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O
N 3
 VOLONESUMMER
 
 
20.
MEXICO OLYMPICS
The action that wasn’t televised.24.
SUMMER OF LOVE
 Aciiieeed comes to London.32.
EL CANTANTE
The Hector Lavoe story.36.
JUNOT DIAZ
 
Dominican tales of geekdom.40.
ZOOT SUIT CITY
Kid Creole goes to town.44.
NO SLEEP
Golden-era boom bap.46.
YOUNG DISCIPLES
The Road to Freedom.50.
OLD RARE NEW
Independent record stores.52.
JONNY TRUNK
Sex, nostalgia & vinyl mania.54.
CHAKA KHAN
 Yes we can.56.
YOSVANY TERRY
Spirit dance and Cubano chants.58.
CHARLES BURNETT
The blues in black and white.
CONTENTS
3
N 3
O
 VOL ONE SUMMER
 
INTRO...Let’s Get Lost, O Zelador, James Pants, Fever For Da Flava,PAPER CUTS:  Book of Warriors, Cody Hudson, Heavenly Sweetness,HEATWAVE, The Other Sideof Prince,FLASHLIGHT:Hypnotic Brass Ensemble @ ICA,LUVDANCIN:Jazz Re: Freshed, The Do Over & Boogieboxx... Shawn Jackson,MOST UNDERRATED:TwelveBeats & Terry Tester, The Long LostWE ARE...
18-19 
,SHOOK TEK 
60-61
,NOWTHEN(with Welson Creep)
62-63
,REVIEWS 
64-73 
EDITOR
: 
Jez Smadja
ART DIRECTOR
: Matt MonkeyBoxer www.inallforms.co.uk
CONTRIBUTING EDITORS
:
 
Sarah Marshall, AlBurton, Andy Thomas
ASSOCIATE EDITORS
:
Ben Verghese, MIchaelKrasser, Helene Dancer, Andres Reyes
CONTRIBUTORS
: Vince Vella, Ed Aarons,Simon Creasey, Arnaud Crassat, Mr.Beatnick, Alex Stevenson, Sanjiv Ahluwalia,Helene Dancer, Frank Dubya, Gabriel Mid-dleton, Gervase de Wilde, Johnny Chandler, Adam Hussam Murray, Gwyn Moxham, DomServini, Snoopy, Hugo Mendez, J’M Irie,Welson Creep, Gwen Webber, Dee Science, Adeola Johnson, ill WIll, Lady B, Paul Camo?, Alasdair Purves, Samera Owusu Tutu, Rap-hael Beretta, Kyoko Ishima, Nicky Dracoulis,Tamar Nussbacher, Matt Crossick, BenjiLehmann, Maga Bo, Mitchy Bwoy, Evgeniy K,Johnny Pitts, Keith Baker, Charles Waring,Will Page, J’M Irie, Adam Green, Ryan Proc-tor, Raggy, Garth Cartwright, Amar Patel,Max Cole, Kay Suzuki and Sunil Chauhan.
SPECIAL THANKS TO
Da Boss Paul Bradshaw,Mr BI & to everyone for supporting we thusfar...
SHOOK
130 Trent Gardens, London N14 4QG, UK 0044+ 208 292 4533www.shook.fminfo@shook.fmPrinted by: UPG, Tel.: 44 (0) 1344 382 111www.upgroup.co.uk 
 
In a gruff, whisky-barrelled voice, the narratorof this film half-whispers:
“Everybody has a storyabout Chet Baker. When Charlie Parker first heardChet play, he called Miles Davis and Dizzy Gillespie,and said, ‘This little white cat out here is going togive you a lot of trouble.’”Released in 1988, ‘Let’s Get Lost’ is notso much a documentary about Chet Baker, butrather an obsession with the magnetic personalityand ineffable cool of this West Coast wild child.Originally scheduled to be just a photoshoot withChet, photographer/director Bruce Weber endedup following him from the West Coast to the East, then across the waters to Europe. “At first I wanted to do some more photographs of him,” confidesWeber “but he seemed kind of frail, so I thoughtmaybe we should do a little three-minute film of thisman. Because you never knew whether you wouldsee him again, from day-to-day. He’d just disappear,go on the road, with no phone number, no address,no way to reach him, and I thought here was a way to have something of the way he moves and talks,along with his music.”As a photographer, Bruce Weber is mostfamous for his work with Calvin Klein– thehomoerotic 1980s underwear posters andKate Moss portraits are some of his best-knownwork– but he’s also directed a number of films.His first feature was ‘Broken Noses’, a study of theboxer Andy Minsker. A year later he returned with‘Let’s Get Lost’ and walked away with the CriticsPrize at the Venice Film Festival and a nod from theAcademy.Filmed in 1987, during the last months ofChet’s life, Weber discovers a withered man whohas long lost those pretty-boy looks which saw himlabelled ‘the James Dean of Jazz’. His teeth hadall been pulled out some time in the mid-‘60s (theworst blow a trumpeter could suffer), and yearsof heroin abuse had claimed the rest of him. Wefind nothing but pieces of a man – narcissistic,insecure, manipulative and unreliable. And yetdespite all of this, you can’t help be drawn to themystique, a man whose frayed edges render himoddly appealing.The viewer is thrown into the unpredictable butseductive world that Chet inhabits. We watch asbeautiful girl spins herself dizzy against the sunsetand the sparkling waters of Santa Monica Bay. Orwith Chet sat in the back of a drop-top car, with twowomen draped across him, as he whispers sweetnothings to them in Spanish. This ageing, possiblydying, playboy, with wrinkles etched deep into hisskin, is still trying to live the summer of eternal youth. It should be enough to make you writhe in your seat. But somehow he pulls it off. That wasChet Baker for you.He was born in Yale, Oklahoma in 1929.After receiving the gift of a trumpet as a boyand later cheating his way out of the army, Chet taught himself to play and sing, quickly rising toprominence in the 1950s West Coast ‘cool jazz’scene. The phenomenal tone Chet produced through his trumpet drew comparisons withMiles Davis (a man who once famously joked thatChet sounded “worse than me even while I was a terrible junkie”). Unlike Miles, though, Chet alwayssnubbed the experimental, choosing to stick withconventional romance and love songs. He wasa hopeless romantic and inspired those samefeelings in the people he met. In one interview,actor and screenwriter Lawrence Trimble recallsarriving in at the Paris jazz club Le Chat qui Pecheand attempting to engage a beautiful French girlin conversation. “Don’t talk to me – I’m in love withChet Baker,” she snapped. He could only reply “Soam I”.Perhaps this infatuation, felt so strongly byall whose he touched (not least by Bruce Weberhimself), is part of the appeal that his lovers JoyceKnight Tucker, Diana Vavra and Ruth Young and hislast wife Carol Baker try to explain to us through the film. Chet is always looking for sympathy, always trying to get us on side. His interviews are oftenincoherent, yet he looks past the camera with suchdoe eyes that you can’t help being put under hisspell.The mystery here, for both the filmmaker and the audience, is that the music and the image, theman and the myth, are all completely inseparable. You can help be spellbound as Chet’s silky loungelizard vocals segue seamlessly in and out of hisbursts of inspired trumpet playing, and transfixedat the same time by the image of his face, hollowedby years of drug abuse and perversely fascinating .Interviewed in Cannes in 1987 a heroin-starved Chet (who in his younger days used to walk from Paris to Rome just to cool out) reveals thathis favourite high, a speedball cocktail of heroinand cocaine, would rightly scare most people todeath. Ever a man of contradiction, Chet then tellsus about the values he tries to instil in his children– that they should find something they’re goodat doing and do it better than anyone else. Weare reminded that nobody could ever argue thatChet did anything otherwise. Try as we might tobe repelled by his drug abuse, his self-indulgenceor his attitude towards the women that loved him,we cannot fail to see Chet Baker as Bruce Weberclearly does – as a restless hero who let nothingget in his way. Says Weber, “I thought he’d outliveall of us. You have to remember he was a realcowboy from Oklahoma, he had this way of gettingover things.”
Let’s Get Lost is out now on DVD
NEW DVD RELEASE OF CLASSIC DOCUMENTARY
Words:
GWYN MOXHAM
 
“In late 2002 I travelled to Rio de Janeiro.
I visited several capoeira groups based in thesouth zone of the city. During one of these visitsI had the good fortune to meet with MasterRusso (the Russian). He cut a very strikingfigure. He came from Rio’s notorious northzone, far from Copacabana and Ipanema’s post-card beaches. Russo lived all his life in the vastBaixada Fluminense,” explains director DarenBartlett. “I attempted to explore Russo’s life,and to show the hidden beauty of the BaixadaFluminense, the sense of community andbelonging which exists there.”O Zelador (The Caretaker) takes a journeyinto the lesser-known side of Brasil as it is livedon a daily basis. It doesn’t indulge in favela- tourism or the glorification of AK-toting ghetto youths, but instead looks at one man’s struggle to preserve the traditions of capoeira againstall odds. During the military dictatorship inBrasil, from the ‘60s until the ‘80s, capoeiraand other forms of cultural expression werebrutally suppressed, while today, as capoeirahas become commercialised and exported glo-bally, Russo’s Roda de Caixas keeps the historicforms of the culture alive.“O Zelador’s worth for me is as a record ofblack cultural struggle, championing the Africandescendants’ hugely important cultural contri-bution to contemporary Brasil,” says Daren. For the viewer, however, it’s also the little insights– the inside of Russo’s house, the thoughts ofhis wife Eliane, and the shots of the Rio streets, that will stay with you long after the credits roll.
O Zelador is out now on DVD
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James Dwyer

For printed copies of the magazine, latest issues and latest news see www.shook.fm

reply12 / 16 / 2009
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