I like to send a warm tribute to Jimmy Castor RIP 1941-2012. He was an educated frontmanmusician, bandleader, multi instrumentalist and vocalist and one of the original Latin Funk pioneers. If you grew up in the hood in the late 60s/70’s his music was a part of your culture. I got to play keys with him for a couple years. This was one of my favorite gigs…We had a kick *ss band with Super talented and diverse musicians. Bandleader and frontman Jimmy was mega talented, always holding it down and ALWAYS funny as isht! I had to learn to keep up…but I did and ended up fitting right in as the keyboardist.
We had a great jazz pianist too (right in front of me in photo)! He was the son of a big-time Jazz Artist, but I forget who.
Fun Fact: Jimmy started out singing with the doo-wop group “The Teenagers. Do you remember any of his songs? Here are some:
Potential, Troglodites, Bertha Butt Boogie, It’s Just Begun, Space Age King Kong and the song that totally plagued my life as a child…Hey Leroy, Yo mama, she callin you man!
Dang! I got teased and tormented so much over that title it replaced ‘Hello’. Whenever I saw someone I knew, I’d hear Hey Leroy, Yo mama, she callin you man! I had to shorten my name to Lee! Never dreamed that years later I’d be on stage with him and we’d be playing sold out venues. Jimmy nicknamed me the Funkdoctor which I really liked. God Bless you and RIP Jimmy Castor! You were a huge influence on me!
The 2025 Grammys, having taken place this past Sunday February 2nd, were more than just a night of dazzling performances and glittering trophies—the over 3 hour show sparked conversation, controversy, and calls for change.
While Billie Eilish left empty-handed, her losses raised eyebrows and questions among her dedicated, cult-like following. Rising star Chappell Roan used her acceptance speech for Best New Artist to call for better healthcare and support for up-and-coming artists, challenging the industry’s often neglectful approach to its most vulnerable talent as that is what she experienced just five years ago. And of course, the red carpet didn’t disappoint, with fashion choices that ranged from boundary-pushing to outright jaw-dropping. Whether it was the battles for recognition, bold statements of solidarity, or simply unforgettable looks, the 2025 Grammys were about much more than just the music and had a lot of standout moments.
Billie Eilish has been in the music scene for years now, with two prior albums who have been decorated handsomely with multiple awards, including Grammys. Billie was, to many people, a shoe-in to win one (or all) of her seven nominations with her newest album, Hit Me Hard and Soft. It was a beautifully crafted album that Eilish had donned as her most personal to date, it debuted at the second spot in the Billboard Hot 200, spurred many viral TikTok audios, and was followed by a successful tour.
The success of this album led to the Grammys nominating Billie for album of the year and best pop vocal album. Her lead single off the album, Birds of a Feather, got nominated for record of the year, song of the year, and best pop solo performance. On top of that, Billie was nominated for best pop duo/group performance for Guess with Charli XCX, and best dance pop recording for her song L’amour De Ma Vie [Over Now Extended Edit]. With such an accomplished album written solely by her and her brother, you’d expect her to walk away with something, but she left empty handed.
In reality, the competition was absolutely stacked this year in every single category, but especially the ones Billie was vying for. There wasn’t one clear winner pit against the rest, every artist was well deserving of every award, putting out quality work across the board. If Billie were to have taken any award home, I would’ve loved to see her take home record of the year. Billie and Finneas historically create all of Billie’s projects, just the two of them, putting every little detail into the art themselves. Birds of a Feather was a smash hit over the last year and was beautifully crafted, and deserves that recognition.
While Billie Eilish’s unexpected losses left fans devastated for her and upset with the Grammys, another artist, Chappell Roan, used her big moment in the spotlight to address a different kind of injustice. While giving her speech for winning Best New Artist, Roan delivered a powerful message that called for much-needed change in the music industry, specifically regarding healthcare and support for emerging talent.
She started her speech by saying “I told myself, if I ever won a GRAMMY, and I got to stand up here in front of the most powerful people in music, I would demand that labels and the industry profiting millions of dollars off artists would offer a living wage and healthcare, especially to developing artists,”
She continued with a personal anecdote of her own experience, where she recounted “I was signed as a minor, when I got dropped I had zero job experience under my belt. And like most people I had a difficult time finding a job during the pandemic and could not afford health insurance. It was so devastating to feel so committed to my art and feel so betrayed by the system. I was so dehumanized not to have health insurance.”
Roan ended her well-recepted speech by asking, “Labels, we got you, but do you got us?”, which had many artists (including Taylor Swift!) out in the crowd standing, cheering, and clapping along. You could tell so many of these artists agreed whole-heartedly with what Chappell Roan was saying, their faces showing they related to what she was talking about and remembered their own struggles.
Chappell Roan’s call to action is one that is important, and way overdue. Many young artists don’t fully know what they’re getting into when signing with a major label, they’re just attracted to the ideas and opportunities major labels may bring to fruition.
Until thus far, celebrities of any status haven’t really challenged the inner workings of labels towards beginning artists on such a large scale, and I’m interested to see if this will be a turning point in the relationships cultivated with new artists by labels. Hopefully, Roan’s brave call out wasn’t a pebble thrown into the ocean.
The final standout moment at the Grammys for me was, unsurprisingly, the fashion. I’m not even necessarily talking about best or worst dressed, as there were so many stunning looks and equally as many boring ones, but just the outlandish.
Prime example, Jaden Smith and his head in a house. I’m sure Jaden had a very deep, metaphorical reasoning for what he was wearing, but the entire night I just kept thinking, those poor people behind him. Was he not blocking their every view? The house wasn’t the tallest, but it sure was blocky and wide.
This also goes for the aforementioned Chappell Roan. I absolutely loved every look she brought to the awards show, but when she had that very tall pointed hat incorporated into her look, was she not blocking everyone behind her? I’m all for fun and whimsy fashion, but I couldn’t help but wonder what it looked like to be behind either of them.
In the end, the 2025 Grammys were not just about celebrating music, but about sparking vital conversations that go beyond the stage. From Billie Eilish’s surprising losses, which fueled fan outrage and reflection on the unpredictable nature of the industry, to Chappell Roan’s courageous call for better healthcare and support for emerging artists, the night was a powerful reminder that the Grammys are about more than just glitz and glamour. Even in the realm of fashion, where creativity clashed with practicality, the evening was full of thought-provoking moments that will linger long after the awards have been handed out. As the music industry continues to evolve, it’s clear that these conversations are just the beginning of much-needed changes for artists at every level.
As of January 2025, Chelsea, Manhattan, continues to be a vibrant hub for music and cultural events. Here’s a roundup of recent developments and upcoming happenings in the neighborhood’s music scene:
Chelsea Music Festival Reflects on 15th Anniversary
In June 2024, the Chelsea Music Festival celebrated its 15th season with the theme “Connecting the Dots.” The festival featured nine evenings of concerts, conversations, and tastings, bringing together musicians, visual artists, and chefs. Highlights included world and U.S. premieres by composers such as Jacob Beranek and Ania Vu, performances by ensembles like WindSync and the Harlem Quartet, and a solo art exhibit by Visual Artist-in-Residence Kelly S. Williams.
GERMAN MISSIONS IN THE UNITED STATES
Chelsea Factory Enters Final Chapter
Chelsea Factory, a pop-up space dedicated to New York City artists, has announced that it will present its last performances in Spring 2025. Since its opening in Fall 2021, the venue has hosted a diverse array of events, including music concerts, rehearsals, and performances by resident artists such as Xenia Rubinos and Soul Science Lab.
CHELSEA FACTORY
The Stand Comedy Club Partners with Chelsea Music Hall
In July 2023, The Stand Comedy Club and Restaurant announced a programming partnership with Chelsea Music Hall. This collaboration aimed to bring The Stand’s brand of humor to Manhattan’s west side, expanding Chelsea Music Hall’s offerings to include comedy alongside its existing music and performance events.
THE STAND RESTAURANT & COMEDY CLUB
Local Music Education Thrives
The Practice Room NYC, a music education center in Chelsea, reported a strong start to 2025. On January 13, they shared that their students returned with enthusiasm, ready to engage in music lessons and activities.
INSTAGRAM
Upcoming Music Events in Chelsea
For those looking to experience live music in Chelsea, platforms like Eventbrite regularly list current events in the area. As of today, there are various music events scheduled, catering to diverse tastes and interests.
EVENTBRITE
Recent Music Memorabilia Auction
In September 2024, an auction at Guernsey’s showcased rare items from the New York City music scene, including memorabilia from Madonna and Bob Dylan. Highlights included photographs from Madonna’s early career and the master tape of Bob Dylan’s first album.
NEW YORK POST
Chelsea’s music scene remains dynamic, with a blend of performances, educational initiatives, and cultural events contributing to the neighborhood’s rich artistic tapestry.
The music world has suffered an immense loss with the passing of the legendary Chick Corea, a true icon among musicians. While most of us aspire to be good, some even great, there exists a rare echelon of artists whose music transcends the ordinary, reshaping our world with their genius. Chick Corea was one of these extraordinary talents, revered by even the best of us. His influence on my own musical journey began in the 70s when I first discovered his groundbreaking work with his iconic band Return To Forever (RTF).
Here are some of the top Return To Forever albums (all amazing):
Musicmagic
Light As A Feather (Spain in on this LP)
Romantic Warrior
Hymn Of The Seventh Galaxy
The Anthology. Compilation. …
Where Have I Known You Before
When I was In college, mastering the front lick of “Spain” became a rite of passage for me as well as most aspiring keyboard players, a challenge I embraced during countless jam sessions in practice rooms. Learning that piece felt like unlocking a new level in my musicianship. It was Corea’s work that made me feel connected to something greater in my music. His albums with RTF, especially Romantic Warrior, Musicmagic, and the unforgettable “Armando’s Rhumba,” redefined my understanding of what music could be. The main and most impactful lineup of RTF band was a quartet, featuring Chick, Lenny White, Stanley Clarke, and Al Di Meola. This band introduced me to Jazz Fusion—a genre that blew my mind with its levels of complexity and innovation.
Chick Corea wasn’t just technically genius, his melodies could reach deep into your soul, his licks were awe-inspiring, and his improvisations could transport you to uncharted territories of emotion and imagination.
Among his countless achievements, he earned an incredible 23 Grammy Awards, a testament to his unparalleled contribution to music.
Chick, we will miss you dearly. Your music will continue to inspire future generations of musicians and music lovers, just as it has shaped my music journey. Thank you for everything you gave to the world.
The International Sweethearts of Rhythm an all-female
I thought I should share this amazing female band with you all who are not familiar with The International Sweethearts of Rhythm. I totally was not until I found this article and video amongst others on You Tube. From the Piney Woods School in the Mississippi Delta to the Apollo Theater in Harlem, New York City, this toe-tapping music film tells the story of the swinging, multi-racial all-women jazz band of the 1940s. A 16 piece band with a strong brass section, heavy percussion, and a deep rhythmic sense, the Sweethearts were not just a novelty but featured many of the best female musicians of the day. Starring Anna Mae Winburn, Ernestine “Tiny” Davis, Vi Burnside, Roz Cron, Evelyn McGee Stone, Helen Jones, Helen Saine, and Pauline Brady, of whom drummer Panama Francis says, “She played drums like a man!”
They were the top female jazz/swing band of the 1940’s. Though they don’t get much recognition and attention like Duke Ellington and Count Basie and never were inducted into the Jazz or Swing or Rock and Roll Hall of Fame, these women were just as good as the men and could really swing hot jazz, they were talented and plus beautiful…and here’s the proof. Anna Mae Winburn, the bandleader, led the band with beauty, elegance, style, and glamour. Tiny Davis was the big personality of the band and she could blow…both vocally and trumpet.
There were many female bands in the 30’s and 40’s but the International Sweethearts of Rhythm was number one! All the female bands back then were great, but they never got a chance to be superstars, never got inducted into the Jazz/Swing Hall of Fame because of sexism and racism., Women were expected to sing, not play instruments (maybe piano if anything), arrange, direct, produce, nor write, even today this sexism in music still exists. So these women were pioneers!
The Harlem PlayGirls, Darlings of Rhythm, Ina Ray Hutton and Her Band, Rita Rio and Her Band, Lorraine Page and her Band, Ada Leonard All American Girl Orchestra, Thelma White and Her Girls, Frances Carroll and Her Band, and Ivy Benson and Her Orchestra, all these white and black female bands are pioneers. However, this band was considered to be the most racially integrated dance-bands of the entire swing era. Latina, Asian, Caucasian, Black, Indian and Puerto Rican women came together and created music that more than held its own in the Swing Era. Take a listen to their music and see footage online. Enjoy this great music, and check out some other videos from the Talented and Beautiful International Sweethearts of Rhythm.
For over 20 years, JAMBOX Entertainment has been known for it’s family vibe and top quality engineers. Being one of the top recording studios in the heart of Midtown Manhattan, JAMBOX has some of the best Audio Engineers in the business. JAMBOX Engineers have worked with many of today’s chart-topping artists Hip Hop. Pop and R&B, such as Gucci Mane, Andre 3000 Busta Rhymes, Raekwon, Nicki Minaj, A$AP Rocky, YMCMB, Sara Bareilles, Meghan Trainor J. Cole, Ciara, Krewella, PNB Rock, Ski Mask Slump God, August Alsina
Introducing… The JAMBOX Engineers Roundtable Podcast. JAMBOX brings to you a series of podcasts over the course of the next couple of months. We will delve into topics like top engineers’ craft, the psychology that goes within sessions, and how they handle clients. Our engineers will also be sharing their greatest successes, and their biggest drawbacks. From the history and evolution of engineers, to reviews of the latest and greatest plug-ins, the podcasts will cover a robust amount of the music engineering industry giving anyone who watches an inside look at the lives and challenges of top engineers. Get into the mindset of our engineers from our top Midtown Recording Facility, JAMBOX Entertainment Studios.
The Temptations In A Mellow Mood A Classic Innovation. Why was it groundbreaking?
Growing up in a Jamaican household with lots of music, Harry Belafonte was a big part of my parent’s musical culture. As a result, I ultimately come to admire and appreciate Belafonte and his musical talent. Later on, I would go on to briefly meet and work with Mr. Belafonte while I was recording the soundtrack for the movie Beat Street (1984). Mr.Belafonte gave me inspiration and drive during this time seeing his work and talent up close. In honoring his legacy, here at JAMBOX, we have decided to introduce his achievements both musically and culturally.
The Temptations In A Mellow Mood was the sixth studio album by The Temptations for the Motown label released in 1967. This album was one of the most magnificent, intricately arranged, harmonically blended, inspirational albums released by the mighty Temptations. Arranged by H. B. Barnum and big band saxophonist John Costa, produced by Jeffrey Bowen and Frank Wilson who wrote and produced hit records for Brenda Holloway, Marvin Gaye, the Supremes, the Miracles, the Four Tops, the Temptations, Eddie Kendricks, and more. Album liner notes done by ‘Soupy Sales’
This record, a brainchild of Berry Gordy Jr, was made with the intention of crossing the amazing Temptations over to a broader based white dominated pop market which to a large extent it succeeded. Many fans from the Tempts ‘Black’ fan base accused them of ‘selling out’. The Temptations felt the need to expand from their current formula which gave us #1 chart topping hits like ‘My Girl’ ‘You’re My Everything’ and ‘Get ready’. In music history, especially at that time, never has another ‘Soul’ ‘R&B’ group took on such a risky undertaking to release an album in a totally different genre and do it so well!. Today, it is a bit more widely received with the likes of Lady Gaga crossing from her well-received edgy dance pop albums to her romp into classic jazz music with the legendary Tony Bennett.
The ‘Mellow Mood’ album certainly struck the right chord with me and helped to shape my musical and harmonic palette for my productions and arrangements. It has been a major influence to this day.
Stirring lead vocal performances include Paul William’s For Once In My Life and David Ruffin’s ‘What Now My Love’. Give this playlist a whirl. If you’re a fan of the classics ala ‘Frank Sinatra’, Cole Porter, you’ll be a fan!
If you have contacts you can shop a song to, buying exclusive rights to a hip hop beat might be a good idea. If you are just looking to get noticed, you should consider leasing that beat.
So you found a hip hop beat on SoundCloud or YouTube and wrote a killer hook to it and you’re certain you have a hit on your hands. The next step is getting in contact with the producer and obtaining the rights to the beat. At this point, due to the normal enthusiasm you feel after you’ve created something great, it can seem like an excellent idea to buy the exclusive rights to the beat – but there are a few things you should think about before diving in and making that purchase.
What is your goal for the song?
This might seem obvious, but I’ve run into many artists who don’t have a clear goal or realistic expectations when it comes to a potential song. Many simply answer that they think the song is going to “blow up” and “get them on” without a plan to get to that point. Now, if you’re savvy enough and have label contacts you can shop the song to, buying the exclusive rights might be a good idea for you and you can probably stop reading this and get to work. However, if you are like the majority of artists who are just looking to get noticed, you’re going to need a better plan than posting to ReverbNation and SoundCloud and hoping for the best. This brings us to the next big question:
What is your budget?
You need a plan if you want your song to enjoy any modicum of success, and that plan will most likely involve spending money. So, after setting your goals, you’ll need to develop a budget for the track. This should include considerations such as the beat (obviously), the recording session, the mixing and mastering of the track, any artwork needed, any video that will be shot, and any marketing and promotions that will be run for the song. Once you have your budget set, you can move on to the next step…
How much of your overall budget should you be spending on the beat?
Now that you know how much you can spend, you have to start divvying it up. Let’s say you have $1,000 to spend on the song and the exclusive rights to a beat cost $750. Can you confidently spread the rest of your budget across recording, artwork, marketing, etc.? Maybe. Is it a good idea? Absolutely not. In order to garner the attention and buzz you’re hoping for, you should probably allocate at least half of your budget to marketing and promotion, and you obviously don’t want to skimp on recording, mixing, mastering or artwork. So that leaves you with about 30% of your budget or less. So unless you can increase your budget, you’ll have to be extremely smart with your money, which means purchasing exclusive rights to a beat is probably not the best use of your money. What you should do instead is look into leasing a beat.
Why lease a beat instead of buying it?
First off, if you didn’t know, yes, there is such thing as leasing a beat, and it’s a prevalent practice in the independent hip hop scene as it benefits both the rappers and producers involved. A typical lease price for a beat can be anywhere from $15 to $35 in most cases, so you’ll immediately save money that can be better used elsewhere. Most lease agreements allow you to sell up to 2,000 copies before renewal, meaning you can still sell the track to recoup your money while taking a smaller financial risk up front. Also, if the song does blow up, you always have the option to buy exclusive rights to the beat at any time. So by leasing instead of purchasing, you put yourself in a low risk/high reward situation.
Will producers be pushing me to buy the exclusive rights?
They shouldn’t. From an independent producer’s standpoint, leasing out a beat is almost always in their best interest. While selling a beat for a couple hundred dollars is a nice payday up front, exclusive rights means they can no longer profit from that beat, for the most part. There’s the off chance they’ll gain royalties from the track if it blows up, but their earning potential for that beat is likely realized if they opt to sell it exclusively. If you run into a producer who is pressuring you to buy, you might want to find someone else.
Is leasing the way to go?
In most cases, yes. It is easier on your wallet and it is more beneficial to the producer. There are certain scenarios where purchasing exclusive rights would make sense, but those are very rare and chances are if you’re an independent rapper, leasing a hip hop beat is the better avenue for you.
The BeatLandLorde is an independent producer who works at a desk by day and makes scorching hot beats by night.
THE DOW-PRINCEPLE – Funk Music Artists at JAMBOX Entertainment
The 80s ‘Funk’ band ala Rick James, Cameo, Brass Construction, P-Funk, The Ohio Players ‘ style of music has all but disappeared from today’s music scene. There is still a large appetite for some good ol’ foot pounding, head shaking, neck breaking, ugly face making funk music though. Just look at the amazing success of Marc Ronson and Bruno Mars ‘Uptown Funk’ record.
Well we have a special project going on at JAMBOX Entertainment Studios aimed at reviving ‘ol school funk and funk rock’ “We are laying down some hard core soulful funk tracks with real musicians. We’re bringing back the Glory Days” Says Keyboardist Lee Evans.
The core musicians on the project consist of:
– Bass Player Gary Dow: (Cameo, Force MDs, Keith Sweat),
– Vocalist Vivian Prince, (Roy Ayers Ubiquity, Melba Moore, Bernard “Pretty Purdie” Purdie, Seldon Powell Steve Kroon).
– Guitarist Ronnie Drayton: (played on over 100 different albums including Edwin Birdsong Super Natural, Material- One Down, Nona Hendryx –Female Trouble, Meshell Ndegeocello Bitter,)
– Keyboardist and Head Engineer/Owner of JAMBOX Entertainment, Lee Evans: (Afrika Bambaataa, Brass Construction,Force MDs, Cyndi Lauper, Marc Anthony). Gary and Lee has toured the country together. Gary introduced Lee to Vivian and Ronny.
So …yeah, these are your funk heavy hitters.
The name of the act is The Dow-Principle’ A video has just been shot for their 1st single ‘Decisions’ Look out for ‘The Dow-Principle’ coming your way soon!
Not only is Dr. Valerie Capers a legendary jazz pianist hailing from Harlem, she is also the longtime music teacher and friend to JAMBOX CEO Lee Evans. On September 21, Lee and Cathy brought the JAMBOX Family to see the amazing Dr. Capers perform live with her jazz quintet at Dizzy’s Jazz Club Coca-Cola at New York City’s Lincoln Center. The performance paid tribute to music giants Thelonius Monk, Dizzy Gillespie, and Michael Jackson. It was a touching reunion for Lee and Dr. Capers, who had been his music teacher in both his high school and college years. Included in the band were Lee’s colleagues, the great John Robinson on bass, and remarkable sax player Alan Givens. It’s striking to see the amount of raw talent that came out of that year in Bronx Community College. Highlites include an inspired drum solo by the great Earl Williams, on Thelonius Monk’s, “Round Midnite, and the lighting fast tasty guitar riffs and colorations by guitar wizard Mark Marino. The Valerie Capers Quintet put on a performance to remember.
