E.FM

Radio



POINCIANA, Fla. - Singer Jon Lucien, whose deep baritone and soulful love songs made him a respected jazz artist for more than 35 years, has died, his wife said. He was 65. Lucien died Saturday from respiratory complications after surgery, his wife, Delesa, said Tuesday from her home in Poinciana.

Born in the British Virgin Islands' main island of Tortola and raised in St. Thomas, Lucien began performing in his teens.

His 1970 RCA album, "I Am Now," launched a recording career that earned him a loyal following, though his hard-to-categorize style never lead to breakout success.

Among his songs were "Rashida," "Lady Love," "Dindi," "You Don't Need Me," "Hello Like Before," and "Sweet Control." His recordings of "Rashida" and "Lady Love" garnered Grammy nominations for arranger Dave Grusin in 1974 in the category of best arrangement accompanying vocalist(s).

In 1979, critic Leonard Feather praised Lucien in the Los Angeles Times for his "resonant baritone, assured timber and phrasing, the West Indian piquancy of his announcements. Contemporary material works better for him than standards."

In 1978, he contributed a vocal track to Weather Report's album "Mr. Gone."

"All the musical world knows about Jon Lucien," his widow said.

Drummer Kim Plainfield, who played with Lucien for 19 years, recalled him as "a consummate musician. He wasn't just a singer. He played multiple instruments live and in the studio. He was also a prolific composer." But Plainfield said Lucien never made it big because he couldn't be classified in a genre.

Lucien's 17-year-old daughter, Dalila, was among the 230 people killed in the crash of TWA Flight 800 off Long Island in July 1996. He sought solace in the studio and recorded the album "Endless is Love," which was released in 1997.

In recent years, he performed live with a jazz fusion group at local venues and jazz festivals around the nation and managed his own record label, Sugar Apple (nasdaq: AAPL - news - people ) Music.

He is survived by his wife, two sons, an adopted daughter and a stepson.

Dindi
Sky, so vast is the sky
And far away clouds just wandering by..
Where do they go?
Oh I don't know, don't know...

Wind that speaks to the leaves
Telling stories that no one believes
Stories of love
Belong to you and me....

Oh Dindi....
If I only had words
I would say all the beautiful things that I see
When you're with me
oh my Dindi

Oh Dindi...
Like the song of the wind in the trees
That's how my heart is singing Dindi, happy Dindi
When you're with me

I love you more today
Yes I do, yes I do
I'd let you go away
If you take me with you

Don't you know Dindi
I'd be running and searching for you
Like a river that can't find the sea
That would be me
Without you my Dindi


8.27.2007
Remembering Jon Lucien
by Mark Anthony Neal

That Jon Lucien’s name is rarely evoked in casual conversation about Jazz and Soul vocalists of the past two generations is perhaps fitting for an artist who was often cast as an outsider. It wasn’t just the affectations of the Caribbean male that marked Lucien as an outsider when he first emerged in 1970 with his debut recording I Am Now, but his embodiment of something else—that something else that few, including his record labels, could ever quite wrap their heads around. If so much of the Soul music of the early 1970s yearned for the trinkets of a newly formed freedom—including the freedoms derived from uninhibited sexual passion—then Jon Lucien’s music, his rich Caribbean baritone and his cosmopolitan swagger were evidence of an always, already freedom.

It was all too easy to compare Jon Lucien to Barry White, Teddy Pendergrass and, much later, Luther Vandross (the sheer heft of their vocals would have it no other way), but in reality Lucien’s peers were song stylists like Johnny Hartman and Jimmy Scott—both tragically forgotten, even as Scott (and his natural falsetto) continues to toil in obscurity and Hartman remains the only vocalist to have collaborated with John Coltrane. What distinguished Lucien from those men was his ability to translate the gravitas of their instruments into something that was accessible and tangible, albeit “foreign” in both the literal and commercial sense, to audiences in the 1970s.


Simply put, Jon Lucien conjured sex in a way that was only comparable to the onscreen work of the late Calvin Lockhart - who, like his Caribbean contemporary, never quite found the vehicles to support his considerable talents. In the late 1960s and early 1970s, it was difficult for male Caribbean artists to exist beyond the huge shadows of Sir Sidney and King Harry; Lucien and Lockhart, I would argue, suffered accordingly. Ironically Lucien first came to the states in the 1960s playing bass in the Catskills behind a trio that once performed as part of the Harry Belafonte Folk Singers.


Nevertheless Lucien’s second recording, Rashida (1973), with its lush arrangements, unbridled percussive energies and Lucien’s vocals in fine form, ranks as one of the great “Soul” albums from the period. And yet to call Lucien’s music “soul” or “jazz” does a disservice to the music. This is something that was not lost on Lucien as he struggled with his record company at the time. As Lucien told Richard Harrington a few years ago, “There was a lack of vision, especially when we did the Rashida album… everybody was saying, ‘what do we call this music?’” Such questions kept RCA from giving Lucien’s recordings full promotional support, particularly in an era when many labels were still getting a handle on their nascent black music divisions. If the music didn’t sound like Sly Stone, Marvin Gaye, Curtis Mayfield, The O’Jays or Aretha Franklin, many labels didn’t believe there was an audience for it.


Read Full Essay at CRITICAL NOIR @ Vibe.com

Labels: Jon Lucien, Rashida, Soul Music

Jon Lucien
click to comment
Smooth soul-jazz singer
Published: 25 August 2007
Lucien Harrigan (Jon Lucien), singer, songwriter, multi-instrumentalist, producer: born Tortola, British Virgin Islands, 8 January 1942; four times married (two sons, one adopted daughter, one stepson, and two daughters deceased); died Orlando, Florida 18 August 2007.

Jon Lucien's smooth, soulful baritone was always a delight to listen to and drew comparisons with Nat King Cole, Lou Rawls, and Luther Vandross. He was often heard on mellow jazz stations in the United States and was championed in the UK by the DJ Gilles Peterson. Possibly best known for his cover of "Dindi" by the Brazilian composer Antonio Carlos Jobim, Lucien penned a great percentage of the material he recorded, most notably the ballads "Would You Believe in Love", "Lady Love", "Rashida" and "Soul Mate".

A native of the Virgin Islands, he incorporated the gently swaying rhythms of the Caribbean into material like "Hello Like Before", "Mysteries" and "Sweet Control" but, despite stints with RCA, Columbia and Polygram, and collaborations with Weather Report and Grover Washington Jr, Lucien never quite broke through to the mainstream.

Born Lucien Harrigan on Tortola in 1942, he was the oldest of eight children and grew up on the neighbouring island of St. Thomas. From his mid-teens, he played bass and various other instruments in Rico and the Rhythmaires, a band led by his blind father Eric "Rico" Harrigan. In the 1960s, he moved to the US and worked as a jobbing musician and singer, recording advertising jingles and performing at bar mitzvahs and weddings. During one of those engagements, he met Ernie Alshulter, who had worked with Tony Bennett and got him a deal with RCA. Renaming himself Jon Lucien, he recorded his debut album, I Am Now, in 1970, but found the label didn't quite know what to do with him.

"I did pop and jazz standards. The only original song on there was 'Find Yourself a Lover'," Lucien recalled. "The record company was attempting to package me as a sort of 'black Sinatra'. Once the white women started to swoon at my performances, their attitudes quickly changed."

By the time Lucien recorded Rashida, his second album, in 1973, he'd stockpiled enough compositions to make it a totally self-penned effort. "That was the most natural album I ever made because I was allowed to be myself," he said. The bossa nova-flavoured "Lady Love" and the title track both found favour on US radio and earned arranger Dave Grusin Grammy nominations (for Best Arrangement Accompanying Vocalist).

Issued in 1974, Mind's Eye repeated the feat, but a move to CBS for the albums Song For My Lady (1975) and Premonition (1976) didn't quite yield the expected dividends. Despite making guest appearances on Yesterday's Dreams, the 1976 album by the jazz-rock bassist Alphonso Johnson, and Mr. Gone, the 1978 album by the jazz-fusion supergroup Weather Report, Lucien grew increasingly disillusioned with the industry. "My frustration stemmed from being asked to be a hit-maker... do disco, country... whatever it takes to sell millions. I struggled for the executives to understand my music," he admitted. "My style, like most of the music of the Caribbean, is an amalgam of cultures, rhythms and styles. It was an uphill battle and I just thought I've gotta get out of here."

Lucien also experienced personal problems. In 1980 he lost a young daughter from his third marriage in a drowning accident and he battled with drug addiction for several years. He went back to the Virgin Islands, lived in Puerto Rico and married a fourth time in 1988. He came back and found a new US audience on the "quiet storm" urban radio format with the albums Listen Love (1991) and Mother Nature's Son (1993), while, in the UK, the rare groove scene rediscovered his early work.

In July 1996, his 17-year-old daughter Dalila was killed in a plane crash. Grief and stress took their toll and he lost the sight in his left eye. "That was a heavy lesson," he later reflected. "All that I had was my music and my prayers." The following year, he dedicated the Endless is Love album to her.

Lucien issued four more albums on his own Sugar Music label and continued performing until recently. Last month, he took part in the US Superstars of Jazz Fusion tour with Roy Ayers, Jean Carne, and Wayne Henderson.

Despite his considerable register, Lucien was never a showy singer but remained a consummate balladeer, never better than when delivering his own atmospheric compositions. "My sound is a romantic sound. It's water, it's ocean, it's tranquillity," he said. "I've experienced tragedy, had professional disappointment, loved, lost, lived. I hope to heal people who are sad and spiritually dead because, even though I don't pray in the music, the spirit is still there."

Herbie Hancock simply called him "the man with the golden throat."

Pierre Perrone

Views: 83

Replies to This Discussion

Oh if you don't make my heart SOAR with your response to this, my tribute of sorts, to the man, Jon Lucien.

I remember the first time I heard Mr. Lucien's voice, and I, too, was totally hooked. Dindi was the first piece I heard him sing when my husband brought the album home one evening. He left, and I had the lights turned down and the children tucked in for the night. I sat in the living room and just cried my eyes out it was so beautiful. Cried my eyes OUT from the beauty that was Jon Lucien...*deep sigh*

I'll never forget. He, along with a few others, have touched me to my core with their precious gifts--like Minnie Riperton, and Donny Hathaway..each of whom I truly loved. Speaking of Donny Hathaway--I will be doing something on him soon, featuring my favorite--Extention Of A Man--a true masterpiece.

Thank you for the wonderful supplements to this rendering James--you just fill me with joy. I love the way you think and write...ahhhhhh the goodness of it all.
Under Construction

RSS

Black Heritage Gems

Latest Activity

Tone updated their profile
Wednesday
Edie2k2 updated their profile
Wednesday
Pittsburgh Jazz Spotlight updated their profile
Apr 21
Profile IconPittsburgh Jazz Spotlight and WBGO Jazz Radio were featured
Apr 21

♪♫♪...

Spotlight | Maze




The history of the Butlers/Raw Soul is dense, but for all of us music nerds, that's normal. It is not totally clear what year the Butlers actually formed but they released their first single in 1963 on Liberty Records. That single was "She Tried To Kiss Me" and another single followed on Guyden entitled "Lovable Girl." After the Guyden single the Butlers took a break not recording another record until the single "Laugh, Laugh, Laugh" was released on the Phila label in 1966. The group also backed Charles Earland and Jean Wells on one Phila single ("I Know She Loves Me"). 


As you might be noticing, the Butlers were doing a fair amount of recording but not achieving much success. The group's recordings sold regionally but never had the promotion to make an impact on the national scene. After the single with Phila, the Butlers moved to the Fairmount label (part of the Cameo-Parkway family) and released a handful of singles, some being reissued singles of the past. The Butlers were with Fairmount for 1966-67 and then moved to Sassy Records. Sassy released the group's greatest single (in my opinion) "Love (Your Pain Goes Deep)" b/w "If That's What You Wanted." A copy of that 45 sold for just under $500 last summer on eBay. Even though that isn't that much in the world of record collecting--it's still a hefty sum. The Butlers released another single on Sassy ("She's Gone" b/w "Love Is Good") that appears to be even 
harder to come by then the "Love (Your Pain Goes Deep)" single.

 

The true history become a bit blurred here as the AMG biography states that the Butlers last record was released on C.R.S. in 1974 (". However, between 1971 and that single, Frankie Beverly formed a group called Raw Soul and released a number of singles. Some of the songs recorded by Beverly during this period are "While I'm Alone," "Open Up Your Heart," (both on the Gregor label) and "Color Blind." "Color Blind" was released by the Eldorado label and rerecorded by Maze. Beverly's big break came when Marvin Gaye asked Raw Soul to back him on a tour. Gaye helped Beverly/Raw Soul get a contract at Capitol. Beverly decided to take the group in a different direction, a name change occurred, and Maze was created. 

The above isn't the most complete history of Beverly but hopefully someone will know a way to get in touch with the man or his management because a comprehensive pre-Maze history needs to be done on Frankie Beverly (his real name is Howard, by the way). Below you'll find every Frankie Beverly (pre-Maze) song available to me right now ("Color Blind" will be up soon). 

If you have a song that is not included below, shoot it over to funkinsoulman (at) yahoo.com and it will go up in the next Frankie Beverly post (later this week--highlighting Maze). Also, if you have any more information please share your knowledge. The Butlers material has been comp-ed sporadically (usually imports) but the entire Maze catalog has been reissued and is available. 

Enjoy.  "She Kissed Me" (Fairmount, 1966 or 1967) 
 
 "I Want To Feel I'm Wanted" (not sure which label or year) "Laugh, Laugh, Laugh" (Phila, 1966) "Because Of My Heart" (Fairmount, 1966 or 1967)
   
 "Love (Your Pain Goes Deep)" (Sassy, 1967)
   
 "If That's What You Wanted" (Sassy, 1967)
 



Frankie Beverly is one of those cats that has lasting power. He started in the music business doing a tour with doo wop group the Silhouettes and then formed his own group called the Blenders. The Blenders never recorded a single, Beverly wouldn't appear on wax until forming the Butlers a few years later. Along with Beverly, the Butlers included Jack "Sonny" Nicholson, Joe Collins, John Fitch, and Talmadge Conway.

Beverly would later enjoy great success fronting Maze and Conway would become a
well-known penning Double Exposure's
"Ten Percent" and the Intruders' "Memories Are Here To Stay." 
 While Maze is a phenomenal group, Beverly's work before that group will always stand out as his best (imo).

The Butlers produced tunes that most Northern Soul fans would kill for and Raw Soul gave the funksters something to pursue. If, by chance, you know of a way to get in touch with Frankie Beverly or his management, please drop me an e-mail. It would be absolutely great to do an interview with him about his pre-Maze work. He's still playing out, most recently doing a New Year's Eve show in Atlanta.
:: Funkinsoulman ::

The Sounds of Edie2k2

  1. play Maze — 03 Feel That You're Feelin'
  2. play Maze — 04 Somebody Else's Arms
  3. play Maze — 04 Southern Girl
  4. play Maze — Can't Get Over You
  5. play Maze — Can't Get Over You
  6. play Maze — Golden Time Of Day
  7. play Norman Brown — Night Drive
  8. play Norman Brown — Feeling
  9. play Norman Brown — Still
  10. play Miles Davis — miles 1
  11. play miles 2
  12. play miles 3
  13. play miles 4
  14. play miles 5
  15. play Marvin Gaye — I Met A Little Girl
  16. play Santana — 01 Singing Winds, Crying Beasts
  17. play Santana — 02 Black Magic Woman-Gypsy Queen
  18. play Mongo — 02. Afro Blue

Photo Essay: Chicago Then & Now

Central


The Chicago River at Michigan Avenue




A construction crane can be seen in Cushman's photo, suggestive of the massive changes to that would transform the Chicago River over the next 40 years, changes that show no sign of subsiding. Only three buildings from Cushman's photo are now identifiable: the Lasalle-Wacker Building, Marina City and the Sun-Times Building, whose demolition started not long after I took my photo. By 2007 the Trump International Hotel and Tower will have risen -- and risen and risen, to a staggering 1,276 feet -- in its stead.


435 N. Michigan Ave.


Wrigley Building, Hotel Intercontinental and Tribune Tower: an interesting perspective in that it excludes any of the neighborhood's massive changes.


Wacker Drive and Clark Street




Wacker Drive and Wabash Avenue




Dearborn and Randolph Streets




I'm amused that both Cushman and I captured someone crossing the street carrying a light-colored bag in their right hand. Just about everything else at this intersection has changed, but at least one thing remains the same.


55 W. Randolph St.




When Cushman visited in 1963, ground had been broken on Daley Civic Center, which would be Chicago's tallest building from its completion in 1965 to the 1969, when it was eclipsed by the John Hancock Center. The 46-story Morrison Hotel, located at the geographic center of the Loop, is seen at the left of Cushman's photo. When it came down in 1965 to make room for Bank One Plaza (née First National Bank Building), it set a record for tallest building to be demolished.


Michigan Avenue and Huron Street




The Old Pumping Station on the east side of Michigan Avenue is still there, currently occupied by the Looking Glass Theatre, but it is obscured by trees. One notable addition since Cushman's 1966 visit: the John Hancock Center. It was completed in 1969.


800 N. Michigan Ave.




632 N. Dearborn St.




The former home of the Chicago Historical Society is now the Excalibur nightclub.


Southwest Corner of Dearborn and Erie Streets




Rush and Chestnut Streets



In 1966 the corner of Rush and Chestnut was a "go-go" lounge. By 2004 the building had come down and been replaced by an upscale furniture boutique, but it, too, is set to come down to make way for a new luxury condominium tower.


Corner of State, Cedar and Rush streets




The "Solomon-Cooper Drugs" sign remains, but Adolph's is now Domaine, and the old skyscrapers are obscured by new ones.


100 N. State St.




State and Washington Streets




Michigan Avenue from Randolph Street




The Michigan Avenue streetwall is relatively intact. The biggest changes may be in the buildings that tower behind it, such as CNA Plaza.


100 S. Michigan Ave.




1100 S. Michigan Ave.




The Skyline, from Adler Planetarium



This was one of the hardest shots to match up, so complete has the skyline transformed in 63 years. The only reference points I had were the breakwater and the steps of Adler Planetarium.


Navy Pier, from Adler Planetarium




Adler Planetarium




Grant Park




505 N. Clark St.




675 N. Rush St.




Originally the mansion of "Harvester King" Cyrus McCormick, the site is now the 40-story Omni Chicago Hotel. McCormick was a teetotaler and agricultural industrialist who was instrumental in rebuilding Chicago after the Great Fire, but a strike at the McCormick Reaper Works led to the Haymarket Square Riot in 1886. He edited the Chicago Times for several years, and the Tribune's legendary editor Robert R. McCormick, "The Colonel," was his great-nephew. The McCormick Harvesting Machine Company would eventually become Navistar.


878 N. Clark St.




977 N. Rush St.




Canal and Taylor Streets




316 W. Erie St.




Cushman noted that the building has slipped from its "moorings," and the sign reads, "THIS BUILDING DANGEROUS CONDITION." The location is now a Coyote Ugly bar.


 

The Best Music From The Past .. Present .. And Into The Future ♪♫♪

© 2018   Created by Edie2k2.   Powered by

Badges  |  Report an Issue  |  Terms of Service