Author: General Manager

The Aug. 17 edition of Greasy Tracks featured a return to focusing on musicians who had tragic, and usually, short-lived careers despite their incredible talent. This time, it was the multi-instrumentalist Chris Wood.

Here’s the archive, while a playlist is here.

Following this feature, the Aug. 24 edition of the program did three hours of other artists covering Traffic. Here’s the archive and playlist.

Best known as a founding member of Traffic, Wood’s saxophone and flute playing proved to play a major role in the band’s sound, in studio or on stage. He was also a capable keyboardist.

Wood’s early interest in music was nurtured by his family — he initially pursued classical flute studies at the Birmingham School of Music. However, it was the burgeoning jazz and blues scene that captured his imagination. This passion led him to the London club scene where he began shaping his musical identity.

In 1967, Wood returned to Birmingham and co-founded Traffic with Steve Winwood, Jim Capaldi and Dave Mason. Around the same time, Birmingham was also home to such emerging bands as Black Sabbath, The Move, The Moody Blues and Chicken Shack.

The band quickly gained popularity for their unique blend of styles. Wood’s saxophone and flute work were integral to the band’s sound, adding depth and texture to their compositions. Notable albums from this early period include their psychedelic debut Mr. Fantasy (1967) the more blues-folk-jazzy follow-up Traffic (1968) and the Winwood-solo-effort-turned-band-release John Barleycorn Must Die (1970).

Wood’s talents were not confined to Traffic alone. He was an in-demand session musician, contributing to the works of other notable artists, especially when Traffic was on hiatus. Studio work included collaborations with Jimi Hendrix on the seminal Electric Ladyland album, where Wood’s flute was a key ingredient to “1983… (A Merman I Should Turn to Be)” — a true psychedelic soundscape.

Amongst others, he also worked with included: Free, John Martyn, Nick Drake and Ginger Baker’s Air Force.

Despite his reputation as a talented player, Wood faced significant health challenges throughout his life, much of it brought on by substance abuse, thus impacting his career, personal life and mental/physical well-being.

Before Traffic’s initial breakup in 1974, Wood played a key role in a newer, more jazz-based sound the band introduced with the release of The Low Spark of High Heeled Boys in 1971. The album made the Billboard Top 10 in the U.S. and remains the band’s most successful offering.

His last album with Traffic was When the Eagle Flies (1974), which marked the end of an era for the band and for Wood’s active role in the music industry. Traffic broke up during the tour to support the album later that year.

Wood passed away in 1983 at the age of 39.

Traffic reformed for a year in 1994. The original four members were inducted into the Rock and Roll Hall of Fame in 2004. There were plans for Winwood and Capaldi to revisit Traffic the following year, but Capaldi’s death at 60 marked the final chapter of the band.

The Aug. 8 edition of Fifty Shades of Jazz featured an interview with blues guitarist Jeff Pitchell.

Check out the archive here.

Based in Rocky Hill, Pitchell recently released — with the help of some notable friends and family — Brown Eyed Blues (Deguello). Some of those “friends” included Duane Betts, Rick Derringer, Charles Neville and Reese Wynans. The project was co-produced by the legendary Tom Hambridge who also drummed on many of the tracks.

Pitchell and his band, Texas Flood, appears Aug. 11 at the Rocking Horse Smokehouse in Vernon and The Katharine Hepburn Cultural Arts Center, in Old Saybrook, on Sept 20.

Pitchell was inducted into the Connecticut Blues Hall of Fame in 2018. While his style could be considered a fine blend of B.B. King meets Duane Allman and there’s no escaping a hint of Steve Ray Vaughan, his repertoire includes a wide mix of original material and covers.

Over the years, Jeff Pitchell has shared the stage with J. Geils, the Allman Brothers Band, B.B. King, Buddy Guy, Rick Derringer, Dave Mason, Joe Cocker, Johnny Winter, Bo Diddley, Ben E. King, Clarence Clemons, Elvin Bishop, Pat Travers, James Cotton, Phil Lesh, Kenny Wayne Shepherd, Simon Kirke and Joe Bouchard amongst others.

Saxophonist Jeff Kashiwa was a guest on the July 29 edition of Daybreak Jazz.

Check out the archive here.

The Seattle-based Kashiwa spent a decade with The Rippingtons and later formed The Sax Pack with Steve Cole and Kim Waters. He recently performed at the Greater Hartford Festival of Jazz with 480 East. His latest release, Luminoso, celebrates the music of Brazilian singer/songwriter Joyce Moreno.

Kashiwa has released 12 solo albums and currently teaches music technology courses at Shoreline Community College in Seattle.

In addition to his newest offering, the program will feature tracks from Kashiwa’s 2021 album, Sunrise.

The July 28 edition of Strictly Roots featured an in-studio interview with singer Michael Bembridge.

Check out the archive here.

Bembridge, who goes by the stage name Toplane, is a reggae artist hailing from Jamaica. With his infectious rhythms, soulful vocals and thought-provoking lyrics, he’s established himself rising figure in the reggae music scene.

Born and raised in Portland, Jamaica, Toplane developed a deep passion for music from a young age.

Influenced by the rich cultural heritage and vibrant music scene of his homeland, he immersed himself in the sounds of reggae, lovers rock and dancehall. Inspired by legendary artists like Bob Marley, Peter Tosh and Dennis Brown, Toplane honed his craft and embraced the power of music as a form of expression.

In 2019, Under the name Vitchous, he released his debut album, Trust the Process. Blending traditional reggae sounds with contemporary production techniques, the album featured a collection of powerful tracks that tackled social issues, love and personal growth.

In 2021, he changed his stage name to Toplane and has since started an entire rebranding with a stream of new and even more powerful music.

The July 20 edition of Greasy Tracks paid tribute to Toni Fishman — the electronic visionary and founder of pioneering microphone company TELEFUNKEN Elektroakustik — who passed away on July 12 at the age of 55.

The program primarily features live recordings of Max Creek and Zero — Fishman’s two favorite bands. Here’s the archive, while a playlist is here.

Many of the tracks aired were recorded by Fishman, some dating back several decades.

The broadcast marked the 1,400th edition of Greasy Tracks which is in its 30th year at WRTC.

Under Fishman’s leadership, Telefunken USA was incorporated in South Windsor, Conn., in 2001. It became Telefunken Elektroakustik in 2009. It’s best known for producing/designing a wide range of microphones and related high-fidelity recording equipment.

“Toni was a visionary leader and founder, and an integral part of our company from Day 1,” the company said in a statement.

In addition to housing it’s R&D and production at it’s base in South Windsor, the company also has one of the best-sounding performance/recording spaces in the state — the TELEFUNKEN Studios & Soundstage which has been the site for the long-running “Live From The Lab” series.

“Toni was not just the owner, but also a mentor and friend to many,” the company said.

“His vision, passion, and dedication were the driving force behind our success, and his absence is deeply felt by all of us. Despite our loss of Toni, we will carry on. It was Toni’s wish that our company continue to create the finest audio equipment in the world.”

Fishman and T-Funk have been long-time friends and supporters of WRTC.

Can you guess what super models, Skype and Christmas trees have in common? They are all connected through a country that lies at the shores of the Baltic Sea: Estonia!

The July 19 edition of Friday Class focused on this fascinating country, especially its folk and classical music.

As always, host Prof. Lay provided insight about Estonia’s history, culture, traditions and foods. She also included a folktale or two!

The July 13 edition of Greasy Tracks focused solely on organ-based bands, leaning heavily on those who utilized the amazing Hammond B-3.

Here’s the archive, while a playlist is here.

There’s an interview with Dave Ruch of the Buffalo, N.Y.-based trio Organ Fairchild and we tracked through their third album, the recently released Songs We Didn’t Write.

The Hammond organ first appeared in 1935 and although many models have been produced, it’s the B-3 — introduced by Laurens Hammond in 1939 — which remains the most popular.

The B-3 features two, 61-note keyboards which are known as manuals; nine pre-set keys and nine drawbars for each manual; and a number of different pedals. Initially built for use in churches, the B-3 was later marketed for home and studio use. Due to the fact that it weighed in excess of 400 pounds, it was hardly the assignment any roadie would want to be tasked with moving for a touring band.

Based upon the design of the B-3, the organ is known for its versatility and “warm” sound, often enhanced when paired with a Lesley speaker. The innovative unit featured a pair of rotating speakers — low and high frequency drivers — which can turn at a number of different speeds, thereby “moving” the sound.

In time, Hammond organs, especially the B-3, were finding their way into band line-ups throughout the jazz, blues and rock music ranks.

The July 6 edition of Greasy Tracks went deep into the music of Frank Zappa and included insight and memories from those who helped him make it happen and continue to carry on the tradition on stage.

Here’s the archive where you can go crusin’ for burgers, while a playlist is here.

There were interviews with Zappa alums Robert Martin, Scott Thunes and Ray White who are out this summer on the “We Love Zappa Tour” with Banned From Utopia playing selections from Zappa’s voluminous catalogue.

Connecticut appearances include July 26 at Toad’s Place in New Haven and Aug. 1 at the Westport Library’s Trefz Forum. More info on the Westport show here.

Concerts in New York/New England include July 27 at The Met in Pawtucket, R.I.; July 28 at Daryl’s House in Pawling, N.Y.; July 30 at City Winery Hudson Valley in Montgomery, N.Y.; and Aug. 2 at City Winery Boston.

There was also an interview with Paul Green who founded the School of Rock and now leads the Paul Green Rock Academy. Green and his students, aged 11 through 20, will be opening for Banned From Utopia.

The program paid tribute to former Zappa bassist Tom Fowler who passed away at the age of 73 on July 2 and included some segments of an interview he did with Mighty Slim on WMBR-FM in Cambridge, Mass., in 2012.

The June 15 edition of Greasy Tracks featured a three-hour special on the legendary Matt “Guitar” Murphy.

Here’s the archive, while a playlist is here.

Coming on the sixth anniversary of Murphy’s passing at the age of 88 in 2018, the show spotlighted the brand-new, two-CD set True Blues Brother, The Legacy of Matt “Guitar” Murphy (Nola Blue).

There’s an interview with drummer Bobby Christina who played on and produced the album which features a veritable who’s who of blues players participating and Tom Guerra — longtime guitarist and writer for Vintage Guitar Magazine — provided insight on Murphy’s incredible legacy.

Best known as being a member of The Blues Brothers, Murphy played with some of the biggest names in the blues world including Memphis Slim, Howlin’ Wolf, Willie Dixon, Buddy Guy, Ike Tuner and Otis Rush. Not to be overlooked, he also accompanied three harp-playing giants: James Cotton, Little Junior Parker and Sonny Boy Williamson II.

Christina will be part of the official rollout of the new album June 23 at Mitchfest 15 at Hygienic Art in New London, Conn., where scores of musicians will be part of a Matt “Guitar” Murphy tribute concert.

The June 8 edition of Greasy Tracks featured the just-released JUBU (Little Village Foundation) by guitarist John “Jubu” Smith.

Here’s the archive, while a playlist is here.

Included in the program is an interview with guitarist Charlie Hunter who — with drummer Calvin Napper — rounded out the trio for the sessions. Guitarist Eric Gales makes a guest appearance on one of the tracks. Hunter produced the album.

Despite his reputation as an in-demand session and tour player, Hunter does not take any solos on the release. Instead, employing his guitar/bass hybrid guitar, he combines with Napper to take the rhythm section to a new level on what is an amazingly soulful, jazz-funk offering.

Jubu and Hunter both have roots in San Francisco’s East Bay. They each graduated from Berkeley High School — albeit four years apart — and then followed their musical paths around the country and the world — either leading groups of their own or playing with other artists.

Jubu spent a decade playing with Oakland-based Tony Toni Toné, backed Whitney Houston on a world tour and did time with the Philly soul outfit Maze. He also did studio work with Luther Vandross, Mary J. Blige, Boyz II Men, Toni Braxton, George Duke and George Benson.

In addition to a slew of solo projects, Hunter was part of The Disposable Heroes of Hiphoprisy, Garage a Trois and T.J. Kirk and did session and production work with scores of other artists. He’s played on recent releases by Victoria Victoria and SuperBlue, a collaboration with Kurt Elling.