I have been to two more concerts this past Monday and Tuesday. Got a chance to see the Happy Together Tour at the Minnesota State Fair Grandstand for the final show of their tour. This was a group of bands from the '60s that were popular before the psychedelic rock phase hit. Bands included The Buckinghams, The Grass Roots, The Association, The Turtles with Flo & Eddie, and Mark Lindsay (the lead singer from Paul Revere & The Raiders).
I was not familiar with too many of the songs except for a cover the Buckingham's did of "Expressway To Your Heart" by the Philadelphia soul band The Soul Survivors, "Windy" by The Association (which had all of it's original members) and some covers Mark Lindsay did in medley by Cream and The Who which turned out to be song teases. I was impressed by much of the musicianship of the bands and their enthusiastic showmanship despite knowing only a few songs.
As for Steely Dan, I had seen them before at Northrop Auditorium in 2009. So, this was my second time and third seeing Donald Fagen after experiencing a show he did at the fair last year with Michael McDonald and Boz Scaggs. In an ironic twist of fate, rain plagued both of those shows and Fagen said from the stage last night something to the extent of, "whenever I show up here for a show, it rains!" There was a continuous gentle shower throughout the entire show last night.
The music of Steely Dan is jazz influenced pop more or less but the band has some ace backing musicians and has never had consistent members except for Donald Fagen on keys and melodica and his partner, Walter Becker on guitar. The revolving door of guitarists includes such names as Larry Carlton, Jeff "Skunk" Baxter, Denny Dias, Elliott Randall, Dean Parks, Hiram Bullock and Jay Graydon. Jon Herrington (their ace touring guitarist) plays uniquely in his own way. But his playing suits what was done on the studio cuts to a T.
Notable highlights included show openers "East St. Louis Toodle-O" (a Duke Ellington/Bubber Miley cover with the horn section), "Your Gold Teeth" and "Bodhisattva" from the "Countdown To Ecstasy" record, 80% of the "Aja" album and three songs from "Gaucho". Those were "Hey Nineteen", "Glamor Profession" and "Time Out of Mind". "Kid Charlemagne" from "The Royal Scam" and "Reelin' In The Years" closed the set. There were not only definite highlights from Herrington on guitar, but their keyboardist Jim Beard, bassist Freddie Washington and drummer Keith Carlock were on top of the grooves throughout the set.
Some people might not understand the complexity of Steely Dan's jazz influenced pop style or their odd and unusual lyrics (with some of the terminologies used needing a dictionary to be defined). But, their jazz influences ring through (although not as intensely as a true jazz band) and the songwriting capability of Donald Fagen and Walter Becker is surely strong as their catalog has remained intact and popular for the better part of nearly four decades.
The Minnesota State Fair surely knows how to find great and well known acts for their grandstand concerts and this year was no exception.
Wednesday, August 31, 2011
Returning To Forever
Wednesday August 24th, 2011 is a day I will always remember. I, as well as my brother Charlie and his friend Andrew Seitz had the chance to see Return to Forever in concert at the Orpheum Theater. Going into the show, I knew we were going to be in for something special. We were seated in the balcony of the theater with a perfect view of the stage. The opening act would be Zappa Plays Zappa. Dweezil Zappa (son of the maverick genius guitarist and all around musical wizard Frank Zappa) would play his father’s compositions and some of his own.
That set was laden with supercharged guitar fireworks as Zappa shredded on his late father’s Gibson SG backed by a stellar band of musicians that included horns and brought his dad’s psychedelic, oddball and humorous songs to life in tribute, years after Frank Zappa’s death. Instrumental virtuosity along with songs that had grotesquely humorous lyrics and monumental arrangements just seemed to work. His father’s songs like “St. Alfonso’s Pancake Breakfast” or “Don’t Eat The Yellow Snow” had the same zaniness and crudeness that they’d always possessed.
After that opening set though, the real fireworks would begin when Return To Forever took the stage. Mostly known for their epic works penned during their heyday of the 1970s, RTF would draw from that era heavily during this concert and as fans, we couldn’t wait to experience it. Their lineup has gone through some changes as core members Chick Corea on keyboards, Stanley Clarke on electric and upright bass and Lenny White on drums, remained. But joining them were two new, yet veteran players. Frank Gambale on guitar from Chick Corea’s Elektric Band would pick up the mantle left off by RTF’s previous legendary guitarist, Al di Meola who has since gone on to tour the world as a solo act. …And, joining the band would be world class violinist Jean Luc Ponty who first came to prominence with John McLaughlin and the Mahavishnu Orchestra at the same time Return to Forever was popular in the glory days of ‘70s jazz/rock fusion.
This ensemble would prove throughout the evening to be very tight musically. Improvisation is what they do best. The opening number (“Medieval Overture”) was the start of something special as the band played through a catalog of well-known numbers. “Sorceress”/”The Shadow of Lo” was an epic that would be the envy of any modern jam band, with great interplay between Corea, Gambale and Clarke. Other songs like “After the Cosmic Rain” (from the “Hymn of the 7th Galaxy” record, “Dayride”, and “Sorceress”/”Shadow of Lo” (that turned into a major epic that would be the envy of any modern jam band).
Jean Luc Ponty’s composition entitled “Renaissance”, Stanley Clarke’s, “Dayride” from the No Mystery album, and “Romantic Warrior” were all highlights as each musician put their flair into them. Chick’s deft piano work coupled with a strong, funky bottom end from Stanley and Lenny drove the songs. For their parts, Jean Luc and Frank both provided fireworks. Jean Luc was the perfect complement to the rest of the band as shown in the aforementioned “Renaissance”. He added a lot to the band’s sound and put everything into his playing. Gambale’s guitar work was red hot and sure similarities could be drawn between his own fiery licks and what Al di Meola contributed. Gambale uses a technique known as sweep picking, playing quick, fluid notes where both the right and left hand are used. Gambale has mastered this technique and it showed in all the songs played last night, even in some of the mellower acoustic numbers like “Romantic Warrior”.
But, during “Romantic Warrior”, something was about to happen. Before Dweezil Zappa took the stage, Charlie and I had gone back out to the merchandise table as there was an opportunity to sign up for a meet and greet with members of the band after the show. I told Charlie “you know, we’d better take that chance. We have a great opportunity here.” We did and were called down by a venue security official from our seats.
Going outside to the back of the theater, we ended up on stage for the encore which was Stanley Clarke’s solo number, “School Days”. Many fans had been calling out for that tune during the concert. …And so, our wish was granted. Charlie, Andrew and I had a bird’s eye view of the band as they played that number, Stanley, leading and being encouraged by the audience, slapping the strings of his bass to beat the band. So, would the evening be over? Not by a long shot! We were told to wait as the band came off stage. But, back in the staging area, we would have the chance to meet with our heroes.
Nearly everyone was back there except for Jean Luc who had to have needed a well-deserved rest after his efforts playing masterfully on his violin. Charlie and I first approached Stanley, shaking his hand and gathering for a picture, talking about the impact his playing had had on both of us. I reminisced with him about seeing a gig he played at the Dakota Jazz Club with his own band back in March to which he replied, “that tour we did with (fellow bass legend) Victor Wooten, was a fun tour.” Charlie mentioned his learning Stanley’s record called “Journey to Love” and wanting to perform that in a recital one day. To that, Stanley replied, “go for it. You are dedicated. Keep playing music. It’s good to play with all sorts of different musicians.” We gathered in for a picture with Stanley as well. I approached Chick Corea telling him I enjoyed the show and saying, “I really appreciate what you do with Return To Forever and your work with Miles Davis on ‘In A Silent Way’ and ‘Bitches Brew’. He thanked me for those words as he was coming towards his dressing room. Frank Gambale was the next one I talked to.
Both Andrew and I explained our passion as guitarists and he was glad to hear we enjoyed his playing. As with Stanley, we also got a picture with Frank (or at least, Andrew did). I briefly spoke to Lenny White as well, mentioning my appreciation for his connection with Miles Davis, too. Alas, it was time for all of us to go our separate ways as RTF was to continue their odyssey on the road and we, tired, but still in euphoria mode, would make our way home.
I was very satisfied. For the first time in my life, I was able to approach and talk to some of my all-time musical heroes. In the relatively short time I have followed RTF and listened to their music, they have had a great impact on me because of their musicianship and the adventurous nature of their songs with all the improvisation that goes into each and every one. The name of the band is significant as Chick said in an interview I’d read before the concert. Returning to forever means that in life, you are always in a familiar place even if you feel like the places you’ve gone or the journeys you’ve taken have always been new or unfamiliar, you have a place to come to. Last night was indeed my return to forever.
That set was laden with supercharged guitar fireworks as Zappa shredded on his late father’s Gibson SG backed by a stellar band of musicians that included horns and brought his dad’s psychedelic, oddball and humorous songs to life in tribute, years after Frank Zappa’s death. Instrumental virtuosity along with songs that had grotesquely humorous lyrics and monumental arrangements just seemed to work. His father’s songs like “St. Alfonso’s Pancake Breakfast” or “Don’t Eat The Yellow Snow” had the same zaniness and crudeness that they’d always possessed.
After that opening set though, the real fireworks would begin when Return To Forever took the stage. Mostly known for their epic works penned during their heyday of the 1970s, RTF would draw from that era heavily during this concert and as fans, we couldn’t wait to experience it. Their lineup has gone through some changes as core members Chick Corea on keyboards, Stanley Clarke on electric and upright bass and Lenny White on drums, remained. But joining them were two new, yet veteran players. Frank Gambale on guitar from Chick Corea’s Elektric Band would pick up the mantle left off by RTF’s previous legendary guitarist, Al di Meola who has since gone on to tour the world as a solo act. …And, joining the band would be world class violinist Jean Luc Ponty who first came to prominence with John McLaughlin and the Mahavishnu Orchestra at the same time Return to Forever was popular in the glory days of ‘70s jazz/rock fusion.
This ensemble would prove throughout the evening to be very tight musically. Improvisation is what they do best. The opening number (“Medieval Overture”) was the start of something special as the band played through a catalog of well-known numbers. “Sorceress”/”The Shadow of Lo” was an epic that would be the envy of any modern jam band, with great interplay between Corea, Gambale and Clarke. Other songs like “After the Cosmic Rain” (from the “Hymn of the 7th Galaxy” record, “Dayride”, and “Sorceress”/”Shadow of Lo” (that turned into a major epic that would be the envy of any modern jam band).
Jean Luc Ponty’s composition entitled “Renaissance”, Stanley Clarke’s, “Dayride” from the No Mystery album, and “Romantic Warrior” were all highlights as each musician put their flair into them. Chick’s deft piano work coupled with a strong, funky bottom end from Stanley and Lenny drove the songs. For their parts, Jean Luc and Frank both provided fireworks. Jean Luc was the perfect complement to the rest of the band as shown in the aforementioned “Renaissance”. He added a lot to the band’s sound and put everything into his playing. Gambale’s guitar work was red hot and sure similarities could be drawn between his own fiery licks and what Al di Meola contributed. Gambale uses a technique known as sweep picking, playing quick, fluid notes where both the right and left hand are used. Gambale has mastered this technique and it showed in all the songs played last night, even in some of the mellower acoustic numbers like “Romantic Warrior”.
But, during “Romantic Warrior”, something was about to happen. Before Dweezil Zappa took the stage, Charlie and I had gone back out to the merchandise table as there was an opportunity to sign up for a meet and greet with members of the band after the show. I told Charlie “you know, we’d better take that chance. We have a great opportunity here.” We did and were called down by a venue security official from our seats.
Going outside to the back of the theater, we ended up on stage for the encore which was Stanley Clarke’s solo number, “School Days”. Many fans had been calling out for that tune during the concert. …And so, our wish was granted. Charlie, Andrew and I had a bird’s eye view of the band as they played that number, Stanley, leading and being encouraged by the audience, slapping the strings of his bass to beat the band. So, would the evening be over? Not by a long shot! We were told to wait as the band came off stage. But, back in the staging area, we would have the chance to meet with our heroes.
Nearly everyone was back there except for Jean Luc who had to have needed a well-deserved rest after his efforts playing masterfully on his violin. Charlie and I first approached Stanley, shaking his hand and gathering for a picture, talking about the impact his playing had had on both of us. I reminisced with him about seeing a gig he played at the Dakota Jazz Club with his own band back in March to which he replied, “that tour we did with (fellow bass legend) Victor Wooten, was a fun tour.” Charlie mentioned his learning Stanley’s record called “Journey to Love” and wanting to perform that in a recital one day. To that, Stanley replied, “go for it. You are dedicated. Keep playing music. It’s good to play with all sorts of different musicians.” We gathered in for a picture with Stanley as well. I approached Chick Corea telling him I enjoyed the show and saying, “I really appreciate what you do with Return To Forever and your work with Miles Davis on ‘In A Silent Way’ and ‘Bitches Brew’. He thanked me for those words as he was coming towards his dressing room. Frank Gambale was the next one I talked to.
Both Andrew and I explained our passion as guitarists and he was glad to hear we enjoyed his playing. As with Stanley, we also got a picture with Frank (or at least, Andrew did). I briefly spoke to Lenny White as well, mentioning my appreciation for his connection with Miles Davis, too. Alas, it was time for all of us to go our separate ways as RTF was to continue their odyssey on the road and we, tired, but still in euphoria mode, would make our way home.
I was very satisfied. For the first time in my life, I was able to approach and talk to some of my all-time musical heroes. In the relatively short time I have followed RTF and listened to their music, they have had a great impact on me because of their musicianship and the adventurous nature of their songs with all the improvisation that goes into each and every one. The name of the band is significant as Chick said in an interview I’d read before the concert. Returning to forever means that in life, you are always in a familiar place even if you feel like the places you’ve gone or the journeys you’ve taken have always been new or unfamiliar, you have a place to come to. Last night was indeed my return to forever.
Friday, August 19, 2011
Marcus Miller: "Frankenstein" cover (unbelievable!)
Here's a real treat. Jazz bass legend Marcus Miller and his band, take Edgar Winter's already stunning instrumental "Frankenstein" and puts da funk ALL OVER it with his amazing bass chops. Check this out!
http://www.youtube.com/watch?v=lgz-0ojaIe8&feature=related
http://www.youtube.com/watch?v=lgz-0ojaIe8&feature=related
The Allman Brothers Band "In Memory of Elizabeth Reed"
This song took me to another world. I have been a fan of the Allman Brothers Band for many years, having had the good fortune of being able to see them in concert, twice, locally at the Minnesota State Fair in both 2004 and 2007. But, there is one particular number they do that changed how I look at music completely. "In Memory of Elizabeth Reed" is a track that takes improvisation and that sense of technical virtuosity to new heights. Only Cream and Pink Floyd probably had this extraordinary level of mastery in improvisation when it came to rock bands. These players were trying to link the elements that made jazz great into modern rock and roll and did a darn good job of it.
Here is an example of how "Elizabeth Reed" in it's own way did such a thing. The song was incidentally named for a headstone that original ABB guitarist Dickey Betts saw in a cemetery that simply said, "In Memory of Elizabeth Reed" on it and then he set out to write a tune that had all the elements of a classic jazz track by a master such as Miles Davis or John Coltrane. Betts said he wanted to name the tune for a girlfriend of his, but he could not bring himself to divulge the secrecy of his relationship to that woman. So, he ended up using the name on the headstone.
This version is from the 40th anniversary New York residency the Allman Brothers played in 2009 at the Beacon Theatre, with special guest, Eric Clapton, adding his own fantastic flair to the tune. This track is timeless. ...And, for this version on their 40th anniversary run two years ago, having Clapton sit in was truly icing on the cake!
Check it out.
Note: videos may play only through YouTube and are accessible by clicking the images.
Here is an example of how "Elizabeth Reed" in it's own way did such a thing. The song was incidentally named for a headstone that original ABB guitarist Dickey Betts saw in a cemetery that simply said, "In Memory of Elizabeth Reed" on it and then he set out to write a tune that had all the elements of a classic jazz track by a master such as Miles Davis or John Coltrane. Betts said he wanted to name the tune for a girlfriend of his, but he could not bring himself to divulge the secrecy of his relationship to that woman. So, he ended up using the name on the headstone.
This version is from the 40th anniversary New York residency the Allman Brothers played in 2009 at the Beacon Theatre, with special guest, Eric Clapton, adding his own fantastic flair to the tune. This track is timeless. ...And, for this version on their 40th anniversary run two years ago, having Clapton sit in was truly icing on the cake!
Check it out.
Note: videos may play only through YouTube and are accessible by clicking the images.
A love for music and the electric guitar
Thought I'd post something here about my third hobby besides cars and horseback riding. I am a musician and music fanatic. I play guitar (predominantly electric). I have a good ear when it comes to guitar and there are many players who have influenced me. I've been playing now for about eight years. There is an adrenaline rush when someone hears the sound of an electric guitar, particularly in the hands of a very skilled player who has a unique touch.
There are various electronic effects someone can use. But what I prefer is to have the tone come between a player's fingers, their guitar and their amplifier. All you have to do is plug directly into the amp in my humble opinion. Maybe a wah pedal for coloring and a stomp box compression or clean boost pedal are the only effects I'd ever use. There are many fancy ones out there for a variety of sounds. But when you get too loaded up with effects, it doesn't let the natural tone out. I have a 2004 Fender '52 reissue Telecaster as my main guitar now. It's been there for me since I got it as a Christmas gift and though it has numerous scratches, scrapes, dings and dents on it, it sounds and plays great. I would want to have a Gibson Les Paul or a Gibson ES335 eventually.
But, I'll take what I've got for the time being. My fortes are in rhythm guitar and in bottleneck or lap steel slide playing. I want to improve as a lead player and be able to play succinctly in that way while still having the ability to really dig in, sometimes. It's something I'm working on. I sometime consider slide playing to be my style of lead playing almost particular when it comes to the blues. I have SO many influences from early blues pioneers like Son House and Robert Johnson, to rock greats like Eric Clapton, Carlos Santana, Jimi Hendrix, Stevie Ray Vaughan, Duane Allman, David Gilmour and Jeff Beck, to jazz fusion guitarists like Larry Carlton and Al di Meola and the new generation of jam band blues rockers like Joe Bonamassa, Warren Haynes, Derek Trucks, Rich Robinson and Luther Dickinson. ''
The guitar is such a universal instrument. You can play damn near any kind of music on it. I must be stuck partially in the realm of the 1970s when it comes to the music I listen to as a lot of jam rock and fusion bands started back then. Arguably, jazz fusion began when Miles Davis released a couple seminal albums ("In A Silent Way" and "Bitches Brew" both in 1969). He and other earlier jazz pioneers have also been very influential to me musically. It's the idea of improvisation. That's what I draw on even though it is something that takes years for an amateur guitarist to work with. With respect to popular music, I am also drawn to arrangements that involve a lot of electric keyboards like the ubiquitous Hammond B3 organ, the Rhodes electric piano and the Hohner Clavinet which was an electric harpsichord/piano hybrid made in the 1970s by Hohner (a company most renowned for making diatonic harmonicas).
Blues harmonica and horn arrangements also fascinate me and are part of this amalgamation of sounds I have in my head in the landscape of instruments that can be used to create improvised rock and roll music. I have an unwavering love for music and just thought I'd post something about that here. Further musical observations may very well become a part of this blog as time goes on. Stay tuned and to all musicians out there (especially guitarists), keep jamming.
There are various electronic effects someone can use. But what I prefer is to have the tone come between a player's fingers, their guitar and their amplifier. All you have to do is plug directly into the amp in my humble opinion. Maybe a wah pedal for coloring and a stomp box compression or clean boost pedal are the only effects I'd ever use. There are many fancy ones out there for a variety of sounds. But when you get too loaded up with effects, it doesn't let the natural tone out. I have a 2004 Fender '52 reissue Telecaster as my main guitar now. It's been there for me since I got it as a Christmas gift and though it has numerous scratches, scrapes, dings and dents on it, it sounds and plays great. I would want to have a Gibson Les Paul or a Gibson ES335 eventually.
But, I'll take what I've got for the time being. My fortes are in rhythm guitar and in bottleneck or lap steel slide playing. I want to improve as a lead player and be able to play succinctly in that way while still having the ability to really dig in, sometimes. It's something I'm working on. I sometime consider slide playing to be my style of lead playing almost particular when it comes to the blues. I have SO many influences from early blues pioneers like Son House and Robert Johnson, to rock greats like Eric Clapton, Carlos Santana, Jimi Hendrix, Stevie Ray Vaughan, Duane Allman, David Gilmour and Jeff Beck, to jazz fusion guitarists like Larry Carlton and Al di Meola and the new generation of jam band blues rockers like Joe Bonamassa, Warren Haynes, Derek Trucks, Rich Robinson and Luther Dickinson. ''
The guitar is such a universal instrument. You can play damn near any kind of music on it. I must be stuck partially in the realm of the 1970s when it comes to the music I listen to as a lot of jam rock and fusion bands started back then. Arguably, jazz fusion began when Miles Davis released a couple seminal albums ("In A Silent Way" and "Bitches Brew" both in 1969). He and other earlier jazz pioneers have also been very influential to me musically. It's the idea of improvisation. That's what I draw on even though it is something that takes years for an amateur guitarist to work with. With respect to popular music, I am also drawn to arrangements that involve a lot of electric keyboards like the ubiquitous Hammond B3 organ, the Rhodes electric piano and the Hohner Clavinet which was an electric harpsichord/piano hybrid made in the 1970s by Hohner (a company most renowned for making diatonic harmonicas).
Blues harmonica and horn arrangements also fascinate me and are part of this amalgamation of sounds I have in my head in the landscape of instruments that can be used to create improvised rock and roll music. I have an unwavering love for music and just thought I'd post something about that here. Further musical observations may very well become a part of this blog as time goes on. Stay tuned and to all musicians out there (especially guitarists), keep jamming.
record collection revisited: Miles Davis "In A Silent Way"
Might as well speak more for my passion for music. I've been digging jam bands, classic rock & roll, blues, all eras of jazz, country music (particularly classic country) and other genres like bluegrass or alternative country for years. Have seen a lot of great bands in concert and own some great records. So, to begin, I want to highlight a tune from the first or second "jazz fusion" album that Miles Davis did. He was a true innovator in the world of jazz of course. But, in 1969, with the release of "In A Silent Way" and later on through the '70s with releases like "Bitches Brew", "Live Evil" and "On The Corner", he turned the world of jazz totally on it's ear and paved the way for future jazz/rock fusion bands including Weather Report, Return To Forever, The Crusaders, Herbie Mann etc. etc.
All these bands were different. Mann was a flautist incidentally. Davis' influence can be felt through all of the bands that came after. But Return To Forever took fusion jazz to new heights and made it an avant garde genre that was far beyond the pale of what fans of traditional forms of jazz (Dixieland, swing, bop, cool etc.) were used to. Hard bop and fusion sort of paralleled each other and there were even well known rock bands that took the formula and ran with it (Cream, the Allman Brothers, Pink Floyd etc.)
These songs also feature Wayne Shorter, who, at this time was playing with Davis and playing almost always on soprano saxophone. His sax lines perfectly echo Davis' trumpet.
Posted above is the first track "Shhh/Peaceful". Here is the second one. "In A Silent Way"/"It's About That Time".
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