Concerts Vol. 11: Traffic
by Paul Rosano on Jan.30, 2010, under Music
Winter and spring of 1968 in Boston was a particularly memorable and remarkable time for me as far as the music to which I was exposed.
Steve Winwood in a photo taken in 1970, but the stage setup with his Hammond B-3 in the background is similar to the Boston Tea Party circa May 1968. Winwood is playing the Gibson Reverse Firebird he played at the Tea Party as well.
My group Pulse opened for the Lovin’ Spoonful at the Back Bay Theatre; I saw Michael Bloomfield’s Electric Flag at the Psychedelic Supermarket, where I had earlier first seen Cream; I caught The Paul Butterfield Band, first at Back Bay and later at the Supermarket with Elvin Bishop assuming the lead guitar role for the first time; I became a convert of sorts after seeing The Doors in concert at Back Bay; and I met Taj Mahal in the apartment I was staying in on Commonwealth Avenue, of all places.
Cream played at Back Bay as well, although I actually caught them near my hometown in New Haven at Yale’s Woolsey Hall. And in early May of that year, I got a chance to see another of my favorite artists and groups, Steve Winwood and Traffic at the original Boston Tea Party.
The Tea Party was formerly a synagogue on Berkeley Street at the corner of Appleton and I remember taking the subway near Bolyston and Mass Ave. to get there. I was by myself for this concert. At the time, I was enrolled at Berklee School of Music, majoring in performance on double basse and I had moved to a small apartment right around the corner from the school, where I lived on my own.
When in Boston during the week that spring it was a pretty solitude existence of going to classes and practicing and studying. On the weekends, I would come back to New Haven, Wallingford in particular, to rehearse at Syncron Studios or play one or two gigs with Pulse.
The Boston Tea Party (2003). You can see the entrance just to the left of the corner of the building.
I knew the original Traffic foursome had been reduced to three as Dave Mason had left Winwood, drummer Jim Capaldi and flutist/sax player Chris Wood for what at the time were described as musical differences. There was probably some truth to that because Mason’s contributions to the English version of the first Traffic album, Mr. Fantasy, were largely pop confections, including a semi-British hit in Hole In My Shoe. Although there were apparently some personality conflicts as well.
A couple of Mason’s tunes survived on the American release, originally titled Heaven Is In Your Mind but quickly changed to Mr. Fantasy. But most of that first record, released in the U.S. earlier in the year, was a wonderful mix of blues, soul, rock, pop and what would later be called world music.
Traffic was a literal melting pot of contemporary music and the group had one of the great singer/keyboardists in Winwood, who sounded a little like Ray Charles, one of his influences, with a soulful voice well beyond his years. (continue reading…)
Grace Potter comes out at night
by Paul Rosano on Jan.21, 2010, under Music
Grace Potter belts out a lead with bassist Catherine Popper and rhythm guitarist Benny Yurco in the background at the Infinity Music Hall on Jan. 20.
In the fall when I purchased tickets for the Grace Potter and the Nocturnals show at the Infinity Music Hall this past Wednesday (Jan. 20), I really didn’t know too much about either Potter or her band.
I was looking for a show so we could go back to one of our favorite venues in Connecticut. The come-on promo at Infinity’s web site is what inticed me, plus the timing was right, the night and so forth.
After getting the tix, I explored the Net a bit and found a number of videos of the band, although I didn’t know at the time the band would be slightly reconfigured when the date came around. I was impressed. I found Potter obviously has a set of prodigious pipes, and although still fairly young, 27, has been playing for a quite a while — the band was formed in 2002 —and evidently has been touring relentlessly.
Her range is striking as she effortlessly hits stratospheric notes and although her voice has its own special quality and character, there are moments when she recalls Janis Joplin in phrasing and inflection, only with a smoother, more proficient delivery and attack than Joplin ever exhibited.
Potter at the B-3.
The music is blues- and soul-based rock with elements of country, reggae and American roots music at times. The band is strong throughout, but this is definitely a unit whose whole is greater than the sum of its parts, meaning they gel beautifully as a group. And, of course, they have an extraordinary frontwoman/singer, who plays a lot of Hammond B-3 and some guitar throughout the night.
No question Potter is what makes this outfit special. She writes interesting blues-drenched tunes with direct, quirky and glib lyrics. I was basically hearing everything for the first time, but I didn’t note a clinker of a tune in either of the two sets the band played.
The setlist and photos come from fans who are evidently much more familiar with the group than I and there is the feeling from them that this night was one that started cool and finished hot. It appeared from here that the set started hot, cooled in places and then was taken up a level during their return for the second set. Though many of the songs were memorable even at first listen and built on fiery, infectious grooves, I can’t think of one that was better than the opener, I’ve Got The Medicine That Everybody Wants. (Check out the video below from July, 2009). The only tune that felt out of place and curious was the cover of Take My Breath Away from the movie Top Gun, not because Potter didn’t sing it wonderfully, but it’s simply not much of a song. (continue reading…)
Song Stylist Anita O’Day
by Paul Rosano on Jan.15, 2010, under Music
If you’ve see the film Jazz On A Summer’s Day, shot at the 1958 Newport Jazz Festival, you are probably familiar with Anita O’Day.
Considered among the five greatest jazz singers of the Golden Age — Billie Holiday, Ella Fitzgerald, Sara Vaughan, Carmen McRae and O’Day — she is the only white singer in the group and perhaps the least well known.
Her artistry, singular style, virtuosity and attitude put her in this select company, which she richly deserves.
The subject of Robbie Cavolina and Ian McCrudden’s documentary from 2007, Anita O’Day The Life Of A Jazz Singer, released on DVD in ‘09, she was a fascinating personality who started with big bands in the 1940s, adapted flawlessly to bebop in the late ’40s and ’50s and was the first jazz singer on the historic Verve Records in the mid-’50s, recording a string of memorable records that sold unexpectedly well.
She also lived the life of a jazz singer to the fullest and with it came the often seen pitfalls. A heroin addict for 15 years from the mid-’50s until 1968 and an alcohol and pill abuser after that, she lived hard and cool and made no apologies as is shown in many cuts from the film with interviewers Dick Cavett, David Frost, Bryant Gumbel and segments on 60 Minutes.
But she survived, working well into the ’80s and ’90s and coming back in the early 2000s with an album, Indestructible, and performances in New York until her death in 2006 at 87.
She is also interviewed by the filmmakers for this documentary at age 84 and her insights, remembrances and anecdotes are invaluable in helping explain her extraordinary career. (continue reading…)
The elusive Buzz Feiten
by Paul Rosano on Jan.06, 2010, under Music
In the past year, Buzz Feiten has been the subject of several posts here, along with ones on his collaborations with keyboardist Neil Larsen.
We have to some extent documented his work in The Paul Butterfield Blues Band, the original Full Moon, The Larsen-Feiten Band, a reunion of sorts with Butterfield and his more recent projects, including The New Full Moon of the early 2000s.
But his work is at best elusive, somewhat rare and definitely difficult to track down with so many albums going in and out of print. Mostly out.
Coming across the video below was a happy find. It features Feiten with The New Full Moon band that released an album around 2002 (although this clip is acutally dated Jan. 11, 2007) and included original Full Moon bass player Fred Beckmeier, reed man Brandon Fields, drummer Gary Mallaber and keyboard player Jai Winding playing the opening cut from that self-titled album, Hey, Dinwiddie, a dedication to the great tenor sax man Gene Dinwiddie of the Butterfield Band and the original Full Moon.
If you haven’t actually heard or seen Feiten yet, then this clip is for you. The tune is a soulful, funky, blues-drenched track, right in Feiten’s main groove.
The 10 best for ‘09
by Paul Rosano on Dec.22, 2009, under Music
Last year I picked five albums I considered the best of the year. This time I’m upping it to 10 with a few bubbling under and some added tidbits.
1. Already Free, The Derek Trucks Band: Traditional blues with modern sensibilities and influences from jazz, roots and world music, all played by an array of accomplished musicians and one of the best slide players of our time.
2. The Deep End, Christine Ohlman and Rebel Montez: Stellar songwriting, impassioned vocals and infectious grooves highlight Ohlman’s fifth album, which also features an impressive roster of guests. Her best yet.
3. Electric Dirt, Levon Helm: On this electrified followup to his comeback album Dirt Farmer, Helm blends traditional roots music with elements of folk, blues, soul and gospel. The mix of new original material and classic covers works perfectly. The arrangements are clean and to the point and musicianship impeccable.
4. Middle Cyclone, Neko Case: A wonderful concoction of folk, rock, country and pop interlaced with enigmatic lyrics and penetrating melodies. All topped with Case’s crystal clear voice.
5. All In One, Bebel Gilberto: Her best since Tanta Tempo in 2000, this work is alive with beautiful songwriting and Gilberto’s gorgeous, hushed, cool vocals. Aided by her pals Carlhinos Brown and Didi Gutman among others.
6. Soul On Ten, Robben Ford: A ripping, rocking live set with two live-in-the-studio cuts, filled with Ford’s interesting blues-based originals, some classic covers and his unique take on blues, rock and jazz playing.
7. The List, Rosanne Cash: A love letter to her father Johnny and her audience, giving back songs from his list of 100 that he gave to his teen-age daughter. Arrangements and execution by Cash and husband John Levanthal are enthralling. (continue reading…)
Jackie and Ry at The Ash Grove
by Paul Rosano on Dec.17, 2009, under Music
As I’ve mentioned a few times in the past year I’m an avid fan of Wolfgang’s Vault.
The site never ceases to surprise me by unearthing rare, interesting and previously unavailable concerts from its vast treasure hold.
This one is truly an unexpected delight, Jackie DeShannon and Ry Cooder playing as an acoustic duo at the legendary Ash Grove in Los Angeles on September 3, 1963, long before either had achieved any type of widespread notoriety. DeShannon was 19 at the time and although she had released a string of singles, it was before her opening stint on the first Beatles tour of the U.S. in 1964 and her first hits, Needles & Pins and When You Walk In The Room.
I’ve come to really love her earthy, soulful and gospel-inspired vocals from this era of her career. As for Cooder, he’s 16, yet still shows an amazing virtuosity on acoustic guitar. One of the great players of our time.
Despite being a fan of both artists, I never knew this show existed on tape or that these two made any type of collaboration during this period, which is what makes the Vault such a valuable resource and an unending source of enjoyment. Below is a track from the show. The concert can be accessed here.
To listen to the entire show, you’ll need to register at the site, which is an easy process and free.
Esperanza Spalding interprets Nascimento
by Paul Rosano on Dec.14, 2009, under Music
Speaking of bass players. If you haven’t seen or heard Esperanza Spalding, who I mentioned in my favorite albums from 2008, you must. So here is the young wunderkind bassist/vocalist playing a Milton Nascimento tune, Ponta De Areia, one of my favorites from the legendary Brazilian composer.
It’s, of course, unusual seeing a young woman play with such expertise on what has been primarily a man’s instrument in the annals of jazz, but that she also is an extraordinary singer and does both on stage with such ease is inspiring. Obviously, the world of music is changing and for the better.
What strikes me about this performance is her virtuosity on the doublebasse and that she also sings so naturally when it is one of the most difficult instruments to play while singing simultaneously, because you are creating counter patterns with your hands and your voice. And it’s kind of an awkward instrument to sing with. She has no problems.
The performance is from October, 2008 in Rio.
Jeff Beck gives Tal a hand
by Paul Rosano on Dec.10, 2009, under Music
Back in April, I wrote about a remarkable concert given by Jeff Beck and his group at the MGM Grand at Foxwoods in Connecticut.
One of the sequences of the show that was absolutely startling was a solo taken by Tal Wilkenfeld, a 23-year-old bassist from Australia who looks no more than about 17, during which Beck takes off his guitar, walks over to the bass player and proceeds to accompany her by playing on just the E and A strings of her bass.
This video, produced by an astute videographer at the Fillmore at Irving Plaza in New York gig the night before I saw Beck at Foxwoods, shows the duet. They play it fast and loose, having a lot of fun with it as they did at the Grand. Her virtuosity is overwhelming for someone so young. Just a treat to watch.
Can you pick out the melody and changes Tal plays at the end of the solo?
Under The Radar, No. 3: Fleetwood Mac, the forgotten years
by Paul Rosano on Dec.03, 2009, under Music
Between the departure of Peter Green and the arrival of Lindsay Buckingham and Stevie Nicks, Fleetwood Mac soldiered on in the early-to-mid 1970s re-fashioning their sound over six albums, a span of time and music that is largely forgotten by the general music listening audience.
Fleetwood Mac circa Heroes Are Hard To Find Band: Bob Welch, John McVie, Mick Fleetwood and Christine McVie.
On those six releases, there are nuggets worth discovering or revisiting and an indication of where the band would eventually wind up artistically, considerably distant from where it started.
Fleetwood Mac quickly became a British blues institution in the late 1960s with a lineup that included the rock solid rhythm section of John McVie, bass, and Mick Fleetwood, drums, along with Green, one of the U.K.’s preeminent blues guitarists and Jeremy Spencer, an Elmore James loyalist and early rock ‘n roll enthusiast.
Mac enjoyed single and album chart success in the U.K. and enjoyed good album numbers in the States for their self-titled debut, second release Mr. Wonderful, augmented by horns and guitarist Danny Kirwan, and third record English Rose, along with the compilation Pious Bird Of Good Omen.
After Green’s semi-involvement with an excellent fourth record, Then Play On, which has a muddled history of its own, founder Green left. It wasn’t until 1975 that Mac found mega-million selling worldwide success with Buckingham, Nicks and Christine McVie with the release of Fleetwood Mac and then Rumours in ‘77, music in a much-more pop-oriented vein but executed beautifully.
The years in between saw the release of Kiln House (1970), same as the lineup for the second album minus Green, Future Games (1971), which saw the departure of Spencer, the additions of American guitarist Bob Welch and singer/songwriter/pianist Christine McVie and the emergence of Kirwan as an equal if not dominant writer in the group, Bare Trees (1972), Penguin (1973), goodbye Kirwan, hello singer Dave Walker and guitarist Bob Weston, Mystery To Me (1973), so long Walker, and Heroes Are Hard To Find (1974), adios Weston.
Welch left after Heroes and a year later came the Buckingham-Nicks era. (continue reading…)
Concerts Vol. 10: Zappa and Zappa
by Paul Rosano on Nov.26, 2009, under Music
A friend of mine has asked me several times to write about what I felt was the most disappointing concert I’d ever been to. I’ve already mentioned a couple, Poco at the Shakespearean Theatre in Stratford, CT, mostly because of the horrendous acoustics, and the fourth Cream concert I went to in 1967-68 at the New Haven Arena, not a terrible show but it paled in comparison with the other three.
The most disappointing? I have to pair it with an outstanding one by the same artist, but there’s little doubt that Frank Zappa at the Waterbury Palace on Oct. 29, 1975 is the one. I know the exact date because of meticulous archiving of many of Zappa’s concert dates on the Internet.
Almost one year before on Nov. 28, 1974, I had seen Zappa at the same venue with a large band, which included Ruth Underwood, vibes, xylophone and marimba, George Duke, keyboards, Tom Fowler, bass, Bruce Fowler, trombone, Walt Fowler, trumpet, Ralph Humphrey, drums, Napoleon Murphy Brock, vocals and sax, and Frank on lead guitar and vocals, essentially the Roxy & Elsewhere band. There were a few other band members. I don’t recall who they were, but it was a large ensemble. Obviously expensive to travel with.
I had always been aware of Zappa and really liked some of his material from the ’60s. But when I was living and playing with the Aiardo brothers, Tony and Peter, in New Haven, from about 1973-75, they along with an outstanding drummer from Virginia, Peter Nowlin, whom we were working with, turned me on to Overnight Sensation. That album really turned my head around about Zappa. It was brilliant.
There are still a couple of tracks I might skip over at times when I give it a listen, but on the whole, this was Zappa hitting one of his many peaks. And his guitar playing was stunning. I didn’t realize he was that proficient.
Peter Nowlin and his girlfriend took me to that ‘74 Palace show. We sat in the balcony, which weren’t bad seats at all. The perspective was very high and we were looking almost straight down on to the band, so we could see the depth of the stage and the band members really well. (continue reading…)
