Brooklyn Music Milestones – December 2014

December 5, 2014 by David K. Moseder

Jay-Z & Warren Buffet on the Cover of Forbes Photo courtesy of Forbes.com

Jan. 5, 1975: The Wiz, Broadway’s rock-and-soul reimagining of The Wizard of Oz, opens at the Majestic Theatre. Playing the lead role of Dorothy is Bedford-Stuyvesant’s own Stephanie Mills. The show runs for four full years, with future Grammy winner Mills on board for the entire run.

Dec. 23, 1961: The Tokens’ The Lion Sleeps Tonight finishes its three-week run as the top single in the U.S., after which it hangs on for another seven weeks in the Top 40. The re-formed group includes Abraham Lincoln High School alumni Hank Medress and Jay Siegel and newcomers (and fellow Brooklynites) Mitch Margo and Phil Margo. A new lineup led by Siegel remains a successful touring ensemble.

Jan. 13, 2010: Jay-Z is featured side by side with Warren Buffett on the cover of Forbes 400, the financial magazine’s annual tribute to “The Richest People in America.””

Vic Mizzy Photo courtesy of Vic Mizzy.com

Jan. 15, 1861: The original Academy of Music, then located on Montague Street, presents it first concert: a program of classical music that includes works by Mozart and Verdi.

Jan. 20, 1966: The Don Knotts comedy The Ghost and Mr. Chicken, featuring a score by Brooklyn’s own Vic Mizzy, is released. Mizzy, most famous for writing the theme songs to The Addams Family and Green Acres TV series, goes on to compose the music for four more Knotts movies as well as films starring Tony Curtis and Sid Caesar.

Jan. 20-31, 1969: With Brooklyn born-and-raised keyboard player Robert Lamm doing most of the songwriting and lead vocals, Chicago Transit Authority lays down tracks for its self-titled debut album at New York’s Columbia Recording Studios. The double LP will eventually yield two top-10 Lamm-penned singles, Does Anybody Really Know What Time It Is? and Beginnings, released under the band’s shorter, more familiar name, Chicago.

Artists on our Radar

Jessi Robertson: A Voice for the Vulnerable

Jessi Robertson-Memory and Abandoned Parts Album Art

Jessi Robertson is a powerhouse voice that captivates you from the first note. In a world where music is often a safe place for personal expression, she stands out as a compelling voice for the vulnerable. With her vivid lyrics and haunting melodies, her over 15-year career as a musician has carved a way for herself in the folk and Americana music scene, captivating audiences with her raw honesty and emotional depth. Born in a small town in upstate New York, Robertson’s journey into music began at an early age. Robertson moved to Brooklyn in 2003, as she honed her craft, recognizing its ability to speak directly to the human experience with authenticity and sincerity. Once in BK, she released her debut album, “Small Town Girls,” in 2010, which gained much traction for its lyrics and soul-stirring melodies. Following this came her 2014 release “I Came From The War.” Throughout her career, Robertson has fearlessly tackled themes ranging from love and loss to social justice and mental health. Her most recent release, “Memory and Abandoned Parts (15-Year Anniversary Edition of Who We Are, What We Have Done)” is a re-release of her original 2008 album. She continues to push the boundaries of her artistry, as the release explores the complexities of the human condition. Robertson’s impact extends beyond the recording studio. Recognizing the power of music to effect change, she uses her platform to advocate for issues close to her heart. Whether performing at charity events or speaking out on social media, Robertson is committed to using her art as a force for good. Through her music, Robertson invites listeners to confront the complexities of the human experience with empathy and compassion, reminding us of the power of art to bridge divides and inspire change. As she continues to evolve as an artist and an advocate, one thing remains certain: Jessi Robertson’s voice will echo in the hearts and minds of listeners for years to come, leaving an indelible mark on the musical landscape.

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