Tag Archives: rock

From The Vaults: Hidden Treasure No. 8

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Tenor saxophonist Steve Marcus introduced guitarist Larry Coryell to Gary Burton, master of the vibraphone, sometime in 1966. I always thought it was the other way around, i.e. Burton saw Coryell in The Free Spirits in New York, which he actually did, and then the Coryell-Marcus association came later.

Count's Rock Band SmallAccording to notes from the reissue of Marcus’ album Tomorrow Never Knows, he already knew Coryell through mutual friend and pianist Mike Nock, who lived with Coryell in Greenwich Village. After Burton saw Coryell play in 1966, he asked him to join his quartet with drummer Roy Haynes and bassist Steve Swallow. What resulted was a truly inspiring combination of players, who played jazz with a difference. They were all well-schooled in the bop and contemporary jazz traditions but they also skirted rock and pop territory with rhythms and feels you just didn’t find in jazz.

The quartet produced the landmark Duster, then Bob Moses replaced Haynes and the group recorded two more albums, Lofty Fake Anagram, which pushed further into rock territory, and the exquisite Live at Carnegie Hall. Coryell was incorporating rock tendencies more than anyone in the group with a fierce, biting tone at times and the use of feedback and rock phrasing juxtaposed with his masterful jazz leanings.

Shortly after Coryell left the quartet, he joined Marcus for two of three albums that were among the first to fuse rock and jazz. The records featured jazz-schooled players, who loved rock and pop as much as the jazz tradition they came up in, and showed them displaying more of a rock attitude than ever before for jazz players. These albums are certainly among the first genuine examples of the fusion of the two genres.

The first, Tomorrow Never Knows in 1968, featured the Beatles psychedelic title track, along with another Fab Four offering Rain, the Byrds’ Eight Miles High, Mellow Yellow by Donovan and two other tracks, including a Coryell composition, Half A Heart. A fine album with outstanding interpretations.

Then came Count’s Rock Band, the peak of this triptych and our Hidden Treasure No. 8 in ’69, followed by the mostly forgettable The Lord’s Prayer, sans Coryell, also in ’69. According to Marcus’ notes, Gary Burton, who was a neighbor of Marcus’, actually produced the first album, but when it landed on Herbie Mann’s new imprint Vortex, distributed by ATCO, Mann got credit for production on all three outings. Joining Marcus and Coryell on Count’s Rock Band and Tomorrow are Moses on drums, Nock on piano and Chris Hills on bass.

Count’s Rock Band follows the pattern of Tomorrow and includes covers of Simon & Garfunkel’s Scarborough Fair with Marcus on soprano sax and The Stones’ Back Street Girl. But the two Hills compositions, Theresa’s Blues and Ooh Baby are easily the album’s highlights and make this record a gem. Continue reading From The Vaults: Hidden Treasure No. 8 →

Les Dudek blazing a trail on tour

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Les Dudek Live 2 Large

I had always wanted to see Les Dudek in concert but never had the opportunity during the time he released four of the best solo albums of the late 1970s and early ’80s. Thursday night at The Infinity Music Hall in Norfolk, Conn., I got my chance.

Dudek, a somewhat unheralded and almost forgotten guitar master, has played on much more music than many might realize. He recorded those four extraordinary solo albums and was also a member of DFK with keyboardist Mike Finnigan and guitarist Jim Krueger, before virtually disappearing for a big portion of the ’80s. He reappeared with two more solo efforts, the brilliant Deeper Shades Of Blues in 1994 and Freestyle (2002), an assortment of tracks he had never released but that hold together as a cohesive album.

He’s worked with a plethora of other artists as well. Predating his solo career, Dudek played on The Allman Brothers album Brothers & Sisters (1972), on which he provided the emblematic solo of Ramblin’ Man and co-wrote Jessica with Dickey Betts. He worked with Boz Scaggs for six years, including on the top-selling Silk Degrees, then played and toured with Steve Miller, writing What A Sacrifice for Miller’s classic Fly Like An Eagle album. He also worked with Cher in the short-lived rock band Black Rose and toured with and co-wrote tunes with Stevie Nicks in the early ’90s. Add to his resume that he provided some very hot guitar parts to TV themes for Law & Order, Extra, Friends, ESPN and many, many more.

At the Infinity, Dudek played with a trio that included Dan Walters, who provided rock solid and imaginative bass playing and background vocals, and the seemingly tireless and gifted drummer Gary Ferguson. The three ran through many tunes familiar to Dudek’s following from his solo albums as well as songs he’s collaborated on and some new material.

These three put on a a smokin’ show that never let up. Dudek plays a Fender Strat and he easily fills out the sound of the trio. The tone of his guitar sounds like it always has a slight bit of a chorus effect (or perhaps it was just the acoustics of Infinity’s nearly all wood interior), giving it a full, rich sound that almost sounds churchy.

Dudek’s single-string playing is simply jaw-dropping. There is no player in rock that has better chops. He mixes amazing flights of extremely adept and technically difficult runs with sweet, melodic phrasing. Add to this his rhythmic and exacting chord playing, often during and in between his solos, and a voice that is both pleasing and powerful with a wonderful range and Dudek is a tour de force by himself.

With Walters and Ferguson in support the band is electrifying and ferocious at times, as when Walters takes a solo flight that culminates with him expertly keeping up with Dudek on trade-offs, and as Ferguson provides deep grooves that drive the band relentlessly. Continue reading Les Dudek blazing a trail on tour →

Three on DVD: The Doors, The Stones & The Runaways

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I’ve watched quite a few films and videos about The Doors, from various collections to concert footage to Oliver Stone’s twisted yet fascinating motion picture. And I’ve read a number of books from ones written by Jon Densmore to Ray Manzarek to Jerry Hopkins and Danny Sugarman to the much-maligned Patricia Kennealy.

The Doors When You're Strange DVD LargeAll this and I wasn’t really a Doors fan during their heyday although I came to appreciate them fairly early on and have warmed much more to their music in the past couple of decades.

So it was with some trepidation that I approached When You’re Strange, a new documentary by director Tom DiCillo, narrated by Johnny Depp. Shown at Sundance earlier this year, the doc was recently released on DVD and Blu-Ray.

Most interesting is the reliance on only footage of The Doors, some never seen, rather than the well-worn technique of talking head interviews with people related to the project now commenting on what happened then. For that, it brings us a fresh approach on a well-traveled topic.

But the film has some obvious shortcomings. The narration delivered in a dry, matter-of-fact tone by Depp, is very basic. There is virtually nothing there for fans of the group who have followed, read and watched most that has come before. It’s really geared toward people just discovering the group.

Worse, the film glosses over some rather important aspects of The Doors story. For instance, almost no time is devoted to the album Morrison Hotel, which was really The Doors comeback album of sorts after Soft Parade. Though the latter enjoyed some commercial success, it critically received a mixed reaction. Morrison Hotel was a back-to-roots record that resonated with their fan base. But here it’s given one or two sentences before launching into L.A. Woman, their last record.

Also glossed over, Morrison’s relationship with Kennealy, which most of the other Doors evidently were almost totally unaware. But it’s clear although Morrison always returned to his common-law wife Pam Courson, there is definitely something to the story of his pagan bride Kennealy and until that is fully explored a big part of the picture is missing. Continue reading Three on DVD: The Doors, The Stones & The Runaways →

Three for 2010: Chieftains, Farnham & Beck

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In the first half of the year, I’ve been listening to three CDs quite a bit, all beautifully executed but quite different from one another. They are easily three of the best records from the first six months of 2010 and three you should give a listen.

Chieftains San PatricioThe Chieftains’ San Patricio gives a featured billing to Ry Cooder, an occasional collaborator with the Irish group who writes, plays, sings, produces and arranges on this unusual yet intriguing mix of Celtic and Mexican music based on a fictionalized version of the story of Irish soldiers fighting with the Mexican army.

San Patricio is somewhat reminiscent of Santiago, another Chieftains’ effort from 1996 on which they blended Celtic sensibilities with Galician music from northwest Spain.

The group showed the direct link between the two musical heritages while including collaborators Cooder, Linda Ronstadt and Los Lobos, among many others.

The music on San Patricio is joyous, celebratory, heartfelt, forboding and ultimately upbeat and forward moving. The highlights are many, including the opener La Iguana with sensuous vocalist Lila Downs, who also appears on El Relampago; Ronstadt’s tender La Orilla de Un Palmar; the Cooder compositions The Sands Of Mexico and Cancion Mixteca (Intro) along with the song proper by Jose Lopez Alavez; March To Battle (Across The Rio Grande), which features a narration by Liam Neeson; and traditional numbers that feature Los Folkloristas and Los Camperos deValles.

It’s all a rich tapestry of the blending of these two musical styles that share so much in common.

The Irish soldiers, led by Captain John Riley during the war with Mexico (1846-48) were discriminated against and treated brutally by the American troops. So much so they defected to join a people with whom they had much more in common.

Although the thread of story on this record is entirely fictitious, there is no doubt music must have been a big part of the Irish soldiers’ experience as it is imbued so deeply in both cultures. A wonderfully realized example of what we now call World Music but is simply an inspiring work under any title. Continue reading Three for 2010: Chieftains, Farnham & Beck →

Exiled with The Stones

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Around the time a re-mastering of The Rolling Stones early ’70s work Exile On Main Street was announced, I finally decided to read a book about the period I had picked up a few months prior.

Rolling Stones Exile On Main Street CoverA Season In Hell With The Rolling Stones by Robert Greenfield is the perfect companion to what many Stones fans believe is the group’s greatest album. There’s no doubt it comes from the group’s last great era, and although it’s one of my favorite Stones records, I don’t believe it’s their best.

Nonetheless, it has a fascinating story behind it and the album comes into sharper focus by reading what led up to its making. In short, because of the extreme tax laws at the time in England, much too complicated to recount, The Stones were forced to move to the south of France for an extended period and that would become the site of their recording for Exile.

Having exhausted most possible locations for the recording, The Stones settled on Villa Nellcote, where Keith Richards and girlfriend Anita Pallenberg were staying. The group set up in a room in the basement and with their trusty mobile recording studio outside set about recording a good deal of the album.

It is, however, pointed out in Greenfield’s book that it was a herky-jerky, start-and stop affair at best. What with Richards’ and Pallenberg’s drug indulgences, the celebrity-charged atmosphere that saw among others Gram Parsons settle in for an extended stay and in general an uneasiness between the group’s leaders, Richards and Mick Jagger, it’s a wonder this album was ever finished.

Still, with supplemental tracks and overdubs cut in Los Angeles and previous tracks recorded at Olympic Studios in London, the album was pieced together and remains one of The Stones most interesting, resting comfortably among it influences: blues, R&B, country blues, Motown and rock.

Richards is in all ways the main player in this saga, both in the book and it’s fairly detailed recounting of his life during this period, and the recording, during which despite his drug abuse he was essentially the creative force behind the songs.
Continue reading Exiled with The Stones →

Taylor out of hospital

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A fews days after we saw Mick Taylor at the Iron Horse in Northampton, Mass., on April 29, he took ill after a gig at the Bull Run Restaurant in Shirley, Mass., (May 1). Messages, coming mostly from Rolling Stones message boards, had Taylor in a Boston-area hospital.

Mick Taylor at the Iron Horse in Northampton, Mass., April 29.
Mick Taylor at the Iron Horse in Northampton, Mass., April 29.

It was quite difficult to substantiate anything about this other than most of his shows on the Eastern swing of his first tour of America since 2007 were quickly postponed or canceled. Within days, the entire tour, which included stops in California and Texas, apparently was nixed. One blog from the San Diego area confirmed that. There were no other published reports I could track down or official statement’s from Taylor’s management as there had been a year ago when he canceled a U.S. Tour before it got started.

I didn’t doubt anything from the Stones boards, but it was skant and there were no details available. Until I received some first-hand information from a friend who I would not have thought would prove to be a source on what was happening with Taylor.

On Tuesday of last week, Taylor and his drummer Jeff Allen popped in on one of the best luthiers in Connecticut, Paul Neri. Taylor told Neri he had been in a Fall River hospital with pneumonia and almost died. He said he believed he had never really shaken a bout with pneumonia that he had contracted previously. Taylor had a noticeable mark on his neck from an IV and his breathing was labored.

Allen evidently has a friend in the area and he and Taylor were headed to a jam that night, the guitarist’s shape notwithstanding. Taylor took a 1936 Gibson LOO acoustic for the jam from Paul’s shop, which is on the shoreline in Clinton.

Unfortunately, Taylor didn’t look that well, but one would conclude he’s on the mend somewhat since he’s out of hospital and playing guitar. As for the tour being re-booked, nothing new there.

Shelby Lynne on her own

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It seems truly unbelievable that a record company such as Lost Highway could reject an album by Shelby Lynne, particularly when it is as compelling and heartfelt as Tears, Lies & Alibis.

But it happened. It goes on more than you would think with top artists. As Lynne mentioned during her set at The Iron Horse Music Hall in Northampton, Mass., Friday, she was through with the world of corporate companies and has released Tears, Lies & Alibis on her own label, Everso Records.

Now, she said, she can release an album anytime she wants to and promised a Christmas album this year, something she has been trying to convince a record label to do for 20 years.

Amid all this life-changing turmoil, Lynne is touring the country in support of Tears with a three-piece band that includes Nashville guitarist John Jackson and Lynne’s producer and bass player, Brian Harrison.

At the Iron Horse they ran through a beautifully arranged set that featured songs from the new album and material from her previous albums, all of which since 2000’s I Am Shelby Lynne have showcased her extraordinary voice and songwriting skills, with an eclectic mix of country, rock, folk, Southern soul, blues and more.

Fortunately, the videos above and below, shot by one of her crew, show off Lynne’s performance at the Iron Horse. So, you can get an intimate and immediate display of her talents. She also often talked extensively between songs and some of the raps were very funny.

Hearing her music in this stripped-down setting was revelatory and a wonderful showcase for Jackson’s prodigious picking skills, particularly on slide that he makes sound like a pedal steel. Jackson is on the new album as well as Harrison, so between recording and playing live now for several weeks, the three were tight and played with a strong feel and connection to the music and each other. Continue reading Shelby Lynne on her own →

Mick Taylor finally arrives in America

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Last July, blues guitarist Mick Taylor was scheduled to play four shows in New England during an American Tour, his first gigs in the U.S. since 2007. The entire tour was canceled, though, after Taylor was diagnosed with a blood clot in his chest and pleurisy.

jimi hendrix tribute 191007Recovered and looking healthy, Taylor rescheduled the tour for this spring and arrived in Boston Wednesday night. His five-piece group, which includes notable keyboardist Max Middleton, played in Northampton Thursday at the Iron Horse Music Hall to an enthusiastic and rowdy capacity crowd.

Though the band was jet-lagged, as Taylor mentioned, they shook off the rust and ran through a 1 1/2-hour set that showcased Taylor’s brilliant single-string and slide guitar work. The outfit was a bit on the loose side but still rocked hard throughout. Taylor’s voice, which is pleasing if not technically adept, carried off some of his own best-known tunes to his loyal following and some other more widely-known material.

Taylor, best known as the 17-year-old wunderkind of John Mayall’s Bluesbreakers in 1968-69, replacing Peter Green who departed for Fleetwood Mac, or as the ideal replacement for the fired Brian Jones in the Rolling Stones, giving that band one of its most accomplished lineups, is now in his early 60s and bit more rotund than that slim, young, baby-faced guitar player from what was a magical time for blues musicians. But he seemed happy, ready to please and rocking throughout his group’s set, showing alternately tender and fiery musicianship as he soloed frequently. Continue reading Mick Taylor finally arrives in America →

Karla Bonoff’s timeless songcraft

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In the 1970s heydey of the singer-songwriter, southern Californian Karla Bonoff emerged as one of the genre’s brightest lights. A gifted songwriter, whose melodic and well-structured tunes were often made more famous by other artists, Bonoff also produced a string of memorable albums and toured with her own band extensively.

Karla Bonoff Live 3She never achieved the kind of recongition some of the artists who covered her material did —  Linda Ronstadt, Bonnie Raitt, Aaron Neville, among many others — but her interpretations of her songs often struck home much more profoundly, as she displayed a beautifully crystal clear voice that could handle all of the demands her compositions make of a singer.

Although she has toured frequently, I never remember her coming to Connecticut. Happily, she stopped in Norfolk Thursday night at the Infinity Music Hall, and along with longtime collaborator Kenny Edwards and the remarkable guitarist Nina Gerber, Bonoff presented about an hour-and-a-half of truly inspired performances of some of her most well-known songs and some even her most avid followers were probably not that familar with.

I always associate piano with Karla Bonoff’s songs, but for most of the night she played one of two acoustic guitars and used the baby grand on about five or six tunes. Edwards alternated among mandolin, acoustic guitar and electric bass and Gerber played a white Fender Strat, often bringing to mind the style of the late Clarence White, from one of the last incarnations of The Byrds, who made his Tele sound like a pedal steel much as Gerber does with her Strat. Continue reading Karla Bonoff’s timeless songcraft →

Time machine called the T.A.M.I. Show

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I caught snippets of the T.A.M.I. Show in the ’60s when a short segment would turn up on network television or a smaller local station. I didn’t make it to the theatrical release at one of the locations around the country, which started  just a few weeks after the show was filmed.

TAMI show posterSo watching the newly released Shout Factory DVD of this rather amazing collection of eclectic talent was an almost entirely new experience. But it certainly brought back memories of how pop and rock music was presented in the early ’60s. This show was filmed in October, 1964, at the Santa Monica Civic Auditorium in front of a group of mostly high school students over a two-day period, performed twice for a live audience and once without.

What made it into theaters was the second filmed performance. The lineup is truly inspired and included, among others, hosts Jan & Dean, Chuck Berry, Gerry and The Pacemakers, Smokey Robinson and The Miracles, Marvin Gaye, Lesley Gore, The Beach Boys, James Brown and the closing act, the still rising Rolling Stones, before The Last Time, before Satisfaction, before worldwide acclaim. You see what I mean about a varied lineup spanning several genres.

It’s all presented in a style you would never see today. All the acts performed live, a big plus, and all acquitted themselves quite well. The camera work is steady, not choppy. There are no quick cuts with nonsensical flashes of scenes that have no relation to the music as we’ve become accustomed with music videos as well as film. The action stays on the entertainers and for that the film is greatly enhanced.

The one novelty that you might object to is the presence of dancers throughout most of each of the artists’ sets, giving performances that can only be described as filled with over-the-top exuberance, literally all over the stage. In back of the artists, sometimes in front, next to, working out in the dance moves of the day or borderline modern dance/entertainment style choreography. These are pros though and it’s remarkable the energy level they keep up. Continue reading Time machine called the T.A.M.I. Show →