Tag Archives: Curtom Records

Reggie Torian of The Impressions gives his impressions of Curtom, Curtis Mayfield, and more.

The-Impressions-Finally-Got-Myself-Together-LP-Back

In this installment of Reclaimed Soul (sort of the radio version of this blog), check out host Ayana Contreras’ interview with Reggie Torian of The Impressions (that’s him sitting on the bumper of that antique Rolls Royce). He’s been a part of Chicago’s own Impressions (“Keep on Pushin”, “Gypsy Woman”, etc.) for 40 years. And he’s got a lot to say. He talks about the group, Curtom Records, and more. We also hear some of the music he helped to create.

The Impressions counted Curtis Mayfield as both member and principle songwriter during the 1960s and early 1970s before he went solo. Curtom Records was Curtis Mayfield’s Chicago-based record label that was home to the Impressions for nearly a decade. It was also the one-time label of The Five Stairsteps, The Natural Four, Leroy Hutson, The Jones Girls, Linda Clifford, Rasputin’s Stash, Baby Huey and the Babysitters, The Staple Singers, and more.

Catch Reclaimed Soul Thursdays at 8pm (CST) on vocalo.org or over the air on 89.5fm (NWI) and 90.7fm (CHI)

 

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I’m a sucker for colored wax; but this is more than just a pretty face.

 

clear curtis mayfield 45

I just found this lovely promo record. As you can see, it’s Curtis Mayfield’s “We Got to Have Peace”. It’s from the album Roots that he released back in 1971. The album was released months before Superfly, and it is just as wonderful.

Released on Curtom Records (Curtis’ own label), this promo is pretty rare. Colored vinyl (especially on 45) from this period is quite rare, in fact. Rarer still is a vanity label (unique to the release). Generally speaking, colored vinyl promos were created to make people (DJs particularly) stop and take notice.

And notice I did, 40 some years later.

In the year following the epic 1970 album Curtis, Mayfield was mounting a campaign to fully express himself as a solo artist in ways he couldn’t as a member of the arguably more conservative Impressions.

In his initial solo outings, the songs were markedly longer, basslines were funkier, African percussion became prominent, and horns a bit jauntier. But Mayfield’s commitment to exploring the full spectrum of black experience (something very evident in Impressions records) never wavered. Curtis was particularly keen at expressing voices of Urban Black Men: those who struggled, scratched, loved, dreamed, and believed. His expressions are still relevant today, wrought with eloquent and earthy simplicity. As far as I’m concerned, “Move on Up” is a Black National Anthem.

Witness an artifact.

Jive on.


Groove Conspiracy… coming this Thursday.

Join DJ Ayana and Simeon Viltz (of the Primeridian) as we stretch out musically at Morseland.  I’ll be spinning with a Chicago accent, as always, and will be featuring local treasures including a cut or two by Leroy Hutson.  A college friend of both Donny Hathaway and Roberta Flack (all attended Howard University), Hutson was on Curtis Mayfield’s Curtom Records in the 1970s (listen below to 1976’s “Lover’s Holiday”, and for more on Leroy, click here).

Groove Conspiracy. All vinyl, no cover. Jive on!