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Rick Scott
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Obituaries: B.C. Folk Favourite Rick Scott of Pied Pumkin, Noise Rock Pioneer Bill Exley of Nihilist Spasm Band
This week we also acknowledge the passing of Canadian classical music broadcaster and publicist Raymond Bisha, noise rock vocalist William Exley, U.K. rock vocalist Terry Reid, Australian rock 'n roll pioneer Col Joye, and Latin music pioneer Eddie Palmieri.
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Rick Scott, a Juno-nominated B.C. folk singer/songwriter and member of famed folk trio Pied Pumkin, died on Aug. 1, at age 77.
In its obituary, CHEK News calls Scott "a legendary Canadian singer-songwriter who pioneered rogue folk in the iconic B.C. trio Pied Pumkin, then toured widely as a gifted, versatile solo entertainer.".
"Scott, Shari Ulrich and Joe Mock rose to prominence in the mid 1970s in Pied Pumkin, a hugely popular group that played concerts across the country. Scott parlayed his musical prowess, onstage charisma and infectious sense of humour into a life of folk music, theatre and all-round family entertainment. His warm-hearted, participatory concerts won him fans from four generations in many countries."
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Pied Pumkin formed in 1973 in Vancouver, with Rick Scott on dulcimer and vocals, Joe Mock on guitar and vocals and Shari Ulrich on violin, alto sax, flute and vocals. On their own label, Squash Records, the band released two albums, Pied Pumkin String Ensemble, in 1975, and Allah Mode, in 1976, registering sales of over 30,000 copies.
Pied Pumkin came to an end when Ulrich left to join Valdy’s Hometown Band in 1976,, but Scott and Mock played on as Pied Pear, until 1983. Ulrich went on to major Juno-winning success as a solo folk artist and remains very active, while Mock pursued a solo career in Japan and now lives in France.
All three original members of the Pied Pumkin reunited in 1998 for a tour and the release of the album Plucking DeVine, nominated as Best Folk/Roots Album at the Pacific Music Industry Awards. The live album Pied Alive followed in 2000, and it featured material recorded during a hugely successful 33 concerts tour of Western Canada. Then came a children's album, Pied Pumkids, in 2007, and it won a Canadian Folk Music Award for children's album of the year.
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The group regularly had reunion tours between 1998 and 2007 and played at the 35th anniversary of the Vancouver Folk Music Festival. Their final reunion was in 2019 at Vancouver’s Rogue Folk to celebrate Rick Scott’s induction into the BC Entertainment Hall of Fame.
Scott had a prolific career as a solo artist, releasing many recordings and playing thousands of solo shows at festivals, schools and concert halls in Canada, the United States, Australia and Southeast Asia. He received three Juno Award nominations and Parents Choice, West Coast Music Awards and Canadian Folk Music Awards. In July 2025, he was honoured with the 2025 BC Live Touring Award of Excellence.
Scott's wife and manager Valley Hennell co-wrote and produced his children’s albums, and in 2012 they co-wrote THE GREAT GAZZOON, a musical audio novel on 4 CDS.
CHEK observes that "on the stage, Scott was both zany and a poignant storyteller and educator. A self-taught virtuoso on the Appalachian mountain dulcimer, he was also an accomplished luthier. During the height of the COVID-19 pandemic, he taught a group of doctors and recently, Fred Penner, to build their own dulcimers. He documented his unique playing style in free lessons and stories on his free YouTube channel."
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"He also played a red plastic trombone, often with the Vancouver Island Symphony for whom he created the educational show My Symphony to introduce young audiences to orchestra."
The Mission Folk Music Festival paid tribute to Scott on Facebook: "From his first festival appearance with Pied Pumkin in 1989 (our 2nd annual event) to his other unforgettable collaborations, Rick Scott held a special place in the Mission Folk Music Festival community — most recently when he took to the Main Stage in July 2019 as part of Roots & Grooves, his vibrant duo with keyboardist Nico Rhodes.
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"That performance exemplified his spirit of intergenerational connection, blending rhythm, roots, groove, and storytelling in one joyous set. His 2019 appearance was emblematic of his life’s work: weaving music, mentorship, and mischief into a tapestry that brought people together. It wasn’t just a performance, it was an invitation to play, to laugh, and to belong. At Mission, he didn’t simply perform folk music; he embodied its communal heart."
In a Facebook post, Vancouver Folk Music Festival also offered homage: "Rick Scott was more than a musician — he was a passionate storyteller, humourist, and an advocate whose work transcended generations. Rick brought the Appalachian dulcimer into the heart of Canadian folk music, blending whimsy and wisdom into songs that delighted both children and adults.
"Rick Scott founded the iconic B.C. folk trio Pied Pumkin, along with Joe Mock and Shari Ulrich. Rick also toured widely as a versatile solo artist. Offstage, Rick was a passionate advocate for inclusion and accessibility. His partnership with the Vancouver Adapted Music Society and his work in schools and hospitals spoke to a lifelong belief that music could heal, connect, and empower.
"Some of you may know that Rick was the Goodwill Ambassador for the Down Syndrome Resource Foundation. He wrote the anthem 'Angels Do' and organized special events for individuals with Down syndrome, emphasizing his belief in their potential to live full, beautiful lives. To read more, including memories from Festival co-founder Gary Cristall, visit here."
Scott's bandmate Shari Ulrich sent Billboard Canada an eloquent tribute that will be featured in her newsletter. It reflects upon "the swirling whirling dervish of memories and emotions from the reality of the loss of the once-in-a-lifetime Rick Scott. The man who formed the seeds, soul, the rhythm and the heart of the 'Pied Pumkin' and of course went on to be a beloved children's’ artist, thespian, author, and circling back to the Pumkin on to other collaborations.
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"As I’ve said many times, I attribute to Rick Scott, Joe Mock and the Pumkin my grounding in music that launched within me some of the most key core values and perspectives I still hold: how to be in it; play it; share it; and not take oneself too seriously. They were the first group I fully latched onto — in 1974 — that grew very naturally into a phenomenon of orange revelry.
"They were the core foundation that set me on a course with music that has sustained me in ways I can only begin to convey. They taught me the sheer joy and honour of making music, and how remarkable it was to watch it work its magic on everyone in the room. And believe me, no one could get a whole room as zealous as the ever-exuberant Rick Scott. Witnessing his ability to create completely spontaneous rhyming rap on stage was mind boggling. He was ON. Right down to the end.
"Rick had the tenderest of hearts. You can bet that just like his most-recent musical partner and pianist extraordinaire in Roots & Grooves, Nico Rhodes, thousands saved the precious hand-written letters he wrote back to every child who wrote him. Scribed in Rick’s impressive calligraphic style and stamped with one of the very cool carved stamps he collected, he was dedicated to making sure every letter was very personally replied to and a little piece of art. It was important to him that each child feel special.
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"Rick was a performer like no other. Any who saw him will agree. His wild energy that beamed 'Damn this is fun!! Let’s go!!' and his infallible kick-ass rhythm would fly out of that dulcimer. I mean, it’s an Appalachian mountain dulcimer for godsake! Usually played passively on one’s lap and created for a whole other genre of music. And he just grabbed that thing off a music store wall in Texas, strapped it on like a guitar, and molded it into his entire unique musical being. He infused it with everything and everyone he was. He messed with tunings, and wrote songs like no one had ever heard before. He wore it like it was his life-source. He had a physicality to his performance that bobbed and weaved and grooved and flew around that stage like he was a quidditch broom. His physical comedy was unparalleled."
“'The Real Deal' can be defined many ways. But he was the real real deal, with a truly generous heart, utterly original talent and musical aesthetic, and who really just wanted to leave every show, every person he encountered, and the world, a little lighter.
And indeed, he gave us all a lifetime of laughter and music to lighten the load. So loving and so loved. Safe home Ricky.
Raymond Bisha, a Canadian classical music publicist, marketer, record label executive and podcaster, died on Aug. 5, at age 68. A cause of death has not been reported.
The news was shared in a statement by Naxos, the renowned classical music label that Bisha worked for in Canada, and then in New York City. That statement reads: "It is with great sadness that I share the heartbreaking news that our Naxos colleague and friend, Raymond Bisha, has passed away.
"Raymond was not only a dedicated member of the Naxos team for nearly 30 years, but also someone who brought kindness, professionalism, and warmth to everyone he worked with. Raymond’s numerous contributions, including his 20-year long-running Naxos Classical Spotlight podcast, the creation of Naxos en Español, various marketing and PR initiatives, as well as his role in Label Relations at Naxos, have made a meaningful impact, and his presence will be deeply missed."
Bisha studied French horn formally in Detmold and Cologne, Germany, then earned his Bachelor of Music Performance at the University of Toronto. Returning to Germany, he played for two years in a touring opera orchestra (the Landestheaterorchester) before transitioning to arts management at George Brown College in Toronto.
He then worked for the Canadian Opera Company in Toronto as a Tour Manager and Television Production Manager, 1987-90.
According to his Linkedin profile, Bisha then moved to CBC Radio 2, as a producer, Studio Director and Programmer for Stereo Morning, the national classical morning show on CBC Radio 2. He was there from 1990 to 1995, then joined Naxos of Canada as a publicist. He worked in that role from 1995 to 2004, and also produced two best selling albums, The Mystery of Christmas with the Elora Festival Singers), and Introduction to Canadian Music.
Bisha then relocated to New York City to assume leadership of PR for Naxos of America. He remained with the label until his passing, assuming many different roles, including director of marketing, PR and label management and, most recently (from 2018 to 2025), as senior VP of marketing and sales.
Bisha was long a very active podcaster, starting the Naxos Classical Spotlight podcast series in 2005 and continuing that into this year. He produced over 600 podcasts, many featuring notable names in the classical music world, including Canadian artists Jacques Hetu and Gryphon Trio.
After his passing, many of Bisha's peers and colleagues offered tributes on social media. On Facebook, former head of CBC Records and classical music radio producer Randy Barnard posted: "This is incredibly sad news as Raymond was an innovative champion for classical music, Canadian classical music-making especially.
"I worked with Raymond at CBC Radio Music before he joined Naxos and as he did then, his inspired devotion was to be admired. CBC Records was a small (but mighty) label when it signed onto Naxos in those early days and took criticism for the partnership. With Raymond, Sean Hickey and others in our corner it proved to be a wonderful partnership. I looked often to his guidance and keen understanding, both practical and political in what was a long and mutually beneficial distribution relationship. His humour and undeniable knowledge and passion will be missed. Condolences to his family, colleagues and friends. Thank you and RIP."
Noted classical musician, composer and label head Pentatone Music), Sean Hickey posted this tribute: "It is with deep sadness that I share the passing of a dear friend and colleague Raymond Bisha. As many know, Raymond contributed to the growth and development of Naxos for nearly three decades after a career in radio and as a professional hornist.
"He was one of the very first to produce a classical music podcast, Naxos Classical Spotlight, some twenty years ago, and produced and developed Naxos en Espanol to serve classical-curious Spanish-speaking listeners. He and I worked closely together, traveled widely for work, and shared more than a few pints in our beloved adopted home of New York, and elsewhere. His dedication to the promotion of classical music was straightforward and inspiring to me and to so many, and could be boiled down simply: I love this; I think that you might too. His humor, compassion, drive and spirit will be deeply missed by all of us."
A longtime close colleague of Bisha, Glenda Rush forwarded this tribute to Billboard Canada: “I’ve had the honour of working alongside Raymond Bisha as publicist with Naxos of Canada and Naxos of America. He was a beautiful music man — one of the great ones who truly understood artists, music, media, and what it means to do right by a project, not just for the industry, but for art and for humanity. Raymond was one of those rare people who could move through so many genres of music with love, respect, and genuine enthusiasm. It has been a privilege to work alongside him. May his memory forever be a blessing.”
Read an official obituary here.
Bill (William Arthur) Exley, a London, Ontario-based performer and teacher best known as a member of the acclaimed and avant-garde Nihilist Spasm Band, died on July 15, in his 85th year.
A Museum London obituary called Exley "a force of creativity, intellect, and inspiration whose legacy continues to echo across generations.
"As head of the English Department at Elmira District Secondary School in Southwestern Ontario for over 30 years, he shaped such young minds as bestselling author Malcolm Gladwell and New York Times media editor Bruce Headlam.
"But Bill’s influence didn’t stop at the classroom door. For nearly six decades (1965–2024), he was the unmistakable voice of the Nihilist Spasm Band, one of London’s most iconic and unconventional musical groups. As a founding member, he performed alongside legendary artists like Greg Curnoe, John Boyle, and Murray Favro, taking their homemade instruments and boundary-pushing sound across North America, Europe, and Japan.
"In 2021, we were honoured to have Bill participate in our 80th anniversary exhibition, where he reflected on a cherished artifact from our collection, Greg Curnoe’s Nihilist Spasm Band Megaphone and Stand (1966): Bill’s voice — both literal and metaphorical — continues to resonate. During your next visit to the Museum, you’ll find his spirit woven into some of our current exhibitions: an instrument in London: A History, photos captured by Don Vincent in Fashion: Grit, Glamour and Guts, and Living Room Jam Sesh, a student-led tribute to the enduring influence of the Nihilist Spasm Band in London, now a designated UNESCO City of Music."
Formed in 1965, The Nihilist Spasm Band earned an international cult following, and are recognized as an influence on such fellow 'noise rock' bands as Sonic Youth, Negativland and Einstürzende Neubauten. NSB once opened for Sonic Youth in Toronto, and, when visiting London for a performance, members of R.E.M. jammed with them.
Zev Asher's documentary film What About Me: The Rise of The Nihilist Spasm Band premiered at the Toronto International Film Festival in 2000. The documentary explores the legacy of the NSB as Canadian noise music pioneers.
The Nihilist Spasm Band were inducted into the London Music Hall of Fame in 2003, alongside Helix, the Demics and several other artists.
In an Instagram tribute, Thurston Moore, of legendary American band Sonic Youth, posted that "Bill Exley the greatest lead vocalist in the history of music has passed away. So grateful to have seen him perform with his legendary group Nihilist Spasm Band in their home base of London Ontario as well as NYC and have actually had the honor of jamming with them. Bill was astonishing. Johnny Rotten was Bobby Goldsboro compared to this guy. We will miss him."
International
Eddie Palmieri, the Grammy Award-winning pianist, bandleader, musician, and composer of Puerto Rican ancestry who revolutionized Latin jazz and salsa over a more than seven decades career, has died on Aug. 6, at age 88. A Billboard obituary calls Palmieri "One of the most influential figures in Latin music history. He was born in Spanish Harlem to Puerto Rican parents and was greatly influenced by his older brother, the pioneering Latin pianist Charlie Palmieri."Known for pioneering progressive salsa and Latin jazz, blending American jazz with Afro-Caribbean rhythms, Palmieri founded in 1961 La Perfecta, a band that redefined salsa with its use of trombones in place of trumpets, introducing a new sound that became Palmieri’s musical signature. His 1965 classic 'Azúcar Pa’ Ti' has been recognized for its cultural significance — in 2009, it was inducted into the Library of Congress of the United States. He also blended Latin music with funk, soul, and socially conscious messaging in his innovative 1971 album Harlem River Drive."
A Guardian obituary called Azúcar pa’ Ti (Sugar for You) "a pioneering Latin American recording that laid a blueprint for what would soon be recognised as the New York salsa sound. The eight-minute long 'Azúcar' got heavy radio play on jazz radio stations that previously had kept to the three-minute format."
In 1976, Palmieri won the first Grammy Award ever given in a Latin category — then called Best Latin Recording — for his album The Sun of Latin Music.
On the Billboard charts, Palmieri had seven entries on the Jazz Albums ranking – from Palmas (1994) to Listen Here! (2005) -– and eight entries on Top Tropical Albums, including three top 10s: Obra Maestra: Mastepiece (2000) with Tito Puente, Ritmo Caliente (2003), both of which reached No. 5, and Eddie Palmieri Is Doin’ It In The Park: The EP (Soundtrack), which peaked at No. 7. He also had presence on Traditional Jazz Albums (nine entries, two of them in the top 10), Top Latin Albums (one entry at No. 7) and Tropical Airplay (one entry).
Palmieri won the NEA Jazz Masters Award as well as eight Grammy Awards and a Latin Grammy. He received a lifetime achievement award from the Latin Recording Academy in 2013.
“It is with deep sorrow that we mourn the passing of maestro Eddie Palmieri, a pioneer of salsa, a visionary of Latin jazz, and an eternal revolutionary of rhythm,” the Latin Recording Academy said in a statement. “His talent broke barriers, merging tradition with innovation and leaving an indelible mark on generations of musicians and music lovers. […] He always had a deep commitment to culture, and his invaluable contributions cemented him as one of the great pillars of the Latin sound worldwide.”
In an extensive tribute in The Guardian, Garth Cartwright recalled that "some 20 years ago I watched as Eddie Palmieri approached his piano, noting how his features radiated a mix of joy and excitement. As soon as he began to play I grasped why. To say the great Puerto Rican New Yorker was a thrilling performer is an understatement: seated at the piano he threw himself into playing explosive Latin jazz, his rhythmic attack reminding me how his first job as a professional musician was playing timbales in his uncle’s band aged 13. This sense of joy, the excitement he found in making music, the chances he took, helped shape Eddie Palmieri’s long, brilliant career."
"To my mind, Palmieri was one of the truly revolutionary figures of postwar American music, up there with Muddy and Miles and Aretha and Dolly: a musician who reshaped a genre and extended the music’s possibilities. 'El Maestro' is how his fans and fellow musicians referred to Eddie, and this human hurricane, built like a fire hydrant with the brightest smile and a mischievous twinkle in his eye, never disappointed."
"Eddie had helped pioneer and popularise salsa but, once it became a popular dance genre, he moved on, always experimenting, never resting on laurels. He loved to collaborate and his albums with the likes of Cal Tjader, La India, Tito Puente and his brother Charlie are all masterful. His adventurous nature meant he was invited to play on 1997’s Nuyorican Soul album by Masters at Work – this album took New York’s Latin flavours into the house music genre and won Palmieri a new audience."
Terry ((Terrance James) Reid, a critically acclaimed English rock singer-songwriter, died on Aug. 4, at age 75, of cancer.
A Guardian obituary notes that "Terry Reid’s remarkable singing voice ensured he stood out in a golden age of British rock vocalists. So much so that in the late 1960s both Jimmy Page and Ritchie Blackmore, the respective guitarists and leaders of the heavy rock bands Led Zeppelin and Deep Purple, approached him to front their groups.
"That Reid turned them both down could have reduced him to a footnote in rock history, yet his singular talent continued to be recognised by musicians from Aretha Franklin to Dr Dre. Reid’s lack of chart success — he would only release six studio albums in a career that spanned almost 60 years – should not detract from his achievements. Alongside his powerful voice (his nickname was 'Superlungs'), he was also a gifted guitarist and songwriter, while two of his albums, River (1973) and Seed of Memory (1976), would achieve retrospective critical acclaim and find, once reissued, a far wider audience than when first released."
Reid was known for his supportive attitude to fellow musicians. The Guardian reported that when he turned Jimmy Page's job offer down, "Reid recommended he seek out Robert Plant, a teenage vocalist that he had encountered in the Midlands, and his band’s drummer, John Bonham, and thus Led Zeppelin was born. “It’s good to check your ego and support other artists’ visions,” Reid told the Guardian in 2024, adding, “I’m part of a society of musicians and I love that I can go out there and sing.”
When declining Page, Reid recommended he seek out Robert Plant, a teenage vocalist that he had encountered in the Midlands, and his band’s drummer, John Bonham, and thus Led Zeppelin was born. “It’s good to check your ego and support other artists’ visions,” Reid told the Guardian in 2024, adding, “I’m part of a society of musicians and I love that I can go out there and sing.”
Reid's vocal talent was recognised from an early age, and he joined English band the Jaywalkers at age 15. He honed his chops singing R&B hits in pubs and clubs across Britain. Keith Richards and Mick Jagger witnessed a performance at the Marquee club in 1966 and invited the Jaywalkers to join the Rolling Stones’ UK tour alongside Ike and Tina Turner and the Yardbirds, featuring Page, who would later invite Reid to join his new band.
Reid chose to go solo instead, in 1968, and he signed to legendary pop producer Mickie Most. A debut album that year, Bang, Bang You’re Terry Reid, was a commercial failure, though a Billboard obituary notes that "The LP featured a song he wrote at age 14 — 'Without Expression' — which would later be covered by John Mellencamp, REO Speedwagon, The Hollies and Crosby, Stills, Nash & Young." An eponymous second album in 1969 was sabotaged by Most's failure to promote it.
After relocating to California, Reid continued to tour, amidst litigation with Most. Billboard reports that in "1973 Reid was signed by Atlantic boss Ahmet Ertegun and released River, a critical success, but he eventually left for ABC Records for his follow-up Seed of Memory (1976). River was another commercial disappointment at the time, it gained a larger audience via a reissue in the early 2000s.
His friend Graham Nash produced Seed of Memory, and this was followed by Rogue Waves (1978) and 1991 album The Driver, produced by Trevor Horn. None of the albums sold well.
A foundering career picked up some steam via a Monday night residency at a Beverly Hills bar, and subsequent U.K. dates, including appearances at the to Womad and Glastonbury festivals alongside summer tours and residencies at Ronnie Scott’s famed London jazz club. This led to the 2012 Live In London album, his final release.
Over the years, Reid performed and/or recorded with musicians from the Brazilian vocalist Gilberto Gil, through Jackson Browne and Bonnie Raitt to the rap producer Dr Dre.
The Guardian notes that "His songs also began to be placed in Hollywood films, while the actor Johnny Depp funded new recordings by Reid (so far unreleased). A U.K. tour for this September was cancelled after Reid was diagnosed with cancer in June." In 1969, he joined Fleetwood Mac and Cream as a support act on tour and was a close friend of Jimi Hendrix during his time in London.
Col Joye (Colin Jacobsen), the pioneering musician and ARIA Hall of Famer renowned for his bringing rock and roll to the top of the local Australian charts for the first time, has died, at the age of 89.
A Billboard obituary notes that "Joye first began his journey into the world of music in 1957, performing as part of his brother Kevin Jacobsen’s group, the KJ Quintet. The name was changed to Col Joye and the Joy Boys, and in 1959 Joye and his bandmates hit No. 1 on the Sydney charts with 'Bye Bye Baby.' That same year, they became the first Australian artist to hit No. 1 on the national charts with 'Oh Yeah Uh Huh,' which enjoyed four weeks at the top.
"Further top ten hits followed, with the group becoming staples of television program Bandstand throughout the ’60s, ahead of Joye’s final chart-topper, 1973’s 'Heaven Is My Woman’s Love.'"Joye and brother Kevin were also successful music entrepreneurs, setting up their Joye Enterprises and Joye Music companies, alongside their label and talent agency ATA. One of their big successes in this field came by way of their signing of the Bee Gees, who came to their attention following a 1961 performance in Queensland.
In 1988, Joye was one of the inaugural inductees into the ARIA Hall of Fame, sharing the honor with fellow acts such as Joan Sutherland, Johnny O’Keefe, Slim Dusty, AC/DC and songwriting and production duo Vanda & Young.
“From music to TV, publishing to concert promotion, artist management and live performances, Col Joye made a remarkable contribution to Australian music for more than six decades,” ARIA CEO Annabelle Herd said in a statement.
“At a time when the local industry was dominated by US and UK artists, he proved that Australians would embrace local artists and local music. Our deepest condolences go to Col’s family. He will be sadly missed."
In its obituary, The Sydney Morning Herald notes that "Australia had not really had a true rock teen idol, certainly not one as accommodating as Col Joye. It has been said that, in the more than 60 years since he began his professional career, he was as well known as any prime minister … and perhaps even more popular than most."
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