombie — many other collaborations, such as with pianist Herbie Hancock and singer Iggy Pop have been lengthier and recurring.

Biography

Beginnings

Seeing these differing styles of music in his frequent trips to Detroit, as well as being rooted in the African-American music that he grew up immersed in have clearly had an influence on Laswell’s music. His exposure to jazz musicians like John Coltrane, Albert Ayler and particularly Miles Davis’ electric experiments of the mid-1960s to mid-'70s, have also clearly had an impact on his thinking. Laswell’s refusal to pigeon-hole himself, his music, or even the people he works with is arguably his greatest asset as a musician and producer.

Move to New York

Aside from Laswell’s first known recording on one side of a Michael Blaise and the Cheaters 7” called ''Scoring Power'' in 1978, Laswell and Material became the backing band for Daevid Allen and New York Gong, appearing on some recordings and embarking on a small tour. Material, primarily consisting of Laswell, keyboardist Michael Beinhorn and drummer Fred Maher, also cut a number of 12” releases for Red Records and others. They were usually supplemented by guitarists, notably either Cliff Cultreri and occasionally Robert Quine. Living in the East Village also put Laswell at the center of a group of musicians both up and coming such as John Zorn and established, such as Fred Frith and Brian Eno. His persistence in asking Eno to work with him paid off in the form of contributions to Eno and David Byrne’s album ''My Life in the Bush of Ghosts'' as well as Eno’s own ''On Land''. Brian Eno also contributed a song to the Material album, ''One Down''.

Celluloid Records

His association with Celluloid allowed some of his first forays into this so-called ‘collision music' - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with The Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12” devoted to Hip-Hop, becoming a pre-cursor to the popularity the form enjoyed starting in the mid 80s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12” ''World Destruction'' which paired PiL’s John Lydon with Afrika Bambaataa – years before the Run DMC/Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell’s solo debut, ''Baselines''.

Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings starting with the solo LP ''Guitar''.

Breakthrough

Post-Celluloid '80s

The remainder of the 80’s saw Laswell produce albums for people like Sly & Robbie (whom Laswell continues to work with) Mick Jagger, PiL, Motörhead, The Ramones, Iggy Pop and Yoko Ono. Many of these projects afforded Laswell the opportunity to bring in some of his normal working crew to record on more mainstream records. PiL's 1986 release ''Album'' (later ''CD'') has no notes on who performed, but over time, various people have confirmed that no PiL personnel other than singer John Lydon were involved, some of the musicians included drummers Tony Williams and Ginger Baker, bassists Jonas Hellborg, Laswell himself, guitarist Steve Vai and others. Lydon claims that Miles Davis actually recorded parts for the album which were never used.

Laswell has stated in numerous interviews that he met with Davis a number of times and discussed working together, but busy schedules kept them from arranging such a recording before Davis’ death, though Laswell's chief engineer reports an unreleased Davis recording session from 1986.

1986 saw the formation of Last Exit. Laswell and Sonny Sharrock co-founded the metal and hardcore punk-flavored free jazz supergroup along with drummer Ronald Shannon Jackson and saxophone player Peter Brötzmann. Aside from one album that Laswell cobbled together in-studio, the band was primarily a live one. The group showed up at gigs and played wild sets with no rehearsal. The first time the four members played together was on stage at their first show.

The later part of the ‘80s also saw Laswell completely sever ties with the Celluloid label, which has since been sold several times: the catalog’s various releases seem to be in constant reissue on one label or another. Many of the labels are known for poor practice in securing rights to recordings and are often rumored to not be paying royalties to anyone other than whomever is licensing the material to them.

Greenpoint Studios, Axiom Records and the '90s

Axiom played the ‘Nothing Is True, Everything Is Permitted’ credo to its fullest. With a sizable budget and minimal interference from Island executives, Laswell had the means to make arguably some of the most important music of his career. In addition to albums by Material that featured players ranging from Sly & Robbie, William S. Burroughs, Wayne Shorter, Bootsy Collins and Bernie Worrell, he produced and released albums by drummer and Ornette Coleman acolyte Ronald Shannon Jackson, Sonny Sharrock (featuring Pharoah Sanders and Elvin Jones), Laswell main-stay Nicky Skopelitis, Last Poets' Umar Bin Hassan and Ginger Baker.

Axiom also released a slew of well-produced recordings from musicians around the world. Among the studio based albums, Palestinian oud and violin prodigy Simon Shaheen recorded an album of music by Egyptian composer M.A. Wahab. Gambian virtuoso Foday Musa Suso recorded an album of futuristic dance music featuring his electric Kora and Turkish saz master Talip Ozkan recorded an album. The real coup was in the series of pristine field recordings that Axiom allowed Laswell the ability to produce. A major-league budget and new, more portable recording technology gave rise to recordings by the Master Musicians of Jajouka (done in their village in the Rif Mountains), Mandinka and Fulani music (recorded at Suso’s family compound in the Gambia) and Gnawa music from Morocco.

The most successful project and one of the few still in print on Axiom – where the first release was produced, was Praxis. Originally the moniker that an experimental Celluloid 12” by Laswell was released under in 1984, Praxis now became a full-fledged band, featuring enigmatic guitarist Buckethead. The release, ''Transmutation (Mutatis Mutandis)'' featured Buckethead, drummer Brain (whom Laswell worked with previously with the Limbomaniacs), Bernie Worrell, Bootsy Collins and Af Next Man Flip (Afrika Baby Bam from the Jungle Brothers). The album was a racous blend of funk grooves and metal riffs, overseen with many tracks co-written by Laswell. The project has spawned other releases, never with the same line-up twice, generally consisting of the core trio of Buckethead, Brain and Laswell supplemented by others.

1994/1995 saw a bit of a slow-down in Axiom’s output, but a number of genre-shattering 2CD compilation sets were released. Axiom Funk’s ''Funkcronomicon'' saw previously released tracks by Praxis and Nicky Skopelitis paired with a host of tracks mainly featuring various members of the Parliament/Funkadelic crew. George Clinton, Bootsy Collins, Bernie Worrell and the last recordings of Eddie Hazel are featured prominently. The album also features contributions from Last Poets' Umar Bin Hassan and Abiodun Oyewole as well as Torture (now Sensational) and DXT (formerly D.ST). Axiom Dub was another compilation featuring tracks in a new-skool dub style from Laswell along with The Orb, Jah Wobble, Sly & Robbie, Mad Professor, Techno Animal, the WordSound crew, WE and others. Laswell also remixed the whole of the Axiom catalog into a 2 disc ambient mix called ''Axiom Ambient'', subtley blending seemingly disparate tracks from the catalog into a seamless in the mix translation. Laswell released some of the music recorded in those sessions as a sample library for other musicians to use as raw material when making recordings, on a CD he titled ''Sample Material - International Free Zone''.

The ‘90s also saw a number of other labels owned by or thoroughly associated with Laswell, come and go. The most prolific of these was Subharmonic, conceived by laswell and ex-Celluloid A&R; Robert Soares. Though not owned by Laswell, the label was essentially a release house for his projects, most of which fell into the ambient or ambient-dub categories. The label also licensed a few releases from European labels for American re-release, notably ''Psychonavigation'' (with Pete Namlook) and ''Cymatic Scan'' (with Tetsu Inoue) from Pete Namlook's FAX label, and ''Somnific Flux'' (with Mick Harris – there as MJ Harris) and ''Cold Summer'' (by Lull – a Mick Harris project) from the Sentrax label. Other collaborators included Jonah Sharp and Terre Thaemlitz. The label also released albums from Painkiller, Praxis and Laswell’s new project, Divination, an ambient dub project (first appearing almost as a project title, and then an umbrella moniker for releases of ambient compilations). Additionally, a sub-label called Strata was created containing five releases mostly in what could be deemed a more experimental dub/noise/ambient vein. Each of these releases (Death Cube K, Cypher 7, Azonic and two under his alias Automaton) came housed in a solid black jewel case with the name of the project and album title printed on the front.

Three other very short-lived labels were also created around the time of the demise of the Subharmonic deal. Meta, which was intended to be a spoken word label, and SubMeta. Submeta managed four releases before folding. Meta (co-created by Janet Rienstra) released only one album, ''Baptism of Solitude,'' - of Paul Bowles reading excerpts from his work over soundscapes by Laswell. Meta would appear periodically again, distributed by other labels, over the next few years until it came back in full as its own entity as a spiritual/yogic label run by Janet Rienstra, though Laswell still heavily figures in Meta’s output. Black Arc was also created as an associated label of Rykodisc, focusing on ‘Black Rock, Cyber Funk and Future Blues’, according to a released sampler. The label featured a number of P-Funk alumni on most of the albums, as well as releasing albums by Parliament/Funkadelic members Bootsy Collins (under his Zillatron moniker), Bernie Worrell (Japan-only), Mutiny (Jerome Brailey) and Billy Bass.

Late '90s

For ''Panthalassa'', Laswell took the tapes from Miles’ ‘electric period’ and re-imagined them. The impetus for the project being that the original releases were just mixes made by Teo Macero from long in studio sessions. Nothing originally released was necessarily exactly what was done in the studio, but rather a cut-up and remix to begin with. Needless to say, critic and fan responses varied wildly with Laswell and Macero conducting a public feud in the media.

The late ‘90s saw two other major changes. As noted before, Chris Blackwell (who had sold Island to Polygram some years before, but retained an active role running the label) left Island Records. Although he took the Axiom imprint with him to his new Palm Pictures label, the back catalog stayed with Island. Many of the albums are now out of print, efforts to obtain master recordings and new distribution has been unsuccessful. The other change came in the form of studio space. Laswell, seeing that Greenpoint had turned into a sort of hangout, living space and catch all for hanger-ons moved his studio to a new space in West Orange, New Jersey, now calling it Orange Music or alternatively, Orange Music Sound Studios.

21st century

At the request of Chris Blackwell, 2001 also had Laswell overseeing Ethiopian singer Gigi’s debut release for Palm Pictures. Supplementing Gigi’s multilingual, Ethiopian rooted vocals with a vast array of well respected musicians such as Wayne Shorter, Herbie Hancock and Laswell himself, they created a strong release that was very well-received. Laswell and Gigi also became romantically involved and were later married. She has figured in a number of his releases and concerts over the years, and he has produced further outings by Gigi such as her Abyssinia Infinite grouping and her second solo release for Palm, ''Gold & Wax''.

1999 also saw the first release on Laswell’s new label, called Innerythmic (Eraldo Bernocchi and Toshinori Kondo’s ''Charged'' project). After a brief inactive period, the label re-started again in earnest in 2001, releasing over the next few years a slew of innovative albums from the likes Nicky Skopelitis/Raoul Bjorkenheim, James Blood Ulmer, Shin Terai and Gonervill among others. Innerhythmic also released a live Praxis recording and re-issued some of the Black Arc releases from the ‘90s including Zillatron, The Last Poets ''Holy Terror'' and Buddy Miles’ ''Hell & Back''. The label tends to go through extended periods of inactivity but still releases albums here and there, the next planned release being a studio recording featuring Raoul Björkenheim, Bill Laswell and Morgan Ågren anticipated in the summer of 2011 according to Björkenheim's website.

Though touching on the realm of drum and bass in the ‘90s with his ''Oscillations'' releases and the compilation Tetragramaton: Submerged - conceived along with Soares - the last few years have seen Laswell step up his work in this area with Soares as a collaborator in concept/A&R; for drum & bass artist development. Starting with ''Brutal Calling'', a hard drum 'n' bass release with Ohm Resistance label owner Submerged (Kurt Gluck), a series of releases and live dates have cropped up. Laswell’s new project in this vein is Method of Defiance (the actual Method of Defiance name and the original idea of a futurist, cyborg d&b; driven group consisting of laptops breakbeat artists, electric instrumentalists and trumpeter graham haynes was conceived by Soares). The first release focused on the core of Laswell and Submerged once again, entitled "The only way to go is down", featuring photos of Soares on front and back covers and on the disc itself, with contributions from Toshinori Kondo and drummer Guy Licata. The second release under the moniker, though, was more of a compilation style project, though still focusing on drum 'n' bass. ''Inamorata'' stretched the concept out, pairing Laswell’s bass with a different combination of respected jazz and world musicians and drum 'n' bass producers linked to Soares on each track. Artists including Herbie Hancock, John Zorn, Pharoah Sanders, Nils Petter Molvaer, Toshinori Kondo and Buckethead were paired with drum 'n' bass producers including Amit, Paradox, Submerged, Future Prophecies, Karsh Kale, Evol Intent, SPL, Outrage, Fanu, and Corrupt Souls. To that end, laswell´s last collaboration with Soares was a full-on recording with Finnish drum 'n' bass maestro Fanu on Ohm Resistance and Karl Records, entitled ''Lodge'', which includes contributions from Molvaer and Bernie Worrell amongst others. After collaborating with Laswell for 15 years, Soares left the crew in 2008. The concept of the group has once again morphed into a full band concept. In 2009, Rare Noise Records released 'Live in Nihon', which showcased this new direction/grouping. The group now consisted of Laswell, Guy Licata, Dr. Israel, Toshinori Kondo and Bernie Worrell.

Along with frequent live dates around the world with Method of Defiance, Material, Painkiller and the reformed in the late ‘90s Massacre (with This Heat's Charles Hayward now in the drum chair) Laswell still makes numerous trips to Japan each year for various recordings and live dates, including his ongoing Tokyo Rotation mini-festivals at the Shinjuku Pit-Inn, which is now a yearly occurrence. In addition to Tokyo Rotation being an actual mini-festival, the moniker has been used as a sort of umbrella to include general operations revolving around activities in Japan, as witnessed by the usage of 'Tokyo Rotation Presents' in relation to the website's announcement of other gigs outside the Pit Inn shows as well being noted on Method of Defiance's release ''Nihon''.

M.O.D. Technologies

Frequent collaborators

In addition, Laswell has relied on the expertise of a small number of engineers over the years. Robert Musso (a producer, musician and label-owner in his own right) has been Laswell's chief engineer for close to 25 years. Oz Fritz has occasionally filled the role as well over almost the same time period, though (particularly in the last few years after a move to the West Coast) Fritz is usually Laswell's live engineer of choice, known for his stellar live mixing technique. In addition, a small core of assistants have come through over time, the most recent mainstay being James Dellatacoma.

Over the years, Laswell has also been an in demand remixer and purveyor of what is usually noted as ‘mix translation’. Remixes (released and unreleased) have been done for artists including Sting, Nine Inch Nails, Almamegretta, Scorn, Ozzy Osbourne, Tori Amos. In addition he is often hired for his skills at the board doing straight mixes of albums. In recent years he has done much work in this area for various projects on John Zorn's Tzadik record label.

In 2005, Laswell was invited to appear on the PBS series Soundstage. The show featured a host of the musicians he has played with over the years including incarnations of his Praxis and Tabla Beat Science projects. In addition to some of the core performers from these projects, Pharoah Sanders, Foday Musa Suso, Bootsy Collins and Catfish Collins and many others participated. Though Laswell mixed the show in 5.1, to date no DVD or official recording has been released. The hour-long aired version (part of a much longer show) has popped up on file-sharing sites.

Laswell has also participated on a collaboration with Sony Creative Software on a box set Loop Library called "The Bill Laswell Collection". A link of all Bill's work with Sony Media software is available here.

See also

References

External links

Category:1955 births Category:Living people Category:American bass guitarists Category:Avant-garde jazz musicians Category:American record producers Category:Reachout International Records recording artists Category:People from Marion County, Illinois Category:People from Albion, Michigan Category:The Golden Palominos members Category:ZE Records artists

Marley's music was heavily influenced by the social issues of his homeland, and he is considered to have given voice to the specific political and cultural nexus of Jamaica. His best-known hits include "I Shot the Sheriff", "No Woman, No Cry", "Could You Be Loved", "Stir It Up", "Jamming", "Redemption Song", "One Love" and, "Three Little Birds", as well as the posthumous releases "Buffalo Soldier" and "Iron Lion Zion". The compilation album ''Legend'' (1984), released three years after his death, is reggae's best-selling album, going ten times Platinum which is also one Diamond in the U.S., and selling 25 million copies worldwide.

Early life and career

I don't have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don't dip on nobody's side. Me don't dip on the black man's side nor the white man's side. Me dip on God's side, the one who create me and cause me to come from black and white.

Marley became friends with Neville "Bunny" Livingston (later known as Bunny Wailer), with whom he started to play music. He left school at the age of 14 to make music with Joe Higgs, a local singer and devout Rastafari. At a jam session with Higgs and Livingston, Marley met Peter McIntosh (later known as Peter Tosh), who had similar musical ambitions. In 1962, Marley recorded his first two singles, "Judge Not" and "One Cup of Coffee", with local music producer Leslie Kong. These songs, released on the Beverley's label under the pseudonym of Bobby Martell, attracted little attention. The songs were later re-released on the box set ''Songs of Freedom'', a posthumous collection of Marley's work.

Bob Marley & the Wailers

1963–1974

In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant, under the alias Donald Marley.

Though raised in the Catholic tradition, Marley became captivated by Rastafarian beliefs in the 1960s, when away from his mother's influence. Formally converted to Rastafari after returning to Jamaica, Marley began to wear his trademark dreadlocks (''see the ''religion section'' for more on Marley's religious views''). After a conflict with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, The Upsetters. Although the alliance lasted less than a year, they recorded what many consider The Wailers' finest work. Marley and Perry split after a dispute regarding the assignment of recording rights, but they would remain friends and work together again.

Between 1968 and 1972, Bob and Rita Marley, Peter Tosh and Bunny Wailer re-cut some old tracks with JAD Records in Kingston and London in an attempt to commercialise The Wailers' sound. Bunny later asserted that these songs "should never be released on an album ... they were just demos for record companies to listen to". Also in 1968, Bob and Rita visited the Bronx to see Johnny Nash's songwriter Jimmy Norman. A three-day jam session with Norman and others, including Norman's co-writer Al Pyfrom, resulted in a 24-minute tape of Marley performing several of his own and Norman-Pyfrom's compositions. This tape is, according to Reggae archivist Roger Steffens, rare in that it was influenced by pop rather than reggae, as part of an effort to break Marley into the American charts. According to an article in ''The New York Times'', Marley experimented on the tape with different sounds, adopting a doo-wop style on "Stay With Me" and "the slow love song style of 1960's artists" on "Splish for My Splash". An artist yet to establish himself outside his native Jamaica, Marley lived in Ridgmount Gardens, Bloomsbury, London during 1972.

In 1972, the Wailers entered into an ill-fated deal with CBS Records and embarked on a tour with American soul singer Johnny Nash. Broke, the Wailers became stranded in London. Marley turned up at Island Records founder and producer Chris Blackwell's London office, and asked him to advance the cost of a new single. Since Jimmy Cliff, Island's top reggae star, had recently left the label, Blackwell was primed for a replacement. In Marley, Blackwell recognized the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in he really was that image." Blackwell told Marley he wanted The Wailers to record a complete album (essentially unheard of at the time). When Marley told him it would take between £3,000 and £4,000, Blackwell trusted him with the greater sum. Despite their "rude boy" reputation, the Wailers returned to Kingston and honored the deal, delivering the album ''Catch A Fire''.

Primarily recorded on eight-track at Harry J's in Kingston, ''Catch A Fire'' marked the first time a reggae band had access to a state-of-the-art studio and were accorded the same care as their rock'n'roll peers. Blackwell desired to create "more of a drifting, hypnotic-type feel than a reggae rhythm", and restructured Marley's mixes and arrangements. Marley travelled to London to supervise Blackwell's overdubbing of the album, which included tempering the mix from the bass-heavy sound of Jamaican music, and omitting two tracks.

The Wailers' first major label album, ''Catch a Fire'' was released worldwide in April 1973, packaged like a rock record with a unique Zippo lighter lift-top. Initially selling 14,000 units, it didn't make Marley a star, but received a positive critical reception. It was followed later that year by ''Burnin''', which included the standout songs "Get Up, Stand Up", and "I Shot the Sheriff", which appealed to the ear of Eric Clapton. He recorded a cover of the track in 1974 which became a huge American hit, raising Marley's international profile. Many Jamaicans were not keen on the new "improved" reggae sound on ''Catch A Fire'', but the Trenchtown style of ''Burnin''' found fans across both reggae and rock audiences.

During this period, Blackwell gifted his Kingston residence and company headquarters at 56 Hope Road (then known as Island House) to Marley. Housing Tuff Gong Studios, the property became not only Marley's office, but also his home.

The Wailers were scheduled to open 17 shows for the number one black act in the States, Sly and the Family Stone. After 4 shows, the band was fired because they were more popular than the acts they were opening for. The Wailers broke up in 1974 with each of the three main members pursuing solo careers. The reason for the breakup is shrouded in conjecture; some believe that there were disagreements amongst Bunny, Peter, and Bob concerning performances, while others claim that Bunny and Peter simply preferred solo work.

1974–1981

Despite the break-up, Marley continued recording as "Bob Marley & The Wailers". His new backing band included brothers Carlton and Aston "Family Man" Barrett on drums and bass respectively, Junior Marvin and Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes", consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita, provided backing vocals. In 1975, Marley had his international breakthrough with his first hit outside Jamaica, "No Woman, No Cry", from the ''Natty Dread'' album. This was followed by his breakthrough album in the United States, ''Rastaman Vibration'' (1976), which spent four weeks on the ''Billboard'' Hot 100. On 3 December 1976, two days before "Smile Jamaica", a free concert organised by the Jamaican Prime Minister Michael Manley in an attempt to ease tension between two warring political groups, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries, but later made full recoveries. Bob Marley received minor wounds in the chest and arm. The shooting was thought to have been politically motivated, as many felt the concert was really a support rally for Manley. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, "The people who are trying to make this world worse aren’t taking a day off. How can I?" The members of the group Zap Pow, which had no radical religious or political beliefs, played as Bob Marley's backup band before a festival crowd of 80,000 while members of The Wailers were still missing or in hiding.

Marley left Jamaica at the end of 1976, and after a month-long "recovery and writing" sojourn at the site of Chris Blackwell's Compass Point Studios in Nassau, Bahamas, arrived in England, where he spent two years in self-imposed exile. Whilst there he recorded the albums ''Exodus'' and ''Kaya''. ''Exodus'' stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: "Exodus", "Waiting in Vain", "Jamming", and "One Love" (a rendition of Curtis Mayfield's hit, "People Get Ready"). During his time in London, he was arrested and received a conviction for possession of a small quantity of cannabis. In 1978, Marley returned to Jamaica and performed at another political concert, the One Love Peace Concert, again in an effort to calm warring parties. Near the end of the performance, by Marley's request, Michael Manley (leader of then-ruling People's National Party) and his political rival Edward Seaga (leader of the opposing Jamaica Labour Party), joined each other on stage and shook hands.

Under the name Bob Marley and the Wailers eleven albums were released, four live albums and seven studio albums. The releases included ''Babylon by Bus'', a double live album with thirteen tracks, were released in 1978 and received critical acclaim. This album, and specifically the final track "Jamming" with the audience in a frenzy, captured the intensity of Marley's live performances.

''Survival'', a defiant and politically charged album, was released in 1979. Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and "Survival" reflected Marley's support for the struggles of Africans. His appearance at the Amandla Festival in Boston in July 1979 showed his strong opposition to South African apartheid, which he already had shown in his song "War" in 1976. In early 1980, he was invited to perform at the 17 April celebration of Zimbabwe's Independence Day. ''Uprising'' (1980) was Bob Marley's final studio album, and is one of his most religious productions; it includes "Redemption Song" and "Forever Loving Jah". ''Confrontation'', released posthumously in 1983, contained unreleased material recorded during Marley's lifetime, including the hit "Buffalo Soldier" and new mixes of singles previously only available in Jamaica.

Personal life

Religion

Family

Those listed on the official site are: # Sharon, born 23 November 1964, to Rita in previous relationship # Cedella born 23 August 1967, to Rita # David "Ziggy", born 17 October 1968, to Rita # Stephen, born 20 April 1972, to Rita # Robert "Robbie", born 16 May 1972, to Pat Williams # Rohan, born 19 May 1972, to Janet Hunt # Karen, born 1973 to Janet Bowen # Stephanie, born 17 August 1974; according to Cedella Booker she was the daughter of Rita and a man called Ital with whom Rita had an affair; nonetheless she was acknowledged as Bob's daughter # Julian, born 4 June 1975, to Lucy Pounder # Ky-Mani, born 26 February 1976, to Anita Belnavis # Damian, born 21 July 1978, to Cindy Breakspeare

Makeda was born on 30 May 1981, to Yvette Crichton, after Marley's death. Meredith Dixon's book lists her as Marley's child, but she is not listed as such on the Bob Marley official website.

Various websites, for example, also list Imani Carole, born 22 May 1963 to Cheryl Murray; but she does not appear on the official Bob Marley website.

Final years and death

In July 1977, Marley was found to have a type of malignant melanoma under the nail of one of his toes. Contrary to urban legend, this lesion was not primarily caused by an injury during a football match in that year, but was instead a symptom of the already existing cancer. Marley turned down doctors' advice to have his toe amputated, citing his religious beliefs. Despite his illness, he continued touring and was in the process of scheduling a world tour in 1980. The intention was for Inner Circle to be his opening act on the tour but after their lead singer Jacob Miller died in Jamaica in March 1980 after returning from a scouting mission in Brazil this was no longer mentioned.

The album ''Uprising'' was released in May 1980 (produced by Chris Blackwell), on which "Redemption Song" is particularly considered to be about Marley coming to terms with his mortality. The band completed a major tour of Europe, where they played their biggest concert, to a hundred thousand people in Milan. After the tour Marley went to America, where he performed two shows at Madison Square Garden as part of the Uprising Tour.

The final concert of Bob Marley's career was held September 23, 1980 at the Stanley Theater (now called The Benedum Center For The Performing Arts) in Pittsburgh, Pennsylvania. The audio recording of that concert is now available on CD, vinyl, and digital music services.

Shortly after, Marley's health deteriorated and he became very ill; the cancer had spread throughout his body. The rest of the tour was cancelled and Marley sought treatment at the Bavarian clinic of Josef Issels, where he received a controversial type of cancer therapy (Issels treatment) partly based on avoidance of certain foods, drinks, and other substances. After fighting the cancer without success for eight months, Marley boarded a plane for his home in Jamaica.

While flying home from Germany to Jamaica, Marley's vital functions worsened. After landing in Miami, Florida, he was taken to the hospital for immediate medical attention. He died at Cedars of Lebanon Hospital in Miami (now University of Miami Hospital) on the morning of May 11, 1981, at the age of 36. The spread of melanoma to his lungs and brain caused his death. His final words to his son Ziggy were "Money can't buy life". Marley received a state funeral in Jamaica on 21 May 1981, which combined elements of Ethiopian Orthodoxy and Rastafari tradition. He was buried in a chapel near his birthplace with his red Gibson Les Paul (some accounts say it was a Fender Stratocaster).

On 21 May 1981, Jamaican Prime Minister Edward Seaga delivered the final funeral eulogy to Marley, declaring:

Legacy

In 1999 ''Time'' magazine chose Bob Marley & The Wailers' ''Exodus'' as the greatest album of the 20th century. In 2001, he was posthumously awarded the Grammy Lifetime Achievement Award, and a feature-length documentary about his life, ''Rebel Music'', won various awards at the Grammys. With contributions from Rita, The Wailers, and Marley's lovers and children, it also tells much of the story in his own words. A statue was inaugurated, next to the national stadium on Arthur Wint Drive in Kingston to commemorate him. In 2006, the State of New York renamed a portion of Church Avenue from Remsen Avenue to East 98th Street in the East Flatbush section of Brooklyn "Bob Marley Boulevard". In 2008, a statue of Marley was inaugurated in Banatski Sokolac, Serbia.

Internationally, Marley’s message also continues to reverberate amongst various indigenous communities. For instance, the Aboriginal people of Australia continue to burn a sacred flame to honor his memory in Sydney’s Victoria Park, while members of the Native American Hopi and Havasupai tribe revere his work. There are also many tributes to Bob Marley throughout India, including restaurants, hotels, and cultural festivals.

Marley has also evolved into a global symbol, which has been endlessly merchandised through a variety of mediums. In light of this, author Dave Thompson in his book ''Reggae and Caribbean Music'', laments what he perceives to be the commercialized pacification of Marley's more militant edge, stating:

Film adaptation(s)

In March 2008, The Weinstein Company announced its plans to produce a biopic of Bob Marley, based on the book ''No Woman No Cry: My Life With Bob Marley'' by Rita Marley. Rudy Langlais will produce the script by Lizzie Borden and Rita Marley will be executive producer.

Discography

Awards and honors

References

Further reading

External links

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Saxophonist Ornette Coleman once described him as "probably the best tenor player in the world." Emerging from John Coltrane's groups of the mid-60s Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound." Sanders is an important figure in the development of free jazz; Albert Ayler famously said "Trane was the Father, Pharoah was the Son, I am the Holy Ghost."

Biography

Early life and career

Sanders came to greater prominence playing with John Coltrane's band, starting in 1965, as Coltrane began adopting the avant-garde jazz of Albert Ayler, Ra and Cecil Taylor. Sanders first performed on Coltrane's ''Ascension'' (recorded in June 1965), then on their dual-tenor recording ''Meditations'' (recorded in November 1965). After this Sanders joined Coltrane's final quintet, usually performing very lengthy, dissonant solos. Coltrane's later style was strongly influenced by Sanders. Amiri Baraka lays claim naming him Pharoah in an early sixties Downbeat review upon hearing him introduce himself as Farrell Sanders and thinking he said "Pharaoh Sanders."

After Coltrane

In the 1970s, Sanders pursued his own recordings and continued to work with the likes of Alice Coltrane on her ''Journey In Satchidananda'' album. Most of Sanders' best-selling work was made in the late 60's and early 70s for Impulse Records, including the 30-minute wave-on-wave of free jazz "The Creator has a Master Plan" from the album ''Karma''. This composition featured vocalist Leon Thomas' unique, "umbo weti" yodeling, and Sanders' key musical partner, pianist Lonnie Liston Smith, who worked with Sanders from 1969-1971. Other members of his groups in this period include bassist Cecil McBee, on albums such as ''Jewels of Thought'', ''Izipho Zam'', ''Deaf Dumb Blind'' and ''Thembi''.

The 1970s and beyond

In 1994 he traveled to Morocco to record the Bill Laswell-produced album ''The Trance Of Seven Colors'' with Gnawa musician Mahmoud Guinia. Sanders worked with Laswell, Jah Wobble, and others on the albums ''Message From Home'' (1996) and ''Save Our Children'' (1998). In 1999, he complained in an interview that despite his pedigree, he had trouble finding work. The same year, Sanders appeared on the Red Hot Organization's album, ''Stolen Moments: Red Hot + Cool'', on the track "This is Madness" with Umar bin Hassan and Abiodun Oyewole and the bonus track, "The Creator Has A Master Plan (Trip hop Remix)." The album was named "Album of the Year" by ''Time''.

In the 2000s, a resurgence of interest in jazz has kept Sanders playing festivals including the 2007 Melbourne Jazz Festival and the 2008 Big Chill Festival, concerts, and releasing albums. He has a strong following in Japan, and in 2003 recorded with the band Sleep Walker. Pharoah Sanders is currently represented by Addeo Music International and has album representation with United For Opportunity.

Discography

As leader

As sideman

With others

References

External links

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Suso emigrated to Chicago in the 1970s, being one of the first ''jali''s to relocate to North America.

He has performed with Philip Glass and the Kronos Quartet. He was also a co-founder of the fusion jazz band The Mandingo Griot Society.

His electrified kora can also be heard on several tracks on Herbie Hancock's 1984 electro-funk album ''Sound-System''. The following year, Suso and Hancock came out with another album, ''Village Life'', that consists entirely of duets between them, Hancock on synthesizer and Suso on kora, talking drums, and vocals.

Discography

References

External links

Category:Jazz fusion musicians Category:Gambian musicians Category:Year of birth missing (living people) Category:Kora players Category:Living people

He first became known for his work with Chicago tenor saxophonist Fred Anderson. Drake was one of the founders, along with Foday Musa Suso and Adam Rudolph, of The Mandingo Griot Society. His other frequent collaborators include New York bassist William Parker, saxophonist David Murray, composer and percussionist Adam Rudolph, German free jazz saxophonist Peter Brötzmann, fellow drummer Michael Zerang and Chicago free jazz saxophonist Ken Vandermark. In recent years, Drake has frequently appeared in Hungarian jazz groups, recording with musicians like Viktor Tóth and Mihály Dresch.

In addition to the drum set, he also performs on the frame drum, the tabla, and other hand drums.

Partial discography

As leader

With Albert Beger and William Parker

With IsWhat?!

With Adam Rudolph's Moving Pictures

With Beans

With Painkiller

With Scott Fields

With William Parker

With Yakuza

External links

Category:Avant-garde jazz musicians Category:American jazz drummers Category:American percussionists Category:Musicians from Chicago, Illinois Category:1955 births Category:Living people