Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Saturday, August 6, 2011

Bill Morrissey...one last drink for old times sake

I haven't taken to posting YouTube stuff or any kind of videos and God knows that plenty of hugely important artists have come and gone during the few short years that this blog has been around. But a couple weeks ago I learned of the passing of Bill Morrissey, a song writer and singer that touched the folk music community and probably beyond, and one that has left more than a handful of what I will call breath taking moments. Poetry that hits home and tunes that drive into your deepest insides. Songs that will make you stop everything you're doing when you hear them. How sad to lose that artistry, that musical companion, so young (60 years old). Many people are quick to describe Bill's work as sad and depressing and although they usually mean it in a complimentary way, I don't think it quite does justice to how Bill Morrissey captured the elements of life, and when powerful words and feelings hit you just right, it's easy to say it's sad. For me, it's just right. It's what life is that flows through his lyrics and sounds. It's thoughtful, sensitive and full of irony and humor, the things that memories are made of, the things that freeze time, that take you back until you are no more, and you feel like the spirit rather than the vessel. So here I have posted a video someone has on YouTube, a song that is so Bill Morrissey and so much one of my go to songs when I need to get perspective. Somehow it always manages to leave me looking up and set for good things. I don't know how Bill does that but for me he does. And to do complete justice to this great song and the memory of the man who wrote it, I also offer the following lyrics that I deciphered on my own (so please let me know if you see any mistakes). I am very grateful for the legacy this man left behind and how he has enriched my life.

http://www.youtube.com/watch?v=hvlQFhm6X9Q&feature=related

These Cold Fingers by Bill Morrissey

Gina left town with the, first snow of the year
He drove her to the airport in his Ford.
And he, tried to propose as he ordered one more beer,
But the P-A drowned his words, and it was time for her to board.

So he walked her to the gate, he took his hat off as he kissed her,
He needed one more drink to take the chill out of his soul.
He said a quick goodbye, then spent two hours in the bar,
Finally paid his tab and kept a dollar for the toll.

(chorus)
Everything slips, through these cold fingers
Like trying to hold water, trying to hold sand,
Close your eyes, make a wish, and listen to the singer,
One more round bartender, pour a double if you can.

It’s 4 o’clock, and the sun’s gone down the drain,
It’s still late winter, but they say it’s early spring.
Lewis reads the gas pumps, Rossi counts the oils,
But me I’m done, so punch the clock and see you in the morning.

There’s nothin’ back at home that ain’t gone greasy with the stove,
I never laughed so hard as when that typewriter broke.
Think I’ll stop along the River Road for a half pint and some beer,
Well everything would be okay if these old dreams would disappear.

(chorus)

The dog can’t move no more, surprised he made it till the spring,
His pain won’t go away, and the pills don’t do a thing.
You’ve known that old hound longer, than you’ve known most of your friends,
And no matter how you let him down, he’d always take you back again

So it’s one tall glass of whiskey, one last drink for old time’s sake,
The dog just lays in bed, and watches every move you make.
Wrap him in his blanket, hold him once more close to you,
Lead him out behind the barn with a borrowed 22.

(chorus)

Sunday, July 17, 2011

Singing When You're Stinking From Drinking

Here's a collection of songs from various artists from around the Danbury, Connecticut area. The theme you will see is...drinking, and the artists cover a wide range of genres. I had the pleasure of contributing the country tune here but all the tracks are great stuff, no matter what your musical preferences may be. Most of the performers can be found on Facebook or MySpace if not other sites, including i-tunes. Now pour yourself a cold one and let 'em rip!

Drinking Songs

Various Artists 
"Chowdahouse Inc. Presents DRINKING SONGS"

1 -   Chowdahouse Inc. - Coolest Motherfucker on the Planet
2 -   Not the Kid - Drinking Song
3 -   The Boardlords - I Told You
4 -   MC Sexscene & Homeblind - Give It To You Good
5 -   Brenton Vaughan - Carry Me Home
6 -   Dick Lexus - Hip Hop for the Middle Aged
7 -   Six7 - Deathstarz
8 -   Orangatwang - Fish n' Chips
9 -   Chowdahouse Inc. - Closing Time
10 - Sarianna & The Swell - Drink
11 - The Dalliance - Pain Has Gills
12 - The Reins - Give It Up
13 - Cash Fur Gold - Whiskey and Chex Mix
14 - Don Ryan - Down and Out
15 - Durge - Just An Old Cowboy Again
16 - Si Ombrellone - Moonshine
17 - Mittimus - Diamond Jim's Spirits and Rumours
18 - The Artimus Formerly Known As - Good Friday

Produced by Chowdahouse Inc. (Released July 2011)

Wednesday, January 20, 2010

The Coulter Club

Well, long time no see. Too busy seeing all the other great blogs out there to find time for my own. But this album struck me recently as due some exposure. This is the 1970 Soul/Jazz creation of Clifford Coulter. According to our friends at allmusic.com this album, "East Side San Jose", was Clifford's first recording as a leader though another followed in 1971 when both were apparently released. I vaguely recall when I first rescued this from a bargain bin of vinyl that I was a little disappointed with my first listen. I'm not sure I listened to it again in the 30-ish years since! I expect it was probably because I generally wanted little to do with anything in the jazz category that brought with it vocals unless it was Lady "Day" or Eddie Jefferson. Now, so many years wiser, I must say that this is a very enjoyable album for what it is. Cliff delivers some real nice vocals on the first song on each side of the record, "Do It Again" & "Sal Si Puedes". He also does a fine job bringing it on the keyboards throughout this session. All the cuts are at least solid if not excellent, mostly groovin' and funkified with some signature guitar work from one of my favorite jazz/blues men, Mel Brown. Mel offers some chicken pickin' and wah-wah magic that keeps this thing moving and finishing all too soon. The brass and rhythm sections are also tight and mix in perfectly with Cliff & Mel. I picked up a slight "phantom" background sound at times on this LP, sometimes sounds like an intended overdub, sometimes not so much, but if you're just going with the flow you don't even notice it, very faint. My copy has a little crackle here and there but it came out fine I think, you should enjoy it if you like a fun jam session of west coast soul oriented jazz, including some bluesy and expressive singing from Cliff. If you're like me, this should lead to your enrollment in the Coulter Club...

Club

Clifford Coulter - East Side San Jose - 1970
Impulse/ABC AS-9197

Do It Again
East Side San Jose
Prayer Garden
Cliff's Place

Sal Si Puedes (Get Out If You Can)
Big Fat Funky Shirley
Alum Rock Park

(all songs written by Clifford Coulter)

Clifford Coulter - vocals, piano, Fender/Rhodes electric piano, Hammond organ & guitar
Mel Brown - guitar
John Turk - trumpet
Cornelius Bumpus - tenor saxophone
Gino Landry - alto saxophone
Jerry Perez - rhythm guitar
Jimmy Calhoun - Fender bass
Joe Provost - drums
Billy Ingram - drums (Cliff's Place & Big Fat Funky Shirley)

Friday, August 21, 2009

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...")

Wednesday, August 19, 2009

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"

Saturday, August 15, 2009

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.

Wednesday, August 12, 2009

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

Sunday, March 8, 2009

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

Monday, March 2, 2009

"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

Friday, February 27, 2009

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...


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)

Wednesday, February 25, 2009

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...


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

Sunday, February 22, 2009

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

Sunday, February 15, 2009

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

Friday, January 30, 2009

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

Wednesday, January 21, 2009

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.........

Mittimus and Durge - Objects Below
(derived from "Hot Cookies" - 2008)

Cow
Beer Cookies
Noise
Bass Blow
Loop
Whatami Playing
Lanushka

Sunday, January 18, 2009

And now for something completely different...

As anyone can see, I don't exactly stick to one flavor when it comes to music, or much of anything else for that matter. So following a burst of jazz guitar we come to an album that has always been one of the favorites in my eclectic collection. The group is Huxtable, Christensen & Hood and "Wallflowers" is the first recording I ever encountered, and one of only two I own, by these ladies. Unfortunately I only have a cassette from which this share is taken, but I think the quality is passable enough to confirm their wonderful harmonies and feeling. Most of this music is what I would call traditional/folk and celtic in style although there are a couple of somewhat contrasting tunes like "First and Only Tango" and "Oldest of Friends" which somewhat defy easy categories. This music is rich and steeped in history, relationships and traditions. I really can't think of many vocal groups I enjoy any more than these ladies although I would suggest a group like Trapezoid (another of my all-time favorites) would compare. There's some seafaring and blacksmithing, childhood rememberances, undying love and a bit of everything timeless. Once again, it's just not right that this group wouldn't have more material out there and that recordings like this aren't available on CD. So I felt compelled to include this one on my blog in hopes that a few of my friends in blogland will be able to smile along to these beautiful voices as I have for probably 20 years or more. Please remember to let me know what you think, don't be a stranger, or a wallflower...


Huxtable, Christensen & Hood - Wallflowers - 1980
Philo Records PHC-1053
.....................................................
Banks of the Sweet Primroses
The Truth From Above
Lake George 1922
Sheepcrook and Black Dog
The Week Before Easter
I'll Weave My Love A Garland (The Loyal Lover)
Oldest of Friends

Came Ye O'er Frae France
The Flying Cloud
Mon coeur se recomande a vous
The Blacksmith
Great Dream From Heaven
First and Only Tango

Cal Collins On My Mind...

Why not a twofer with Cal Collins? I will try to post at least one other LP of his as well, but for now let's settle for the two (along with my previous post of "San Francisco") that I digitized a couple of years ago including this wonderful work called "Blues On My Mind". This was the first album I ever even heard of by Cal, and once I heard it, I was a fan. He always sounds relaxed and sure with unique subtlety in his ideas. There's not much else needed to be said, every song here is a treat. Until this guitarist gets his just rewards to have his work put to CD, you'll just have to settle for this offering straight from the vinyl. Hope you don't mind....
Cal Collins - Blues On My Mind - 1979
Concord Jazz CJ-95
 
Blues On My Mind
Imagination
Softly, As In A Morning Sunrise
I Love You, Samantha

Marie
Dream A Little Dream Of Me
My Melancholy Baby
Ruby
 
Cal Collins - guitar
Larry Vuckovich - piano
Bob Maize - bass
Jeff Hamilton - drums

San Francisco Cal

Cal Collins is a jazz guitarist that I wasn't aware of during my early years of following such music. As obsessed as I was with jazz guitarists through my college years and beyond, I continue to discover new names and amazing talents as the years progress. I came across my first Cal Collins album a few years back and for $3 figured there's always room for another jazz guitarist in the collection, but I was more impressed than I might have expected. He combines a natural blues feeling over some plain old righteous traditional jazz interpretations. I now own several of his albums, all of which are out of print LP's that have yet to see a commercial CD output, and all of them are very good. He has a fair number of recordings to choose from and I just don't get why there is so little exposure. Some company will eventually release these for contemporary consumption, but until then, please enjoy this great piece of San Francisco in the state of Cal...

Until then

Cal Collins - Cal Collins in San Francisco - 1978
Concord Jazz CJ-71

Blue Haze
How Long Has This Been Going On
Laura
Sometimes I'm Happy

Miles' Theme
Blue Prelude
Exactly Like You
Deep In A Dream
So What

Cal Collins - guitar
Monty Budwig - bass
Jeff Hamilton - drums

Saturday, January 17, 2009

For guitar lovers...

Here's another guy that is often maligned unfairly as being strictly an easy listening specialist but he brings plenty more to the party. Tony Mottola was quite the studio master in his day and he put out quite a stable of albums, some of which were more challenging than others. At the very least, he shows great tone and touch, and this pretty album, that obviously sticks to the quiet side of things, offers lots of nice work that any guitar lover will enjoy. Mottola was Perry Como's guitar accompanist for 16 years and you can see somewhat of a parallel there, smooth and sweet. Sure, much of this could easily fit into any elevator "mix-tape", but man I would be happy to just surf floors for the afternoon if this kind of stuff was playing. I mean, this is definitely some beautiful jazz guitar playing. It may not be my favorite in this genre, but it is solid stuff that deserves credit from anyone that knows good music. So if you're truly a guitar lover, then you need a Romantic Guitar...here ya go...

Lovers

Tony Mottola - Romantic Guitar - 1963
Command records SMAS-90526

Tenderly
Let's Fall In Love
If Ever I Would Leave You
Mitzi
Always and Always
Alone Together

Speak Low
You Are Too Beautiful
I Got It Bad and That Ain't Good
Fly Me To The Moon
Misty
It's A Lonesome Old Town (When You're Not Around)

Tony Mottola - guitar
Dick Hyman - organ
Bucky Pizzarelli - rhythm guitar
Bob Haggart - bass
Don Lamond - drums
Bob Rosengarden - bongos, vibes
Don Arnone - guitar