Tasty Licks

For all you hungry bluegrass fans out there, I have a treat, a tasty one. This next album was among my early favorites in the bluegrass realm. Back when I was able to frequent festivals and keep up with every issue of Bluegrass Unlimited, the band, Tasty Licks, and it's first album (self titled) was a frequent flier on my turntable and car stereo. They have such a unique vocal sound. Jack Tottle and Robin Kincaid both having rather high registers to their voices, yet the results are so natural and relaxed. Of course, with Bela Fleck anchoring the banjo licks on this team, there is plenty of spice and surprises to make for a great bundle of old fashioned bluegrass and exciting new fangled fun. You'll hear some incredible dobro work from Stacy Phillips and bass fiddle man Paul Kahn adds the bottom parts instrumentally and vocally with great aplomb. All in all a real classic in my book. Every song is solid stuff although I am always a sucker for a good cover and I think "Listen To The Rhythm of the Fallin' Rain" is a blast. "Sweetheart of Rainy Days" (by Kincaid) is another killer tune. Ultimately I find the whole album to be a non-stop hit. You'll note a lot of unusual twists to the rhythm throughout many of the songs, odd syncapation that keeps you on your toes. "Lathe Machine" is a very enjoyable instrumental and there's also a wonderful gospel treatment on "If You Don't Love Your Neighbor". I hope you will enjoy getting a taste of what these guys were way back in the late seventies. These were some of the guys responsibile for the relative revolution in bluegrass that we witnessed at the time, right up there with beer can collecting, except much better and here to stay thankfully!

Lix

Tasty Licks - (Self-Titled) - 1978
Rounder 0106

Ridin' The Back Road
Sweet Rhythm Of Highway
Reading in the Dark
Maize
Listen to the Rhythm of the Fallin' Rain
Trains/Leavin' Tennessee

Make It All Right
Sweetheart of Rainy Days
Lathe Machine
Why Did You Say Goodbye
If You Don't Love Your Neighbor
Saturday Night Special

Jack Tottle - vocals & mandolin
Robin Kincaid - tenor vocals & guitar
Bela Fleck - banjo
Stacy Phillips - dobro
Paul Kahn - vocals & acoustic bass
Bobby Hicks - fiddle ("Sweetheart.." & "Sweet Rhythm...")

Let's Go!

This next album deserved a simple introduction and so I used what is probably the most recognizable cut on the 1984 album of the same name, "Let's Go" by the Connecticut band, The Reducers. "Let's Go", the very first cut on the album really kicks things off with a lot of energy and fun, and for the most part, I think the rest of the album follows suit. These guys often remind me of a slightly simpler version of the Revillos/Rezillos but at times there are quite a few other influences noted that generally seem indicative of the times back in 1984. Some Ramones, even ZZ Top, but most of all it's a rockin' collection of well played, fairly down to basics good music that captures that early eighties "New Wave/Post Punk" feel. I can see where they get their name...reducing things to the best of elements. From a post office box in New London, Connecticut, I give you...The Reducers!

Let's Go

The Reducers - Let's Go! - 1984
Rave On Records TCP-1001

Let's Go
Bums (I Used To Know)
Fashion of the Times
Your Mother
Hippy Hippy Shake

Closing Time
Maximum Depression
Take It Away
(That'll Be) Just Fine
Big Man
Rocks

The Reducers:
Hugh Birdsall - guitar/vocals
Peter Detmold - guitar/vocals
Steve Kaika - bass/vocals
Tom Trombley - drums/vocals

All songs written by Birdsall/Detmold/Kaika/Trombley except "Hippy Hippy Shake"

Freakbaby...the heartbeat of Connecticut

Here's another band that made the Connecticut scene in the early 90's and touts an impressive lineage that ties in with the likes of 76% Uncertain among others. I really find this stuff to be very unique and would love to have heard more recordings from this group. Fortunately I do have this one 45 to share and I will be curious to see your comments. Go ahead, after all, it's a Freak country...

Freakbaby

Freakbaby - "Full Size" (45 rpm)
Delirium Records - 1993

My Pet Pig (side A)........ Unable To Turn The Bat On Himself (side B)










Here's a little history from their MySpace page...
Started by Martha Hamilton, Elisa Flynn and John Howard in and around Danbury, CT in 1989. First gigs in 1990. Added Todd Knapp on guitar in 1993. Changed name to Jet Jaguar in 1995. Ended 1996. Output: Flathead Longo (Oil Burner Cassette) 1991; Peel b/w Boot (Oil Burner Records) 1992; Retroactive Karma (Chop, Grate, Whip, Liquify comp) 1992; My Pet Pig b/w (Unable to) Turn The Bat (on Himself) (Delerium Records) 1993; Honour The Ugly Dormer (Oil Burner Cassette) 1994; Michael's Type b/w Echo 'n' Preamble (Romance Records) 1996.

Reflex...a natural

This is another tremendous Connecticut punk band that flourished in the early 80's and was home to a number of musicians who ended up filtering into other outstanding bands that evolved in the Nutmeg State, including "Violent Children" and the great "76% Uncertain". Here is a 45 rpm recording they released in 1983 called "Black and White". The quality rooted in this band's playing and compositions is obvious I think, but you judge for yourself. If you decide you like it then that "reflex" well on your taste in music...rock on! This and other Reflex recordings are included on other blogs but since I had this one I wanted to post it as a link to my buddy Todd who later performed and recorded with Reflex From Pain on guitar and continues to perform with 76% to this day!

Reflex

Reflex From Pain - Black and White - 1983
Death Threat Records (Stratford, CT)

Rednecks
Generic Life
Hangover

Media Control
Chemicals
Holy Pictures

Greg - vocals
Andrew - guitar
Dave - bass
Bill - drums

Reale-in' and a rockin'...

During my care free days of bar hopping and night-clubbing, and the constant pursuit of good live music, I can remember a fairly early experience in New Haven, CT at a somewhat short lived new wave/punk club called The Joint. Situated in a basement of a downtown building, you walked down some cement stairs as I recall, down a long hallway into a claustrophobic series of rooms that included a small stage. I'm pretty sure that one of the first groups I saw perform here was a local band called Roger C. Real & Rue Morgue. For this tiny place I recall I was immediately impressed that these guys not only brought a lot of energy to the "joint" but they were pretty polished. Though their music was relatively straight forward, not highly quirky like some of the bands that were making the scene at that time locally, this band was tight and had all their licks down and delivered each song convincingly with plenty of sweat and enthusiasm. It was gut wrenching rock n' roll. I liked them and eventually tracked down the album you see here, "Radio Active". It's been a lot of years since I listened to this album (like most of my record collection), and I don't think I ever saw the band perform again, but this vinyl still sounds great today. Fairly simple, power trio garage rock that falls somewhere between The Who and The Ramones with some hints of The Chords and maybe even some Bruce Springsteen if that isn't too damaging a comment to make. Roger certainly has a dramatic flair for Harley Davidson type rock vocals, gravelly and relentless, in a good way. But G.E. Smith never lets up on his revved up guitar work and drummer Hilly Michaels more than carries his share, as well. I particularly like "Dear Dad" and check out the punk-like attack on "Kill Me". I don't see any clunkers on this LP, it is the Reale deal and I hope you enjoy it. I understand that Roger is still in the Connecticut area but I don't think he is performing these days. Too bad.

Reale Deal

Roger C. Reale & Rue Morgue - Radio Active - 1978
Big Sound Records (NY, NY) BSLP-028

High Society
Dear Dad
Stop and Go
Pain Killer
Kill Me

Reach For The Sky
Madonna's Last Stand
Please Believe Me
Inside Outside
I Can't Control Myself

Roger C. Reale - lead vocals & bass
G.E. Smith - guitar
Hilly Michaels - drums & vocals

Feeling reduced?

Well cheer up because Tot Rocket and the Twins will reduce you beyond your wildest dreams. No worries, a tit for Tot and we're on our way (Karen Carpenter?). Here again we have some solid rock spilling over from the central valley of Connecticut, although Tot advertises his address as being Grand Central Station. "Reduced" is a pretty undeniable 1980 anthem, while the "Fun Fades..." is a bit more laborious. All and all though this makes a very strong statement for a band ready to go places. This is evidence of some flash and polish, but once again I have no clue as to where they all ended up. If nothing else, "Reduced" is a very worthy legacy which I expect you will thoroughly enjoy...

Tot

Tot Rocket and the Twins - Tot Rocket and the twins (45 rpm) - 1980
Whiplash Records Ltd. (Naugatuck, CT) Trace Elements Music (45-107)

(side A)
Reduced (A.D. Halbreich) VRRNP-787

(side B)
Fun Fades Fast in the USA (R.M. Poss) VRRNP-788

If not your cup of tea, at least the saucer?

Another apparent Connecticut band making the scene back in the late 70's with this 45 rpm featuring three nice tunes. Nothing earth shaking but solid pop rock with a cover that oddly provokes me I must say...in a good way. I believe I did see these guys play once but that could be the beer talking all these decades later. Suffice to say, I'm glad to have this vinyl testament to their statement and I hope you enjoy it as well...
Saucers

Saucers - Saucers Saucers Saucers (45 rpm) - 1979
Orange Recording & Management (New Haven, CT)

(side A)
What We Do (Marsden)

(side B)
I Didn't Get It (Bell)
Muckraker (Bell)

Next at Bat in the continuing series...

Next, but certainly not last, here we have yet another great Connecticut band called The Bats and this 45 captures two classic pop gems that have always had me hooked. Although I never saw The Bats live, these two recordings show a pretty slick group providing a highly professional and infectious rendering of their own classic "Popgun" along with a monster version of the Lennon/McCartney timeless hit song "Tell Me Why". To me these two recordings epitomize pop rock, 1980 or 1960 or 2009, no matter, this is just so rock solid and knee melting stuff. I know The Bats did put out a full album but it seems hard to believe they never went any further. The tune "Popgun" is incredible for pop lovers. It is simply credited to "BATT", perhaps the last name of the group's leader I suppose. I know these cuts are available on the web elsewhere but this post must be made to praise these tremendous efforts from a top notch Connecticut group, taken directly from the 45 @ 320. Take aim and fire at this great stuff..."but the shot never kills"...

Bats

The Bats - The Bats (45 rpm) - 1980
Gustav Record (New Haven, CT) GT003

(side A)
Popgun (BATT) (Detour Music)

(side B)
Tell Me Why (Lennon/McCartney) (MacLen UNART)

Time to Q you in...

#3 in our continuing series on the Connecticut music scene from my fun years, here's another goodie from a band called International Q. I believe I saw these guys at least twice, once at WESCONN in Danbury, CT. These guys were fun, up tempo and infectious. They were a little tighter and practiced than some of the others I heard at the time, but likeable all the same! I think they developed a bit of a following locally but I have no idea what became of them. Once again the only reference to a name here is for the song credits, all being to a D. Pittsinger. I just know that I have always liked the three songs on this 45 from 1981 and I hope you will be all the better for having been "Q'ed" in....you gotta love "Small Talk"!!

IQ

International Q - International Q - 1981
45 rpm - Queue Music

(side A)
What I Got

(side B)
To Be A Boy
Small Talk

All songs credited to D. Pittsinger

Remembering October Days...

Next on the Connecticut late 70's early 80's local scene hit parade is a great 45 from a band called October Days. I believe I saw these guys at Brothers in West Haven once and they were very enjoyable as I recall. This recording is quite representative of the cool vibes of the music that this whole scene thrived on. A bit dark, a bit rockin', sort of moody but catchy at the same time. I like both cuts and wonder where these guys ever went, if anywhere. The cover and insert material includes only what you see in the above pics and a fold out collage that includes some lyrics, but nowhere does it give any information on the band unfortunately. Both songs are credited to B. Nelson so I'll assume he is probably the guitarist/singer here (looks like quite the leaper in his day!). The recording was apparently from New Haven so I'm pretty sure they were from Connecticut and I saw them here, so there ya go...enjoy!

October

October Days - October Days - 1981
45 rpm - Clutch records (New Haven, CT) - October Days Music

(side 1)
West Coast

(side 2)
Don't Give Yourself Away

Songs credited to Blake Nelson

Good bands are getting Furor and farther between...

From bluegrass in Japan to The Furors in New Haven, Connecticut. Now for some real fun! I have a very modest collection of 45's including a handful of some recordings made by local bands that were generally part of that late punk/early new wave phenomenon of the late 70's and early 80's. Being, at the time, a recent college graduate with a few bucks to spend on a regular basis, I was lucky enough to make regular trips to the hot spots for this music that were dotting the Connecticut landscape at that time. Places like Brothers in West Haven and the Lithuanian Club in Hartford were among the best clubs to see some down and dirty, raw music. Sometimes you would catch someone of more far reaching fame within the same genre, but most often you would see small, home grown bands trying to make their mark somewhere, and often enough it was pretty special. Although there certainly were some trademark attributes common to many of these enthusiastic fledglings, quite often it was somewhat "no holds barred" with some wild results. Good or bad or in between, it was definitely entertaining. Generally speaking, being tight and rehearsed was not the critical requirement. Energy and good music was all that mattered, usually loud and passionate. Of all the places that my friends and I would frequent during those days, I would have to say the most legendary and earliest among my memories is Ron's Place in New Haven. This might have been one of the first, if not the first, such place I visited. It was small, dark and dirty. The beer was cold, the bathroom typically flooded in urine, cockroaches roaming freely on the tiny bar, floors, etc. The jukebox was loaded with good stuff, classic rock and garage rock/punk/new wave. The dance floor was pretty small too, but managed to vaguely contain some pretty large groups of colliding bodies and aimless soloists who would flail under the hypnotic effects of the music. I remember one night where a bunch of us gathered (mostly strangers to each other) on the sidewalk just outside the front entrance, after closing, and we somehow slipped into a lengthy doo wop outburst that sounded pretty good (or so I thought at the time) until New Haven's finest stopped by to remind us that we were disturbing the peace. But that was sort of what Ron's Place was all about, disturbing the peace, in a harmless and fun sort of way. Why do places like that cease to have a purpose, why don't they just keep attracting throngs from generation to generation? Probably it was due to the public health risk, that I would believe. The core of our group of music hounds would often invite along various unsuspecting and uninitiated friends to enjoy a night at Ron's, but some were pretty uncomfortable with both the environment and the music. We tried. Anyway, to get to the point, I would like to post a few of these great 45's representing some of the talent that we witnessed in places like Ron's when the whole "scene" was really catching momentum and gaining attention from more fans. Kids were exhibiting some of the fashion of the English movement spurred by the likes of The Jam and The Clash, etc. The piercings and extreme hair, the leather jackets, The Ramones and this was just about the time that these artists were making some money selling records in the US. So it was a fun time, arguably not the very start of it, but it was coming of age as the New Wave evolved amongst bigger, glitzier venues. So with my description of Ron's Place still fresh in mind, let's start this off with a 45 rpm effort from a band called The Furors. I am no expert on any of these bands but the record references two names, Holcomb and Dans, and I believe this group was a local duo (guitar and drums with vocals). There are four songs here and I have to say most of it is quite loose and perhaps a bit funny. But I seriously love the tune "A Look For The Honey". I detect a bit of "Monochrome Set" in these guys, just not so polished. I really can't get the "honey" song out of my head. This seems the best place to start because, although not noted on any of the information on the label or cover, scratched mysteriously on the inner ring of the vinyl it says, "Ron's Place"! I have to assume, since this is obviously a live recording, that it took place at the venerable institution. Have a listen, it's historic...trust me...

Furors

The Furors - Furors Live (At Ron's Place) - 1979
45 rpm - Hit Man Music (Hamden, CT) - Stylus Records
November 26, 1979

(side 1)
Her Other Man
A Look For The Honey

(side 2)
Letters
I Couldn't Pretend

The Furors = Holcomb & Dans ?

Spectrum encore...Live In Japan

It was so good to finally rip that last post of Spectrum's "Opening Roll" that I had to do the same with my other Spectrum LP, "Live In Japan" from 1981. I had forgotten what a strong album this also is, more of a balanced album with stronger tunes overall I think, although none can match "Red Rubber Ball" from "Opening Roll" in my opinion. I have always been partial to the song, "Sea Of Heartbreak", and Spectrum's version here is no exception, but I also enjoy the gentle "Blue Umbrella", a powerful "Cabin In Caroline", the beautiful "Hickory Wind", the tear jerking "Until You Come Back..." and a really fun instrumental encore in "Sukiyaki". But it's all very good stuff and features a little more of that cowboy jazz side of the bluegrass world with fine vocals and instrumental work on the likes of "Ain't Misbehavin'" and "Don't Get Around Much Anymore". Since it is a live recording that seems (actually it does stitch together several dates and a couple locations) to capture continuous coverage of the actual concert performances in Japan, with plenty of fan appreciation, I decided to rip each track exactly as it appears on the record, no space between each song, every second of applause. I also created a separate track of the introductions which runs between "Blue Umbrella" and "Smoke That Cigarette". So you'll find 15 tracks even though only seven songs per side are listed on the album cover and labels. I need to find the other work these guys put out, but I believe that "It's Too Hot For Words", with Mike Auldridge, is the only other LP they released before going their separate ways with all that talent. Hope you enjoy this second Spectrum goodie...

Live Spectrum

Spectrum - Live In Japan - 1981
Rounder Records 0184

Cabin In Caroline
Blue Umbrella
(Introductions)
Smoke That Cigarette
Hickory Wind
Sea of Heartbreak
Driving Nails
Pig in a Pen

Roll On Buddy
Until You Come Back Home Again
Ain't Misbehavin'
Don't Get Around Much Anymore
Rabit in the Log
End of the Line
Sukiyaki

Bela Fleck - banjo, baritone vocals
Jimmy Gaudreau - mandolin, tenor vocals
Glenn Lawson - guitar, lead vocals
Jimmy Mattingly - fiddle, baritone vocals
Mark Schatz - acoustic bass, bass vocals

Recorded live in Nichifutsu Kaikan Hall, Tokyo (Oct. 28-29, 1981)
except "Sukiyaki" recorded at Hiroshima Fujin Kaikan, Hiroshima (Nov. 2, 1981)

Bluegrass On A Roll...

Here's an album I've wanted to dedicate to data for a long time and I can't believe I waited this long. But finally here it is. I saw these guys at least once or twice on the bluegrass circuit during the early eighties and owning two LP's, I've looked for CD's from this band ever since, but no luck. It seems that vinyl and cassettes were all they ever released and it's hard to believe Rounder hasn't done more with this band that included the likes of the great Jimmy Gaudreau on mandolin and Bela Fleck on banjo, not to mention Glenn Lawson on guitar and lead vocals. In actuality I would say this is not so great an album as it is a great lineup of musicians. I personally feel that the song selection could be stronger in some cases and I would like to hear more stretching out on the instrumental solos. Although there certainly are great bluegrass harmonies and tasty licks going on, most every song is only 2 to 3 minutes long, short but sweet I guess. But what really made this LP extra special to me is their rendition of an old favorite tune of mine, "Red Rubber Ball" (originally by Cyrkle). I love the song, always have and I think their version is outstanding, fast and tight, and just listen to the great interludes from Bela & Jimmy. Side two offers a similar speed grass blast in the form of the Everly's "Bye Bye Love", which I like nearly as much as "Red Rubber Ball". Otherwise, "I Like The Christian Life", "Are You Waiting Just For Me" and "Lonesome Town" are also strong cuts. The other tracks are fine but keep it from being an awesome album overall. The Cyrkle tune is really one of my very favorite all-time bluegrass recordings though not everyone may share my taste. Bottom line is that these guys were top notch musicians and performers and if you don't have some of their stuff...you should...now you do and you're on a roll!

Roll

Spectrum - Opening Roll - 1980
Rounder Records 0136

Are You Waiting Just For Me
I Guess It Doesn't Matter Anymore
Little Pete
White Man Singin' The Blues
Lonesome Town
Red Rubber Ball

Gone At Last
I Like The Christian Life
I'm Gonna Make It After All
I Needed You
Crazy Blues
Bye Bye Love

Jimmy Gaudreau - mandolin, tenor & lead vocals
Glenn Lawson - lead guitar, lead vocals
Mark Schatz - string bass, bass vocals
Bela Fleck - banjo, baritone vocals

The Eps and Downs of the 7-String Guitar...

Well, the good news is we have a great album here of traditional jazz featuring one of the great all-time guitar players, George Van Eps. The bad news is that my copy of this 1967 LP is pretty rough and I have to apologize for the somewhat excessive noise, pops and crackle that I was unable to remove on this rip. Still, I couldn't readily find a better version of this OOP album out there so I decided to post it for now because it really is absolute classic stuff. Van Eps was just so smooth and relaxed that you can't have a jazz guitar collection without a healthy dose of George in it. Of course he had that 7-string thing going on, as the album name proclaims, and that makes it all the more unique. Although the album obviously features Van Eps' 7-string guitar playing, there is also a lot of marimba player, Frank Flynn, which "frankly" I could live without here, but it has it's moments in complement to George's guitar work. The key is just listening along with this textbook guitar playing. Most of it is relatively simple or understated but it's wonderful work and brings these classic tunes to life so effortlessly. So check this out, forgive the poor quality of the vinyl, and let me know if you come across a better copy of this beautiful album as I will be happy to defer to that reference. But until then, I hope you can enjoy it as is...I did!

GVE-7

George Van Eps - George Van Eps' Seven-String Guitar - 1967
Capitol ST 2783

Satin Doll
Prelude To A Kiss
A Blues Serenade
The Very Thought Of You
Kisses
Stop, Look and Listen

Sophisticated Lady
Glad To Be Unhappy
Serenata
Baubles, Bangles and Beads
A Libra Rhapsody
Come Rain Or Come Shine

George Van Eps - 7-string guitar
Frank Flynn - marimba
Jerry Williams - drums

A Guitarra lovers home is his Kessel...

Well despite the desperate subject line here, there is something good to come of it, and that comes in the form of a 1969 album by Barney Kessel called "Guitarra". Barney Kessel was one of my early jazz guitar heroes largely by way of an 8-track recording of "The Poll Winners" and especially confirmed upon hearing his blazing work on a tune called "Nagasaki". Barney has pretty much made the grade with every recording of his I've heard since. This apparently little known LP is generally no exception, although I would have to say it's not my absolute favorite Barney recording. When confirming that this album is OOP I first thought I had identified it as an obscure recording called "Reflections In Rome" since, like "Guitarra" it was recorded in Rome in 1969 with what appears to be the same supporting cast of European artists. However, "Guitarra" has an entirely different collection of songs than what I found for the "Reflections..." album. Yet I could find no internet information on any album called "Guitarra". So, whether this is somehow one in the same as the other recording from Rome, or whether it is, as it seems, a second recording done the same year by the same musicians in the same location, it seems that either one is OOP and not easily found in the blogosphere. So here ya go, it's a fairly tame collection of relatively short tunes featuring Barney's "guitarra" and some pretty lively organ work from an Antonello Vannucchi. There's some samba and similar latinesque flavors here in keeping with the setting perhaps. Sometimes it strikes me as a little less than exciting but just as you think you might feel a little bit disappointed, Barney will come out with some fun Kessel-isms and reel you right back in to familiar ground...right back home with Barney and his guitarra...

Guitarra

Barney Kessel - Guitarra - 1969
RCA CAS-2404

B.J.'s Samba
Meu Irmao
Malibu
On the Riviera

Lison
Freeway
From My Heart
Swing Samba
Amelia

Barney Kessel - guitar
Antonello Vannucchi - organ
Giovanni Tommasco - bass
Enzo Restuccia - drums

Recorded in RCA's Studio B, Rome, Italy in May 1969
Recording Engineer: Sergio Marcotulli
Produced by Gian Piero Ricci

Released in 1970

What's a buddy without a friend?

As noted in a previous post, one of my favorite artists, among my most favorite of instruments, is guitarist Buddy Fite. A relative unknown that I discovered only by the chance of uncovering an 8 track tape of "Changes" sitting unappreciated in a crowded bargain bin at some department store back in the 80's. As bargain binners will sometimes find, the occasional decision to buy something based solely on the cover (and, in this case, the price), can pay off in spades, and as my earlier post and comments on "Changes" atest, Buddy, and everything he touched with a guitar, was pure gold to my ears. The album posted today is a later recording called "Buddy Fite & Friend", the friend being drummer Chick Colburn who ably assists Buddy through this collection of ten smooth tunes. With a couple of standards like "All The Things You Are" and "Don't Take Your Love From Me" along with a handful of great pop classics of the 60's like "This Guy's In Love With You", "My Cherie Amour" and "Something", Buddy accomplishes his usual uncanny transformation of these familiar songs into fresh and glowing jazz artworks. I love his bright metallic tone that rings at just the right moments and his knack for smoothly taking off on a theme effortlessly. Most of these cuts feature Buddy playing his signature comping/soloing while beautifully laying down the bass line all at the same time. Then there is usually an overlay of a second guitar track where he typically plays solos or duet parts. His music is never pretentious, sometimes quite simple and comforting, and then at times powerful and uplifting. Check out "This Guy's In Love..." and even "Something" to feel the wonderful ride he takes you on with those strings. While it would be easy to misread this by appearances considering the presence of two Beatle tunes and even, God forbid, two from the The Carpenters catalogue, trust me, Buddy brings out the best of each tune and if you ever liked these tunes at all you will love these versions. And if you didn't like them before, well, I think you're gonna change your mind here. This record just makes me wish Buddy were still alive today to make more recordings like this. I'd love to hear more. I do have another Fite LP I hope to post at a later date, as well. One odd thing I noticed is that track 4 and 5 on this LP were switched from what the cover documents, so I labeled the tracks according to how they were on the actual record, not the cover. Please excuse the quality being very much of LP origins. I did a lot of click removal here and for the most part I think it came out reasonably well, but it is not CD perfect by any means, offered here at 320 to all my blogster friends & buddies...enjoy!

Buddy

Buddy Fite - Buddy & Friend - 1970
Bell 6058 Stereo

This Guy's In Love With You
We've Only Just Begun
All The Things You Are
Didn't We
(They Long To Be) Close To You

I'll Never Fall In Love
Don't Take Your Love From Me
My Cherie Amour
Yesterdays/Yesterday
Something

Buddy Fite - guitar
Chick Colburn - drums
Bob Ascher - trombone (I'll Never Fall In Love Again)

Music to Ponder...

Scanning my record collection for the next subject to feature on the blog, I pondered numerous guitar heroes for the honor. It can be hard to find something that has preferably never been committed to CD publication. I was somewhat surprised to find, from my search of the web, that this 1976 work by Jimmy Ponder appears to fit the bill. I also could not remember when I had last listened to it so when the first couple of minutes of ripping "Funky Butt" came through I was a little dubious as to whether this was worth the effort. As much as I am a huge fan of Boogaloo Joe Jones, Grant Green, Wes Montgomery and many other soulful/pop/jazz guitarists, the late 70's era of politically correct funkified jazz transition had many disappointments in my mind. Even some of the most talented and tasteful of artists suffered through pathetic attempts to contort their natural strengths into commercial success or some failed sense of mid-life crisis. And, as if the name "Funky Butt" wasn't already a pretty good warning, the initial sound here drew a Parliamentary yawn. But slowly I took more notice of the flat out playing of the well known and respected Mr. Ponder, and then the wah-wah magic began to win me over. "Energy III" again flirts with a fusion styled disaster at first listen, but ultimately proves exciting and a nice contrast to the opener. Then the lovely "Jennifer" solidifies my contentment, and so this post makes it here for your own review and opinion. Side two, by the way, follows with a very similar formula of three contrasting songs that are full of Ponder's impressive techniques and general groove. I have to say that the last song, "Sabado Sombrero", is probably my favorite. It brings a variety of stylings where I can hear moments of Wes, Benson and even, dare I say it, Gabor Szabo! Ahhh, this is a winner after all. It also features some simply awesome bass work by the always awesome Ron Carter, relatively simple but beautiful signature playing. You will also notice a good deal of heavy duty keyboard wizardry from another of my soulful jazz favorites, Ron Foster! While on the surface this is clearly more of a contemporary sound with it's special guitar effects and mix of danceable rythms, even though it is now 33 years old, there is truly a diversified composite that includes traditional jazz, soul, funk, rock and pop, all flawless and enjoyable. I pretty much had a hard time not bopping my head throughout, but key for me is that I could really listen to the man's guitar playing, and it brings a smile.

So take the time to ponder...you should grow fonder...sorry about that...

Pondering

Jimmy Ponder - Illusions - 1976
ABC Impulse ASD 9313

Funky Butt
Energy III
Jennifer

Do It Baby
Illusions
Sabado Sombrero

Jimmy Ponder - Guitar
Eddie "Bongo" Brown - Percussion
Ron Carter - Acoustic & Electric Bass (except on Funky Butt)
Sonny Burke - Keyboard (Funky Butt)
Chuck Domanico - Electric Bass (Funky Butt)
James Gadsen - Drums (Funky Butt)
Mickey Tucker - Piano & Electric Piano (except Funky Butt & Sabado Sombrero)
Ronnie Foster - Synthesiser & Clavinet (except Funky Butt & Sabado Sombrero)
Grady Tate - Drums (Jennifer, Illusions & Do It Baby)
Brian Brake - Drums (Energy III)
Jerome Richardson - Alto Flute (Jennifer)
Esmond Edwards - Percussion (Sabado Sombrero)
Strings arranged and conducted by Johnny Pate (Jennifer, Do It Baby & Funky Butt)

Just For The Fun Of Id.....

I've done my share of combing boxes of vinyl at flea markets and tag sales and somewhere along the way I encountered this odd bit of Id. I had never heard of the album or the band and I imagine that goes for most folks out there in TV land. But the cover and backside offered a hint that this might be an obscure but entertaining collection of psychedelic grooviness that must certainly be worth 25 cents, and I believe the quarter was well invested. Surprisingly this album was apparently dedicated to CD not long ago but I think it's fair to say that obscurity remains the ultimate fate of this fun excursion. Back in the 80's when I first obtained this LP, I made a cassette copy and I have to say, some of the tunes grew on me. While it loosely fits into the "psych" category, in spots it really presents more of a pop-rock appeal than most. There is some blending of sitar and spacey vocals to help keep it unreal but it's generally pretty tame and manages to provide some memorable tunage. From the pop side I would say that "Wild Times" is the obvious keeper here though it is not entirely unlike one or two other top 40 type numbers I might have heard elsewhere over the years. Much of the rest is a little more unique and perhaps pushes the envelope a little. "Stone and Steel", "Boil The Kettle, Mother" are sure to bring a smile (or smirk) and just try making it through all ten and a half minutes of the cover tune. Someone had fun being the guru that did the monologue on that one! There's no information on the cover to tell us about these five musicians. Paul Arnold, "creator, arranger & producer" seems to take all the credit here. This is the monoraul version of the LP, but regardless, I think you will get a kick out of this little timepiece.

The Id - The Inner Sounds of The Id

The Id - The Inner Sounds of the Id - 1967
Monoraul LP - RCA LPM-3805

The Rake
Wild Times
Don't Think Twice
Stone and Steel
Baby Eyes
Boil The Kettle, Mother

Butterfly Kiss
Short Circuit
Just Who
The Inner Sound of the Id

Hot Fun...Re-Done!!

Not only have I finally gotten back to my blog, but I am finally re-posting my first significant work, Freddy Robinson's "Hot Fun in the Summertime" from 1970. And what better time than this first day of summer.

When I started doing this blog just last year, I rushed in and neglected to consider the output which was at 128 at the time. I went back and ripped another set of files at 320 and they can now be found on the original post at;

SLY

For some reason, the first side has more vinyl artifacts while side 2 was almost free of click removal, etc. Still, this should be a "bit" better than my original post for those that listen closely. It is a fun album. While "Moonglow" offers a more traditional jazz sound that showcases Freddy's tasteful skills, "I Want To Hold Your Hand" is just plain happy and swinging, and much of the rest is great groovin' with the hard workin' ladies singing some righteous background parts throughout. In short, it's hot fun anytime...enjoy!

Off To Hear The Wizard...

I haven't had much time to rip LP's the last few weeks but today I was listening to a CD I created from another one of those embarrass- ing 8-track tapes a few years back. At the time I never anticipated posting some of these rips on a blog so I listened with a discriminating ear for imperfections, track breaks, or any qualitative issues that might make me feel unhappy with posting this classic 60's blues rocker instrumental gem from Mel Brown. Eight songs later I decided it was worthy of a post until a better version comes along. With the apparent popularity of Mel Brown's 60's & 70's work I am very surprised that this album seems so hard to find. It has never been committed to commercial CD, long OOP, but with all the recognition this gritty guitarist seems to have, this LP seems unusually scarce. So I decided to add it to this blog until someone can identify a better source. I have the Chicken Fat CD and all Mel's other albums, and I think this one is easily as good or better than any of the others. It's pretty straight forward, simple and pretty raw R&B with tight horns and groovin' support throughout. There are no significant vocals, just a torent of funkified blues guitar licks firing from start to finish. This reminds me somewhat of Freddy King's "Hide Away", which is an all-time favorite. I think this is up there. Keep in mind that this was taken from the lowly 8-track tape so the order of the songs reflects what was committed to that idiom. From what I hear, they were able to divvy things up so as to avoid track change interruptions, a good thing that is greatly appreciated by those of us old school music desperados that committed so many hours of listening to this ill-fated medium. This album starts out with a lively and crisp rendering of "Ode To Billie Joe" and then just sails through one rock-blues workout after another. It's fun, it's infectious, and a great time capsule for the late 60's somewhere between Memphis and Detroit, but you're definitely not in Kansas anymore Dorothy...enjoy!

Wizzy

Mel Brown - The Wizard - 1968
Impulse (8-track: AS 9169)

Ode To Billie Joe
Swamp Fever
Blues After Hours
Miss Ann
African sweets
Stop
W-2 Withholding
Chunk-A-Funk

Mel Brown, Terry Evans (guitar)
Mack Johnston (trumpet)
Clifford Solomon (tenor sax)
unknown (piano, organ)
Ronald Brown (bass)
Paul Humphrey (drums)
Roy Brown (vocals)

Los Angeles, CA, March 21, 1968

Where the deer and the guitars play....

This post is a unique one in many ways. Offering another vinyl rip from a highly regarded jazz guitarist like Howard Roberts is no surprise, of course. But this one is actually taken from one of my old 8-track tapes, something I did a few years back when I was convinced it was the only way I could ever capture this unusual, fairly obscure recording. Going back and giving it a listen today I decided that the quality wasn't so bad and I don't see much chatter about this particular work anywhere else. The other odd aspect is the content itself. I have a lot of Howard Roberts albums, LP's, CD's, and oh yeah, the 8-track. But this recording strikes me as probably the oddest of them all, which might explain the lack of attention. I really like Howard Roberts' stuff with very little exception. For some reason I am especially taken with his pop cover material of the 60's, much of which seems to be the focus of media criticism more than praise, even though he is always acknowledged to be one of the most highly skilled guitarists of his era. I enjoy interpretations of likable and familiar tunes, pop diddies, when they are treated with subtle creativity and soulful skill as Roberts so often has done over his extensive career. Then there are the more straight ahead jazz outings where he covers more traditional creative jazz works and explores the outer stretches of that genre so impeccably. Here on "Antelope Freeway" however, Roberts really moved into something different. This sort of has a slight psychadelic edge to it with sound bites and other effects all mixed into this meandering tapestry of guitar snippets which are largely rooted in more of a rock/blues side of jazz for sure. When I first rescued this from some 88 cent bargain bin back in the 70's, I have to say I was disappointed that it wasn't more what I was used to in jazz guitar icons. But listening to it again today I have to say that it really is both daring and fairly effective. It's fun and it does contain some really clever, enjoyable music. Some of it borders on brilliant if you are open to this approach at all. But alas, it remains OOP. The track titles were difficult to apply to the recording from my original 8-track; you can't see the grooves to identify transition points and many of the cuts here simply bleed into one another. It makes for a nice overall composition and creative impression but it's hard to tell where one "song" finishes and the next one starts. As a result, I chose to simply record the whole album in two sections/tracks. Checking out references for this album I saw that many reports were similarly confused with name run-ons and differing numbers of tracks all together. Kind of funny. Basically, my first "track" includes the first five cuts from the album while my second "track" includes the last four album cuts. Be my guest if you want to try your luck at distinguishing the details, but in the end, I don't think it matters, either way, you should enjoy a listen. So go ahead and find out why those antelope are crowding the freeways to hear a guitar master having some fun....

Deer and the...

Howard Roberts - Antelope Freeway -1971
Impulse! AS-9207 (LP)

1. Antelope Freeway - Part 1
2. That's America Fer Ya
3. Dark Ominous Clouds
4. De Blooz
5. Sixteen Track Firemen

6. Ballad of Fazzio Needlepoint
7. Five Gallons of Astral Flash Could Keep You Awake For Thirteen Weeks
8. Santa Clara River Bottom
9. Roadwork

Howard Roberts - electric & acoustic guitars
Bobby Bruce - violin
Mike Deasy - electric guitar
Pete Robinson, Larry Knechtel, Mike Wofford - keyboards
Brian Garofalo, Max Bennett - Fender bass
Bob Morin, John Guerin - drums

"I Believe" I hear what you hear...

Whatever that subject line might mean, I do want to say that this is a special posting with bittersweet connotations. The fun part is that this includes the download from what I believe is a scarce record that features none other than Noel Regney conducting one of his own compositions. As explained earlier in my blog, Mr. Regney is the co-composer of "Do You Hear What I Hear", the Christmas classic that gave some inspiration for this blog. As I also said earlier, Noel was a personal friend of my parents. He attended parties at our home and I heard him perform on piano on several occasions. So when I was clearing out my parents' house in preparation for the sale of my childhood home, and I just happened upon this beat up old LP literally rotting away amidst the rubble in the garage, I was pleased with the discovery. At first I had no idea what it was, torn and tattered and covered with scribblings I did not expect the record within to be playable. But when I realized it was Noel Regney, I had to see what kind of shape it was in. The answer was, so-so, I guess. Didn't look horrible, still in the slip cover sleeve, but upon playing it I could see it might be a questionable call for posting this for the public. Click removal can be a wonderful thing, of course, but with my modest resources, it can't solve the world's problems. But then, this was something a little bit special, and as it turns out, as I hoped, and despite the fact that the classical world is probably not my greatest passion, I really liked the music. I think that it's safe to say that this work is religiously inspired with six sections that blend together quite nicely. I was truly surprised at the quality of the instrumentalists and the vocalists on this recording. Very much a professional work with beautiful results. Unfortunately the condition of this particular piece of vinyl does a pretty good job detracting from that beauty I'm afraid. I did my best, and if I didn't think it was worthy of a listen, I wouldn't post it, regardless of the Regney connection. I think it's doable. I'm sure there are some pristine copies of this LP, probably at the Westport Library or at the Unitarian Church, etc. But until I come up with one of those, this is all I got, and I'm glad to have found it. There is a heavenly pastoral feel to much of it but it also delivers some rather modern sounds in a folksy sort of way. It was more interesting to me than some of this style of music can be, very relaxed and gentle, yet compelling. That's enough of trying to describe what you are about to hear. Listen to it yourself, forgive the crackle-pop that does distract in sections. You really should enjoy it .....I Believe.

Noel_Regney-Westport_Unitarian_Church_Choir_-_I_Believe_In_Life

Noel Regney - I Believe In Life: A Cantata For Our Times - 1977

With The Westport, Connecticut Unitarian Church Choir
Tree Of Life Records (June 30th, 1977)

1 - The Lord Is In His Mansion
2 - Invocation
3 - Prayer
4 - Meditation

5 - Hope
6 - Credo

Noel Regney - conductor

Gena Rees - soprano vocal soloist
Jane Nordli - alto vocal soloist
Arthur Sjogren - tenor vocal soloist
Joel Jones - bass vocal soloist

Viviane Bertolami - violin
Toni Matts - trumpet
Harriet Salerno - piano
Stephen Anderson - organ

The Choir of the Westport, Conn. Unitarian Church - vocals

This post is specially offered in tribute to Noel Regney as friend and artist

I like this Carver more than just a whittle...

More bad puns, what can I say? But if you are a fan of classic, quality 60's country music, then here is some good stuff for ya, no joke. I picked this album up somewhere many years ago with no idea who the guy was, but my love of honky-tonk and related music made me think that the album cover looked promising enough to part with the change it probably cost me. I was immediately surprised to hear such good quality stuff from this unknown (to me) artist. It's not quite honky-tonk as much as it is classic country of the 60's when it was recorded. Reading up on Johnny Carver more recently I have learned that he had a pretty long and successful career although he never quite made it to being a household name. He had some chart success and seems to be well respected within the inner circle of country artists (just ask Faron Young from the back cover picture included in the download). This one album is all I know of him and, from what I can tell, none of his albums are in print at this time. There does seem to be a skimpy collection out there on CD but I was surprised to see that it didn't include any work from this album. To me this album stands up there among the better albums I have heard from this genre. I might draw a slight comparison to Buck Owens, but this is probably a bit less edgy than that great Bakersfield sound Buck crafted. This album is full of short pop country with great instrumental support. Unfortunately the cover gives absolutely no credits but I would bet this one includes a collection of Nashville all stars. It's a shame they don't let the instrumentalists take a few more solos because the playing is impeccable throughout, but mostly serves as just background to Carver's solid vocal work. There is plenty of pedal steel, electric guitar, even some vibraphone, fiddles, Cramer style piano, good stuff. All the songs are short and sweet, mostly 2 verses with a couple choruses, not much more than 2 minutes each, like a punk rock album from the 70's! But I think the quality of the songs themselves is very good, especially side two where every tune is a keeper in my estimation. Side one isn't far off. My favorite cuts are probably "Lie To Me" (very memorable tune) and the lonely "Apartment #9". Of course, "Sybil's Rights", though not my favorite melody on this album, gets kudos from an old punster like me. I'm glad I finally got around to preserving this one in digital format and I hope you will enjoy it as well, at wheast a whittle...

Whittle

Johnny Carver - You're In Good Hands With Johnny Carver - 1968

Liberty Records LP-12380

Your Lily White Hands

Sybil's Rights

So Goes My World

New Lips

What If It Happened To You

You're In Good Hands

Lie To Me

Senses

Apartment #9

The Tip of My Fingers

You Are That Something

Don't Monkey With Another Monkey's Monkey

(no credits available)

Wilkins It For All It's Worth...

Alright, that subject header is a bad pun and doesn't make a whole lot of sense but then one could say, when it comes to guitar playing, Jack Wilkins really does it for all it's worth. Foregoing my usual diatribe here, I will get to the point; Wilkins can flat out play. Ever since I heard a cut off of his album Merge, back in the early 80's, I knew he was a keeper. Unfortunately there is far too little of his work out there. You don't see him that often as a side man and he only has a handful of albums to his name. But what's there is generally great, just as you will hear in this album, "Captain Blued". This is a curious recording in that I can find very little evidence that it was ever made! It's produced by Creed Taylor on the Greenstreet Record label and it includes the accompaniment of one of the best alto sax guys you could want, the great veteran Phil Woods, along with other familiar names like Harvie Swartz on bass. Yet there is little mention of this recording anywhere. Doesn't appear to be available these days, so I felt it my duty to let folks hear what they might be missing. Some of these songs, like "Captain Blued" and "Mexico", were also recorded (different versions I believe) on other albums so you should be able to find some of that out there to buy on CD. This particular LP is definitely another winner for Wilkins. Not only is his work effortless, creative and inspiring, but the tunes are all enjoyable and nicely arranged. Add to that the wonderful voicings from Mr. Woods and great contributions from all the other supporting cast (with a good deal of solo work for all) and I will predict that you will be glad you gave this a listen. Although this is all generally straight ahead jazz, you will find diversity in the moods and stylings here. Many exciting moments to enjoy. It should make you want to hear more of this master guitarist and he does have a site that offers listens and downloads from many of his other albums, including a bunch of live gig cuts. So I hope you will agree that this guy is the cream of the crop, and cream leads to milk, and there I go milkin' it for all it's worth...

Bad Puns

Jack Wilkins - Captain Blued - 1984

Greenstreet Records GS-2004

Captain Blued

Mexico

Funny Blues

Dailey Double

Chopin Etude

Some Time Ago

Jack Wilkins - guitar

Phil Woods - alto saxophone

Albert Dailey - piano

Harvie Swartz - bass

Akira Tana - drums

Ted Moore -percussion

Drive-In Me Crazy...

Well there aren't many of these left around these days, drive-in movies that is. If you're over 40 years old you should have a fair recollection of that special experience that collected hundreds of people, in their cars, in a big old paved lot to watch one giant screen once the sun let down it's glowing curtain. Kids would run through the maze of cars and gather in special play areas where there were often swings and "dizzy-go-rounds", monkey bars and assorted other items of liability. Teenagers would hang out in their cars, free of adult supervision and do what teenagers want to do when unsupervised. Adults would settle in for an evening of popcorn, hot dogs and hamburgers (the ones that didn't actually dance and party), soda pops (some of them could dance too) and a relatively inexpensive night out to entertain the family. I remember seeing "Hard Day's Night" starring The Beatles as a particularly standout drive-in experience but there were countless others including my own teenage adventures for the likes of "Mandingo", all complete with that clumsy hunk of metal precariously dangled from the top of one of the windows (which you may have had to keep pretty well closed to keep out mosquitoes) that kept your car anchored at its post. And which post did you choose? Ahhh, the ambling about the lot looking for the best available space. Something with a decent view of the screen, not too close, not too far, decent proximity to the bathrooms and snack bar, consider the neighboring cars and the potential anxieties as you quickly profile the occupants of each. It was normal practice to explore several potential spots before settling on a final destination. Then you just had to hope the damn speaker box you got would work. Some didn't work at all, some had bags over them (out of order) and some were crackly or didn't have enough volume. All of them sounded pretty lousy but that was part of the charm I suppose. And that brings us to something that sounds pretty darn good, Mr. Freddy Robinson. As my original music post on this blog was my most coveted Freddy album, this one, "At The Drive-In ", is not quite so scarce, but it again features some fine guitar work and more of Freddy's distinctive vocals, as well. What drove me crazy here was that this is not a particularly pristine copy of the album. I bought it as a NM but it is more a VG at best. I had to do a lot of click removal and there is still a share of crackle here and there but I wouldn't post it if it were really bad so I think it is a passable version until a better one comes along. There must be other postings out there but I haven't come across one. Actually I see where a few of these tracks appear on a recent, long overdue, collection of Freddy's work called "Bluesology". I am looking to buy that as it includes quite a few never before released tracks, and i recommend you do the same. But if you want a good sample of what Freddy does with his unique mix of R&B and jazz, then check out this OOP recording from 1972 and I think you'll enjoy it, despite the less than perfect quality here. Taken from the LP at 320kbps , hopefully it will be drive-in' you crazy too, in a good way....

Crazy

Freddy Robinson - At The Drive-In - 1972

Enterprise - ENS-1025

It's The Real Thing
Sweet Clara
Miss Black America
Creepin' Lightly

I Found My Soul Last Night
At The Drive-In
Wonder What It Is
Bluesology

Freddy Robinson - vocal, guitar & harmonica
Al Vescovo - guitar
Harold Mason - drums
Paul Humphrey - drums & percussion
Joe Sample - piano & organ
Wilton Felder - bass
Monk Higgins - organ
Bobbie Hall - conga & percussion
Alex Brown & Clydie King & Vanetta Fields - vocals

Only Child Syndrome...

Many years ago, there was a child born in Waterbury, Connecticut. A proud set of parents beginning a family amidst the historic confines of Yankee tradition and the comfort of the industrial plateau. It wouldn't be long before the kindergarten years would find this same young boy coming to terms with what would be a lifelong pronouncement of, the only child. And yes, this "only child" would be me, now entrenched some 52 years in this cozy little world that has managed to define me in the eyes of Catholic families everywhere, in the minds of struggling street smart urchins, and even deep within my own shadowy world of unbridled imagination and introspection. I soon came to understand that "only child" was generally not a moniker to be proud of, especially among peers where it usually was applied to someone thought to be unfairly privileged, someone unusually coddled, a "momma's boy", protected and insulated from the spirit of the real world below. These connotations seemed to build up in my little head as I progressed through those first few years of grade school and it became a source of embarrassment, at least in my mind, that I worked hard to avoid or erase. Early on it came with undoing any effort my mother put into my appearance. She would lay out the clothes and I would do my best to dismantle the intended choreography. Sometimes I just managed to do a last minute switcheroo before bolting out the door for school, sometimes I just had to tear everything apart between the backdoor and the schoolyard, the clip-on bow tie, the knee socks, the jaunty cap, oh God, it was horrible, but fairly easy to address (or undress as the case may be). So other than the inescapable class photo days, I managed to avoid segragation, and from that point it was just being a kid with no siblings. Although the lack of Christmas day competition and singular annual birthday festivities certainly made their marks on my tendancy to expect attention, these same conditions also resulted in the inevitable lack of attention. It was easy for a family of three to operate as three independent entities, especially as I got older and could take care of myself. This was great for developing a certain confidence in survival and self-sufficiency, it proved a fertile field for my creative juices and entertaining imagination, but it also made some of the social challenges a bit more uneasy than they should be. On the one hand I was devoid of the interactions a larger family would naturally offer, while on the other hand I was somewhat unabashed in my constant mission to weasel into other people's privacy. I had enough of my own privacy so I just assumed everybody else was just as much in need of some outside interaction as I was. So I would be throwing stones at my neighbor's window trying to get my buddy to come out and play. I would knock on every door until somebody would open it wide enough for me to squeeze by, and then let the games begin! So some families took me in like some homeless wretch, I would raid their fridges, sit down to dinner and break bread, watch TV with them, run around and get in trouble (but I never would get the whoopin'), I became an appendage to more than one neighborhood family, and somehow some of these poor victims remain close friends that seem to recall those days fondly if not with a certain humorous disbelief. As far as I was concerned, it all worked out fine, I generally found ways to deal with my supposed disadvantage of what some might call an incomplete family, while at the same time enjoying the advantages of the freedoms that same situation created. My parents and I were like three separate entities all dashing about on wildly different missions on a day to day basis. I had a lot of independence, even for those days, often wandering most anywhere I wanted. There weren't many restrictions or penalties for me...fortunately that never got me in any real trouble so I guess I/we were lucky that way. It also meant that I really came to love my situation. While I came to understand the special qualities of a larger family with siblings and firm traditions and schedules, I also have relished my somewhat unique combination of chaos and calm. I have come to crave activity and social interaction but I also need my own time to be quiet, to lose myself in that same world that followed me from cradle to college. That vast world that speaks to me through all the noise in a singular voice, and fills the shadows with color and light. I have always said that I could stare at wallpaper and be relatively entertained. Boredom is inexcusable to me, there should be no such thing. Life has too much to offer, never a dull moment, depending upon your outlook. And speaking of something to offer, here I offer you another great OOP album from Cal Collins. This one is a solo effort, just Cal and his guitar, and it's a gem, from the vinyl at 320kbps. You can hear the gentle, warm feeling just melt from the strings. This is an easy going but so impressive work from Cal Collins. Bluesy, relaxed, and yet some flurries of ideas come at you at times that will have you shaking your head (that's a good thing). If you like swinging traditional jazz guitar, there is some great stuff here for you to check out...enjoy it...all by yourself.
Syndrome

Cal Collins - By Myself - 1979

Concord Jazz CJ-119

 

By Myself

Where Are You

What Is This Thing Called Love

Stairway To The Stars

No Moon At All

P.S. I Love You

Sunrise, Sunset

The Gypsy

All The Things You Are

The Nearness Of You

Route 66

Jackson County Blues

Guitar Lovers Against Violins

Back to guitars...Elek Bacsik was a very unique artist within the jazz realm and I had come to know this Hungarian born, cousin to Django Reinhardt no less, as a guitarist. Although I was vaguely aware that he was similarly known for talents on the violin, the instrument he started on apparently, I had become accustomed to his guitar and expected more of my favorite instrument featured on this LP, "I Love You", when I bought it. Well, such was not the case. It turns out that only one song of the eight on this album features Elek on electric guitar while all the others have him on violin or the violectra. So, once over the general disappointment, I can say that this long OOP album is a very worthwhile listen none-the-less. Like Elek's guitar style, his violin work is gritty and notably different within the traditional gypsy-ish jazz genre. This has Grapelli-like sounds but it isn't quite that either. He sounds like he is very loose and having fun. There's a certain careless quality that translates into an emotional feel and the list of accompanying musicians is very impressive on the Bob Theile Music recording. This is apparently the first American recording that Bacsik made and he didn't do much after this from what I can tell. He has a couple albums available on CD, it's all good, but I remain partial to the guitar as always. But I don't really have anything against violins...maybe just a little anarchy anyway....enjoy.

 

Love

 

 

Elek Bacsik - I Love You - 1974

Bob Thiele Music - #BBL1-0556

I Love You

I Can't Get Started

Donna Lee

Season of the Rain

Tea For Two

Valse Triste

Blues For Elek

They Can't Take That Away From Me

Elek Bacsik - violin, violectra, guitar

Hank Jones - piano

Richard Davis - bass

Grady Tate, Elvin Jones - drums

Oliver Nelson - alto sax

Bucky Pizzarelli - Spanish guitar

Ray Mantilla - timbales & percussion

Richard (Pablo) Landrum - congas & percussion

Home grown and the post-holiday impression...

My guess is that the majority of folks out there, though declining in numbers they may be, are still pretty soft on the whole Christmas holiday ordeal. I mean that most of us, no matter how hardened by the relentless march of time, get a certain refreshing childhood joy out of Christmas trees and lights, various decorations and gatherings with friends and families, presents wrapped colorfully and cards in the mail with assorted artistic renderings that attempt to capture the "true" spirit of Christmas. From the religious to the pagan to the weather oriented themes, and the just good old kind-spirited messages of peace and good will. They tend to weaken the knees of most of us still, I think. Maybe I'm wrong, as I see the stream of holiday cards continue to decline steadily, the party invitations wane, the messages becoming more generic and less intense in commercial and personal terms alike. Or maybe I'm just becoming old and unpopular! But here we are in the aftermath of yet another season of the Christ Mass, all born of some odd mix of druid ritual, post harvest and a clashing of multitudes of other coincidental celebrations generally focused in the western world on the baby in a manger, the hope and quiet of a black-blue night illuminated by an unbelievable light, the peace of the knowing animals and the awesome sight of angels and inconceivable love and compassion. Where is faith in all this, what is the consensus of mankind, where do we as individuals end up in this incredible picture of what we might all hope? Well, for the time being it is right here, 2009 AD, a largely ignored posting in a largely inconceivable internet world, a trail of Bing Crosby and Manheim Steamroller tunes fading into another new year. The cookies and the expanded waistlines taking their place in the reality of a familiar but uncertain calendar, a procession of more holidays, more, or less, cards, and so much unfathomable humanity piled into our anxious hopes for happiness and our endless fear of the unknown. So the Christmas season has stroked our unsettled hearts once again, come and gone like Santa, like the 24 hours of "A Christmas Story", like my friend Eric who died at the age of 49 in a shocking moment hidden innocently in the afterglow of holiday revelry. Christmas reminds us so much of how human we are, of what we have come to expect and what we will forever miss. It is like gasoline on a tiny fire that burns off so quickly. We huddle in the warmth pretending that it might not extinguish, knowing full well it will, knowing, long before the flame settles. And for me, there in that momentary swell of brightness, there is the image I have crafted of my life. Be it Jesus, or my father, or my very own countenance superimposed on the elusive volume that recounts my story, there burns the sum value of what erupts year after year, December after December, before and after, until the dinosaurs return I suppose. Christmas is just a painting that we perceive deep within. It's purpose is to remind us of what most comforts us before tackling the next spanse of time and energy. It's a dreamlike state that puts the old year to rest, with all it's memories and all the memories it had put to rest before it, and so on. Ideally it hits each of us hard at some striking of the clock, where we stand trembling in our bed clothes, cold from the darkness yet warm from the faith that we vaguely understand the goodness in each of us. Life will never be all together perfect, of course. Nor will Christmas and it's ongoing story. But we do know the story, we look forward to it every year, we need it to replenish. Whether it be Charlie Brown, Ebenezer, or the candle glow of a midnight mass, we reach for the star that seemingly parts the darkness. We wonder if we feel it's warmth, we hope for those who have gone before us to be waiting, we breath perhaps our last as another Christmas season is lost in the dying flames. And with that I offer you another little piece of myself, some "home grown" free form music I created with my friends Matt & Mike of Mittimus. I'm the obnoxious guitar in the forefront most of the time while Matt provides the highly tasteful other guitar and bass parts and Mike lays down some awesome drums & percussion. This is a departure from my primary purpose here on the DYHWIH blog, but I thought someone just might have an interest and leave a comment that isn't obscene. This was recorded on December 7th, 2009, Pearl Harbor, Christmas tree having just been erected, and it was a particularly fine one this season.........

Objects Below
 

Mittimus and Durge - Objects Below

(derived from "Hot Cookies" - 2008)

Cow

Beer Cookies

Noise

Bass Blow

Loop

Whatami Playing

Lanushka