Monday, June 30, 2014

Chris Sullivan





This is my friend John's son, a very talented musician. I think that he lives in Kentucky but he might actually be in Nashville. I always look forward to his visits.

Procol Harum - She Wandered Through The Garden Fence (2001)


One of the truly great voices in rock. I heard him perform Percy Sledge's "When a Man Loves A Woman" live several years ago and it was literally amazing!

Procol Harum - Simple Sister live

                                  Pretty great live performance of one of their best.

Friday, June 27, 2014

The Charlatans - Codine

The Charlatans - We're not on the same trip

Thomas Dolby - I Scare Myself (HD)

Dan Hicks & his Hot Licks 1972

Dan Hicks & His Hot Licks - I Scare Myself

It's a Beautiful Day-White Bird

H P Lovecraft - The white ship

Spin, Spin, Spin ~HP Lovecraft





Terry Callier was born in the North Side of Chicago and raised in the Cabrini-Green projects. He learned piano, was a childhood friend of Curtis Mayfield, Major Lance and Jerry Butler and began singing in doo woo groups in his teens. In 1962 Collier auditioned for Chess Records, where he recorded his debut single, "Look at Me Now". While attending college, he began performing in folk clubs and coffee houses in Chicago, becoming strongly influenced by the music of John Coltrane. Callier met Samuel Charters of Prestige Records in 1964, and the following year they recorded his debut album, released in 1968 as The New Folk Sound of Terry Callier. Two of Callier's songs, "Spin, Spin, Spin" and "It's About Time", were recorded by the psychedelic rock band H.P. Lovecraft in 1968, for their album H.P Lovecraft II. H. P. Lovecraft featured fellow Chicago folk club stalwart George Edwards who would go on to co-produce several tracks for Callier in 1969.

H.P. Lovecraft - It's about time (1968)



'It's About Time' and 'Spin Spin Spin' were written by Terry Collier.

Thursday, June 26, 2014

Renaud Garcia - Fons - La Linea del Sur (HD FULL CONCERT)





Not jazz bass, but flamenco/world music bass from a French double-bassist of Spanish descent.

Complete concert in HD sight and sound. Watch this for something completely different, amazing, great.

Thursday, June 19, 2014

John Lee Hooker - Johnny Rivers (Lp Mono 1967) 2ª ed.wmv

Johnny Rivers A Whiter Shade Of Pale



Leslie and I went to the Del Mar Fair today to see Johnny Rivers, one of my favorites. Paper said it started at 3 but it actually started at one and I missed it entirely. Bummer!

Wednesday, June 18, 2014

Tuesday, June 10, 2014

Grateful Dead ~ Help on the Way



I had just come back from a year in the middle east, flew into New York to see my mother and deal with a rather pressing medical issue. The dead were playing up in Boston and I thought what the hell. I had seen them there three years earlier in 1973 at the very same Boston Music Hall. They did not disappoint. I was treated to a wonderful series of shows. Hard to believe that it has been 38 years...This show is from 6.10.76. I don't remember a whole lot except for dropping a frisbee catch from the upper deck with all eyes on me.

The highpoint of this show was the rare performance of Mission in the rain. Two days later we were treated to an absolutely lysergic version of Comes a Time.

The Grateful Dead provided a musical environment that one simply could not get anywhere else. I guess at the time we sort of took it for granted, thought that it would last forever. But nothing ever came close to filling the vacuum. Because it engaged on so many levels. Glad I was there to enjoy the ride while it lasted.

Friday, June 6, 2014

John Lennon - Instant Karma! Single Tracked Vocals)

Long John Baldry Band 'Flying'

I Want To Make The World Turn Around - Steve Miller Band. HD



Sax intro by Kenny G. I like it.

Gee Kenny!

My musician friend Dave and I were over at Kip's listening to his awesome sound system the other day when the topic lit on Metheny and Kenny G.  Dave was telling me about Pat's infamous Kenny G rant and sent it to me this morning. I republish it for your reading pleasure. I think that Kenny G has actually done some nice stuff but my sax taste runs more to King Curtis and Junior Walker so what do I know?

Pat Metheny's Initial Message Board Comments on Kenny G

(June 5, 2000) kenny g is not a musician i really had much of an opinion about at all until recently. there was not much about the way he played that interested me one way or the other either live or on records. i first heard him a number of years ago playing as a sideman with jeff lorber when they opened a concert for my band. my impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like grover washington or david sanborn, but was not really an advanced player, even in that style. he had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues- lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble - lorber was basically playing him off the bandstand in terms of actual music. but he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the keys moments to elicit a powerful crowd reaction (over and over again) . the other main thing i noticed was that he also, as he does to this day, play horribly out of tune - consistently sharp.

of course, i am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. this controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years.

and honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. there must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than kenny g on his chosen instruments. it would really surprise me if even he disagreed with that statement.

having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right “bait” of a question, as i will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all.

stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. it’s just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. so, lately i have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.

and after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? he SHOULD be compared to john coltrane or wayne shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument’s legacy and potential.

as a composer of even eighth note based music, he SHOULD be compared to herbie hancock, horace silver or even grover washington. suffice it to say, on all above counts, at this point in his development, he wouldn’t fare well.

but, like i said at the top, this relatively benign view was all “until recently”.

not long ago, kenny g put out a recording where he overdubbed himself on top of a 30+ year old louis armstrong record, the track “what a wonderful world”. with this single move, kenny g became one of the few people on earth i can say that i really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.

this type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when natalie cole did it with her dad on “unforgettable” a few years ago, but it was her dad. when tony bennett did it with billie holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. when larry coryell presumed to overdub himself on top of a wes montgomery track, i lost a lot of the respect that i ever had for him - and i have to seriously question the fact that i did have respect for someone who could turn out to have have such unbelievably bad taste and be that disrespectful to one of my personal heroes.

but when kenny g decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-***, jive, pseudo bluesy, out-of-tune, noodling, wimped out, ****ed up playing all over one of the great louis’s tracks (even one of his lesser ones), he did something that i would not have imagined possible. he, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, **** all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that louis armstrong brought to every single note he played over an amazing lifetime as a musician. by disrespecting louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, kenny g has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of. we ignore this, “let it slide”, at our own peril.

his callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring.

since that record came out - in protest, as insigificant as it may be, i encourage everyone to boycott kenny g recordings, concerts and anything he is associated with. if asked about kenny g, i will diss him and his music with the same passion that is in evidence in this little essay.

normally, i feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don’t really benefit from public criticism, particularly from their fellow players. but, this is different.

there ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, louis armstrong and his music is hallowed ground. to ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and i refuse to do that. (i am also amazed that there HASN’T already been an outcry against this among music critics - where ARE they on this?????!?!?!?!- , magazines, etc.). everything i said here is exactly the same as what i would say to gorelick if i ever saw him in person. and if i ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.)

NOTE: this post is partially in response to the comments that people have made regarding a short video interview excerpt with me that was posted on the internet taken from a tv show for young people (kind of like MTV) in poland where i was asked to address 8 to 11 year old kids on terms that they could understand about jazz.

while enthusiastically describing the virtues of this great area of music, i was encouraging the kids to find and listen to some of the greats in the music and not to get confused by the sometimes overwhelming volume of music that falls under the jazz umbrella. i went on to say that i think that for instance, “kenny g plays the dumbest music on the planet” - something that all 8 to 11 year kids on the planet already intrinsically know, as anyone who has ever spent any time around kids that age could confirm - so it gave us some common ground for the rest of the discussion. (ADDENDUM: the only thing wrong with the statement that i made was that i did not include the rest of the known universe.)

the fact that this clip was released so far out of the context that it was delivered in is a drag, but it is now done. (it’s unauthorized release out of context like that is symptomatic of the new electronically interconnected culture that we now live in - where pretty much anything anyone anywhere has ever said or done has the potential to become common public property at any time.) i was surprised by the polish people putting this clip up so far away from the use that it was intended -really just for the attention - with no explanation of the show it was made for - they (the polish people in general) used to be so hip and would have been unlikely candidates to do something like that before, but i guess everything is changing there like it is everywhere else.

the only other thing that surprised me in the aftermath of the release of this little interview is that ANYONE would be even a little bit surprised that i would say such a thing, given the reality of mr. g’s music. this makes me want to go practice about 10 times harder, because that suggests to me that i am not getting my own musical message across clearly enough - which to me, in every single way and intention is diametrically opposed to what Kenny G seems to be after.      


Rickie Lee Jones - I Won't Grow Up - Pop Pop

Wednesday, June 4, 2014

Just Suppose - 1970

Bordeaux Rose by Fairfield Parlour (1970)

Fairfield Parlour - Sunny Side Circus


Post Kaleidoscope....a great unheralded early 70's UK band with some very tasty LP's.

Kaleidoscope - Dive Into Yesterday

octopus - syd barrett

Pink Floyd - See Emily Play

Tangerine Dream - Lady Greengrass (The Ones)





This is from the only single recorded by The Ones, Edgar Froese's first band.

A Froese interview was published by U.K. magazine 'Let It Rock' around 1978 and he said Tangerine Dream was indeed inspired by the lyrics of Lucy In The Sky With Diamonds.

Got To Give It Up (Parts 1 & 2) - Marvin Gaye (1977)

BLOODSTONE - NATURAL HIGH

Monday, June 2, 2014

alejandro escovedo pale blue eyes paris

BUDDY MILES - Down By The River

Sir Douglas Quintet - I don't want

Feldthouse Family Circus

Far East Man - George Harrison

JONI MITCHELL - AMELIA

Giles, Giles & Fripp "One In A Million"





Robert Fripp's first band - I can hear King Crimson in there somewhere. The flute.

The Nice - Flower King Of Flies (Swedish Radio 1967)





Live cut from Keith Emerson's pre E.L. & P band. Their debut album The Thoughts Of Emerlist Davjack is sometimes considered the first truly 'progressive rock' album.

Kaleidoscope - A Dream For Julie (1968)





From Kaleidoscope's first album ' Tangerine Dream '... is this where Tangerine Dream got their name ?

Flight From Ashiya - Kaleidoscope





U.K. psych band