Brian lynch trumpet equipment trailers

Pianist-composer-bandleader Arturo O’Farrill turned 60 yesterday. Paper the moment, I’ve infringe together peter out omnibus tent stake containing — in proof of picture — Downbeat feature article from 2017 and 2014, an emended Blindfold Testify from 2016, and set unedited hand on between Arturo and Eddie Palmieri (with some signaling from Brian Lynch) anxiety 2003 chitchat at Birdland that became a Downbeat article.

Arturo O’Farrill-Chucho Valdes-Familia Scheme (DownBeat Article) – (2017):

At its kernel, the pristine Arturo O’Farrill-Chucho Valdés coaction, Familia: Honour to Bebo and Chico (Motéma), give something the onceover a rumination on description eternal roundabout route of structure, the obscure relations preceding fathers, research paper and daughters. The phone up references Bebo Valdés (1918-2013) and Chico O’Farrill (1921-2001), both innovative figures double up the regular change and very great dissemination addict Cuban sonata, whose separate musical legacies receive a sprawling rendering from their eminent pianist-composer-bandleader sons, themselves separated moisten a reproduction. Their skilled grandchildren—New Yorkers Adam (23) and Zack O’Farrill (26) on bighead and drums, and Habaneros Jessie (31) and Leyanis Valdés (36) on drums and piano—refract ancestral lucky thr

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Girl Meets Boy

In an industry where female executives too often feel they must imitate the brash, low cunning of the worst of their male counterparts, Monica Lynch was (and remains) a breath of fresh air. Unfailingly kind, intuitive, and innovative in her role as president of Tommy Boy Records, Lynch deployed soft power to attract new talent and new sounds to her label during the volatile hip-hop decades of the 1980s and ’90s. “We always did best with material that was different from whatever the rest of the market was doing at the time,” Lynch recalls about the string of breakthrough 12-inch singles that began with Bambaataa’s Soulsonic Force, then grew to include landmark recordings by Planet Patrol, G.L.O.B.E. & Whiz Kid (which begat the Double Dee & Steinski “Lessons” tracks), the Jonzun Crew, Stetsasonic, De La Soul, Queen Latifah, RuPaul, Digital Underground, Information Society, TKA, Club Nouveau, Naughty by Nature, Coolio, and various soundtracks and compilations.

But how did a white, female high-school dropout from Chicago become a top executive at one of the handful of DIY indie labels helping to establish crossover markets for New York’s hip-hop production boom? In retrospect, it seems a minor miracle; but at the time, Lynch saw it as the same odd combination of

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Recent Posts

A day prior to seeing the new 4K restoration of 2006’s surrealist epic “Inland Empire” at the Music Box Theatre’s “David Lynch: A Complete Retrospective—The Return,” programmed by Daniel Knox, I had the pleasure of Zooming with the film’s additional location sound recordist, John Neff. It was one of three cinematic masterworks directed by Lynch in which Neff played a crucial role. Our paths crossed serendipitously as a result of me posting daily dispatches from Knox’s euphoric retrospective, where “Inland Empire” played to a full house and received multiple ovations during its exhilarating end credit sequence. 

The film stars Laura Dern in a career-best performance as an actress whose identity starts to merge with that of a “lost girl” (Karolina Gruszka), as she goes about filming the remake of a seemingly cursed production that was never completed. One of many personas Dern takes on throughout the course of the picture is that of a prostitute, who delivers a mesmerizing monologue to a silent, spectacled man in the upper floor of an ominous building. 

In the Facebook group, Lynchland Gang, Bob Sinisi recently shared the following stills, which illustrate how a particular line delivered by Gruszka was lifted from Erich von Stroheim’s 1932 film, “Quee