great blues cover tune (Albert King's "Born Under A Bad Sign"), Tommy Crain & the Crosstown Allstars

Check out this awesome cover of Albert King's "Born Under A Bad Sign" done here very well by the late, great Tommy Crain's band The Crosstown Allstars with co-lead guitarist Bob Rumer nailing the vocals.  Quartet band with an awesome groove.  Tommy Crain and Bob Rumer on guitars, the late Kerry Creasy on bass and an unidentified drummer, from a gig the Crosstown All Stars did as a supporting band for another Nashville based southern boogie rock band called the Winters Brothers, led by Donnie and Dennis Winters.

This is HOT!

"Georgia On My Mind" Zac Brown Band & Gregg Allman

Cool rendition of a great, great song.  "Georgia On My Mind" by Hoagy Carmichael and Stuart Gorrell, here, covered by Gregg Allman and the Zac Brown Band on the Country Music Association Awards a few weeks back.  Enjoy this one.

"River Song" post

FYI.  The video for Dave Grusin "River Song" has seemingly been removed from YouTube.  That lasted a mere few days.  Sorry folks.  Look for more blog posts about records and music this coming week as December approaches.  I am still determined to find the original copy of "Sticks And Stones" that my mom has in her record collection, or perhaps, find a new copy if said record is still available.

Dave Grusin "River Song"

This tune is one I remember from my childhood.  Dave Grusin was one of the first artists I'd ever heard as my mother must have had a copy of this CD ("Sticks And Stones") released in 1988.  The Grusin brothers (Dave and Don), were both influential in the transformation of jazz fusion into what became known as "smooth jazz" in the late '80s and early '90s along with a host of other artists.  There is something about this song (the synthesizers, mostly), that make it unique.  Everything on this track seemed to be done with synths.  But, it's not done in a cliche '80s way even though to some ears, it may sound like that.

Just reliving a song that somehow came back to me recently.  Wish I knew where the copy of the record for this one was.  This is a great track.

The Crusaders "Spiral" 1976 & "Free As The Wind" 1977

Record collection revisited: Spotlight on the five coolest albums by The Crusaders

OK, I admit it. I have been pretty intrigued by The Crusaders' music with their potent blend of jazz fusion, funk and classic R&B groove.  I thought I'd get away with posting each album individually.  But, alas, that's just not enough.  I don't know if it would be worth it, because each album (though they've got different songs), they've all got the same blueprint featuring each member of this great band at their best.  Whether it's the soulful tenor saxophone of Wilton Felder, Wayne Henderson's trombone (on some of the albums), or, the wicked rhythm section with Joe Sample on Rhodes and Wurlitzer pianos, laying it down, and the his right hand man, guitar master Larry Carlton, or the other half of the rhythm section, bassist Robert "Pops" Popwell and the drummer Stix Hooper. Wilton Felder also played bass on some of their recordings as he did on other artists' sessions during the '70s and '80s.

These guys are unlike any of the other '70s "fusion" bands out there.  Well, without further ado, here are the albums and their track listings in order, so you may find out which songs are the key ones to have (well, they all are).  But, there are some real highlights on each album.

"Southern Comfort" 1974     Track listing:

1. Stomp and Buck Dance (Wayne Henderson)
2. Greasy Spoon (Stix Hooper)
3. Get on the Soul Ship (Joe Sample)
4. Super Stuff (Wayne Henderson)
5. Double Bubble (Joe Sample)
6. The Well's Gone Dry (Larry Carlton)
7. Southern Comfort (Wayne Henderson)
8. Time Bomb (Joe Sample)
9. When There's Love Around (Stix Hooper)
10. Lilies of the Nile (Wilton Felder)
11. Whispering Pines (Wayne Henderson)
12. A Ballad for Joe (Louis) (Joe Sample)

"Chain Reaction" 1975     Track listing

1. Creole
2. Chain Reaction
3. I Felt The Love
4. Mellow Out
5. Rainbow Visions
6. Hallucinate
7. Give It Up
8. Hot's It
9. Sugar Cane
10. Soul Caravan

"Those Southern Knights" 1976

1. Spiral (Joe Sample)
2. Keep That Same Old Feeling (Wayne Henderson)
3. My Mama Told Me So (Joe Sample)
4. 'Til The Sun Shines (Larry Carlton)
5. And Then There Was The Blues (Stix Hooper)
6. Serenity (Wilton Felder)
7. Feeling Funky (Robert Popwell)

"Free As The Wind" 1977

1. Free As The Wind
2. I Felt The Love (a more uptempo version of the same track from "Chain Reaction")
3. The Way We Was
4. Nite Crawler
5. Feel It
6. Sweet 'n' Sour
7. River Rat
8. It Happens Everyday

"Street Life" 1979

1. Street Life (w/Randy Crawford: vocals)
2. My Lady
3. Rodeo Drive (High Steppin')
4. Carnival of the Night
5. The Hustler
6. Night Faces


Now, there is one record of theirs I do not have yet, their 1978 album "Images".  But, these five set the benchmark for what this band is all about.  They recorded albums in the '80s and '90s as well, but by the '90s, they'd mostly disbanded except probably for Wilton Felder and a few other people and went on a hiatus.  Their last album before a hiatus was 1989's   They came back briefly as the Jazz Crusaders in 1995 for an album entitled "Happy Again" which is a good album, but it doesn't really recapture any of their '70's glory.

This is definitive list of albums by The Crusaders to check out.  Give these a listen.  Each one (despite having a similar sound with that heavy R&B/funk groove), is unique.  Videos (possibly) coming soon.

Miles Davis "Tutu" live

Here's an interesting video I just came across.  This is Miles Davis in the latter part of his career playing "Tutu" from his 1986 album of the same name.  The band for this record includes Davis on trumpet, Kenny Garrett on flute, David Sanborn on alto sax, Marcus Miller on bass, and Don Alias on drums.  Also featured are Paulinho da Costa on percussion, Jason Miles on synthesizer, and, Marcus Miller is at least credited with a few instruments on the whole of the Tutu record along with keyboard wizard George Duke.  Miller is credited with bass, guitar, guitar synthesizer, bass clarinet, soprano saxophone, and, drum programming (ah, the '80s and the beginning of electronic synth programming, even in fusion jazz).

Check this out.

Allman Brothers Band w/Eric Clapton: "In Memory of Elizabeth Reed" Beacon Theater, New York City, March 20th, 2009

Two years ago for their 40th anniversary, the Allman Brothers invited many artists from diverse musical backgrounds to play with them on their songs to celebrate the bands 40th anniversary.  One of those nights featured Eric Clapton and the band (with EC front and center), performed a stunning version of their 1971 jazz fusion opus "In Memory of Elizabeth Reed".  What a remarkable display of virtuosity this song is, and having Clapton take a solo, well, that was icing on the cake.

record collection revisited: The Black Crowes "Warpaint"

In 2008, the Black Crowes (after a couple of hiatuses during the 2000s), completely solidified a new lineup and made a very rootsy sounding, bluesy record entitled “Warpaint”.  Added to the band were guitarist Luther Dickinson of the North Mississippi All Stars, and keyboardist Adam MacDougall, to join an already strong lineup including Chris Robinson on vocals, guitar, and harp, as well as his brother, guitarist, Rich Robinson.  Whereas much of their earlier records focused on a psychedelic vibe and styles of rock hearkening back to the ‘70s and bands like The Faces or the Rolling Stones, “Warpaint” (while still retaining such an aura), also delved into American roots music. 

Some of the cuts off this album really reflect that.  “Walk, Believer, Walk” (the album’s second track), sounds like an old field holler or a blues penned by one of the founders like a Charley Patton or a Robert Johnson.  The Crowes lyrics are interesting, representing things that are dark and deceitful, sometimes, or other times, grotesque.  …And yet, there are other lyrics that show a happy, tender side to the band. Furthermore, these guys (despite being labeled an alternative rock band early in their career), are totally bluesy and can jam like no one’s business!  Refer to a blog entry I wrote about them in October.  It’s dated October 2, 2011.

The chemistry of the band on this album is really great.  All the elements fit, from MacDougall’s soulful B3 playing to Luther Dickinson’s guitar work (although, his slide playing, at least the tone of it, seems to be a little less aggressive on the album than it was when I saw and heard the Crowes live, twice).  Drummer Steve Gorman and bassist Sven Pipien (who have been with the band for quite a while, Gorman since its inception), provide a rock solid rhythm section. 

The writing on this record is some of the best  by the Robinson brothers who are tandem songwriters and do a good job.  On the DVD of “Warpaint” where the band played this whole album as part of their set in San Francisco, California in 2008, Chris Robinson introduced “Evergreen” (track four on the record), as a “phosphorescent love song”.  So, they’ve got the psychedelic idea down and though they have their own sound, they really are somewhere between bands like the Stones, Led Zeppelin, the Allman Brothers and the Grateful Dead.

What I mean by those comparisons is that they can jam and improvise so well, and still have a raunchy, raw edge to their writing and playing.  Definitely check them out.  More Black Crowes recordings will be blogged here in the future.  Stay tuned.

"Warpaint" track listing

1. Goodbye Daughters of the Revolution
2. Walk Believer Walk
3. Oh Josephine
4. Evergreen
5. We Who See The Deep
6. Locust Street
7. Movin' On Down The Line
8. Wounded Bird
9. God's Got It
10. There's Gold In Them Hills
11. Whoa Mule

record collection revisited: Eric Clapton & Steve Winwood "Live From Madison Square Garden"

In 2008, Eric Clapton and Steve Winwood teamed up for a series of three concerts at Madison Square Garden after not playing together for close to four decades when their revolutionary and yet ill fated band Blind Faith lasted a mere six months or so in 1969.  Both artists had just come off of enormous waves of success with their respective powerhouse bands.  Clapton led Cream while Winwood led the band Traffic which eventually (albeit briefly) reformed.  Blind Faith was made up of Clapton on guitar, Winwood on keys, Rick Grech on bass and Cream drummer, Peter Edward "Ginger" Baker.

The band was intended to be a super group and never really panned out with Winwood and Clapton later on, both pursuing solo careers.  But, in 2008, the two got back together for a series of three gigs at Madison Square Garden and then, in 2009 and 2010, subsequent summer tours of the U.S. and Europe, as well as Japan.  Your humble music blogger, did attend the St. Paul show in June 2009 and it didn't disappoint.  The set list was different than the album being blogged here (slightly).  But, the show was still inspiring.

For the MSG dates, the band was:

Eric Clapton: guitar & vocals
Steve Winwood: Hammond B3 organ, piano, guitar, vocals
Willie Weeks: bass
Chris Stainton: keyboards (electric piano & Hammond B3 organ)
Ian Thomas: drums

For the 2009/2010 tours, the band was similar, except, featuring Abraham Laboriel Jr. on drums and Clapton's regular backing vocalists (Michelle John, and Sharon White).  By the way, info on this lineup and other info on Clapton's entire career (bands, recent shows etc.), can be found on his website at www.whereseric.com.  Fans may already know.  But, just a heads up. 

This album showcases a very tight sounding band that can also jam much like Cream and Traffic both did in their heyday.  Being a smaller ensemble (a quintet), there is more room for each instrument, even if Winwood is playing guitar.  His forte is the B3, however, much like Clapton is well, "God" in terms of the guitar.  Some people may not care for Winwood's high tenor voice.  But, his B3 playing is a hallmark of this recording.  He should be another high ranking master of the B3 along with people mentioned here such as Gregg Allman, Billy Preston and Booker T. Jones.  But, lists of the best musicians are well, futile and more of than not, meaningless.

There are definite songs on this album that shine through including the Blind Faith material like "Had To Cry Today" and "Presence of the Lord" (which Clapton wrote soon after moving into a house in England where he still lives, called Hurtwood Edge).  The jams come out in Traffic's instrumental "Glad" which bleeds into the Buddy Holly track, "Well All Right".  Other highlights of the first disc are the vibrant Otis Rush cover "Double Trouble" and Traffic's "Pearly Queen".  The only weak spot is the dirge-like ballad "No Face, No Name, No Number" which is a Traffic number.  But, it's a love or hate type tune in my book.  

On the second disc, there are some more rousing cuts.  Clapton's cover of J.J. Cale's "After Midnight" is set towards it's original, rollicking, swinging pace, as it was on Clapton's eponymous debut record in 1970.  More cover tracks abound on the second disc including "Split Decision" (a Winwood number he penned with Joe Walsh of Eagles and James Gang fame), as well as some more interesting song choices that Eric and Steve came up with for this, and some of their other shows.

Those are, two Jimi Hendrix classics ("Little Wing" which was performed by Derek & The Dominoes and here, is set to their arrangement, with the lyrics), and "Voodoo Chile" (the bluesy number that Hendrix recorded with Winwood on B3 and NOT the rollicking "Voodoo Child (Slight Return)", that is more familiar.  They are totally different songs.  Rounding out the set are three more well known tracks.

These include "Can't Find My Way Home" (another Blind Faith number), Traffic's jam "Dear Mr. Fantasy" (written for and about band member Jim Capaldi, with psychedelic imagery and references in the lyrics), and the finale, J.J. Cale's "Cocaine".  "Cocaine" is a cliche number because of Clapton really overusing it in his concert sets over the years.  But, Cale is still a brilliant songwriter and the tune (which is jammed on by the whole band, with a "Flight of the Bumblebee"-esque piano solo by Chris Stainton), still works.

This is an interesting album and should satisfy people who do like live recordings or maybe those who have probably heard only a few songs by either Clapton or by Steve Winwood.   

Track listing:

Disc 1

1. Had To Cry Today (Steve Winwood) *Blind Faith
2. Low Down (J.J. Cale)
3. Them Changes (Buddy Miles)
4. Forever Man (Jerry Williams)
5. Sleeping In The Ground (Sam Myers) *Blind Faith
6. Presence Of The Lord (Eric Clapton) *Blind Faith
7. Glad (Steve Winwood) -Traffic
8. Well All Right (Jerry Allison, Buddy Holly, Joe Mauldin & Norman Petty)
9. Double Trouble (Otis Rush)
10. Pearly Queen (Jim Capaldi & Steve Winwood) -Traffic
11. Tell The Truth (Eric Clapton & Robert Whitlock) #Derek & The Dominos
12. No Face, No Name, No Number (Jim Capaldi & Steve Winwood) -Traffic

Disc 2

1. After Midnight (J.J. Cale)
2. Split Decision (Steve Winwood & Joe Walsh)
3. Rambling On My Mind (Robert Johnson) EC solo (acoustic)
4. Georgia On My Mind (Hoagy Carmichael & Stuart Gorrell) SW solo (B3)
5. Little Wing (Jimi Hendrix)
6. Voodoo Chile (Jimi Hendrix)
7. Can't Find My Way Home (Steve Winwood) *Blind Faith
8. Dear Mr. Fantasy (Jim Capaldi, Steve Winwood & Chris Wood) -Traffic
9. Cocaine (J.J. Cale)

*Note: I should also point out that some people may be indifferent about Eric Clapton's guitar tone.  But, this would only be noticeable to guitar aficionados.  Clapton's signature Fender Stratocaster has "noiseless" single coil pickups in it and, a +25 decibel mid boost tone circuit in it, and that's what he uses to shape a lot of his modern tones.  A lot of his older records that he played on his original "Brownie" and "Blackie" Strats and when he played Gibson Les Paul's, a custom painted Gibson SG, or a Gibson ES335 with Cream, sound more authentic.  This does not detract from his playing talent, though.  He always has had an ability to play very lyrically and light fires in the souls of his fans, guitarists, or not.

Record Collection Revisited: Levon Helm "Electric Dirt"

The Band was a group of musicians that started out as the backing band for singer, Ronnie Hawkins back in the '60s.  Their core members were Robbie Robertson on guitar, Garth Hudson on organ and saxophone, Richard Manuel on piano, Rick Danko on bass and mandolin, and Levon Helm on drums.  Well, more about The Band in a future post.  Levon Helm has recently had a great solo career and has formed a new group of musicians he now plays with, mostly at his home studio in Woodstock, New York.  This band has made a couple of albums and I'd like to highlight their 2009 release, "Electric Dirt" in this blog entry.

Helm's band is made up of many talented players who he probably discovered at one point or another.  The bulk of the Levon Helm band is:

Levon Helm: drums & vocals
Amy Helm: harmony vocals
Teresa Williams: harmony vocals
Byron Isaacs: bass
Brian Mitchell: keyboards (B3 organ, piano, harmonium, accordion)
Jimmy Vivino: guitar & keyboards (B3 organ)
Larry Campbell: acoustic & electric guitar, resonator guitar, banjo, mandolin, pedal steel guitar, fiddle (Campbell is a master of any type of stringed instrument, and produced the record, to boot)

Horn section (varies by song):

Steven Bernstein: horn arrangements, trumpet, cornet, & alto horn
Jay Collins: tenor saxophone, backing vocals
Erik Lawrence: baritone & soprano saxophone
Clark Gayton: trombone, tuba
Howard Johnson: tuba

Here is the track list.  A lot of the songs are covers of old blues and folk songs.  Helm and his bands (whether it's his current band or The Band), drew on everything from rock and roll, blues, country/bluegrass, folk melodies, and Dixieland jazz.  He is truly a musician who respects the roots of American music in all it's forms.  Here is the track listing for "Electric Dirt" with songwriter credits.

1. Tennessee Jed (Jerry Garcia & Robert Hunter
2. Move Along Train (Roebuck Staples)
3. Growin' Trade (Levon Helm & Larry Campbell)
4. Golden Bird (Happy Traum)
5. Stuff You Gotta Watch (McKinley Morganfield: a.k.a. "Muddy Waters")
6. White Dove (Carter Stanley)
7. Kingfish (Randy Newman)
8. You Can't Lose What You Ain't Never Had (McKinley Morganfield: a.k.a. "Muddy Waters")
9. When I Go Away (Larry Campbell)
10. Heaven's Pearls (Anthony Leone, Byron Isaacs, Fiona McBain, Amy Helm & Glen Patscha)
11. I Wish I Knew (How It Would Feel To Be Free) (Richard Carroll Lamb & William E. Taylor)

Any roots music fans out there, check out this record.  Will also review later, an acoustic Levon Helm record very similar to this one called "Dirt Farmer".

great guitar related website

I don't often plug other websites that are related to music within this blog unless of course it's for a band that I've seen that I might want others to check out.  However, to any and all fellow guitar players out there, I urge you to check out this website.

www.premierguitar.com

There is some good stuff in here from different rig setups to articles with musicians (the rig rundowns and articles are usually related), and, of course there are other areas to the website as it is quite large.  Premier Guitar magazine has a print version and an online version.  Just something to check out more or less if readers are interested.

record collection revisited: The Derek Trucks Band "Soul Serenade"

Taken from the name of a King Curtis Ousley song, the Derek Trucks Band's 2003 recording "Soul Serenade" introduced me to Trucks' guitar virtuosity in a setting outside of the Allman Brothers.  Trucks and his band at the time (the Derek Trucks Band, which has now evolved into a newer group), were focused on a jazz fusion sound but with many elements of world music thrown into the mix, having influences that ranged from Indian classical to eastern music, in addition to jazz and blues.  It also shows off Trucks' incredible skill as a slide player and some of the other talented band members such as keyboardist/flautist Kofi Burbridge (whose brother Oteil plays bass with the Allman Brothers and in Derek's current band, the Tedeschi/Trucks Band, of which Kofi is also a member).

The album has several covers on it but also some original numbers.  Some of the really good covers are a portion of "Soul Serenade" written by King Curtis, Ray Charles' tune, "Drown In My Own Tears" with a superb vocal performance by Gregg Allman, and John Coltrane's jazz standard "Afro Blue".  This album (as well as other subsequent DTB releases) illustrate how the band can move in and out of different genres.  Truck's bassist Todd Smallie (who played with him on some of the earlier albums) mentions on the DTB DVD "Songlines, Live" that the band moved into music they WANTED to play rather than music they were "expected" to play, by being categorized as a blues band.

"Songlines" is another great DTB album worth checking out and will be written about here, at some point.  The other cuts to round out this album are the slide guitar driven, open E jam "Elvin" (not sure if the song is a reference to either blues man/guitarist Elvin Bishop, or to the great jazz drummer, Elvin Jones).  Could be the latter more than likely.  But, a very nice tune, followed by two more instrumentals ("Oriental Folk Song" and "Sierra Leone").  Trucks plays "Sierra Leone" on a sarod which is an Indian classical music instrument that is similar to the sitar. 

en.wikipedia.org/wiki/Sarod

Again, the track listing for "Soul Serenade"

1. Soul Serenade/Rasta Man Chant
2. Bock To Bock
3. Drown In My Own Tears (feat. Gregg Allman: vocals)
4. Afro Blue
5. Elvin
6. Oriental Folk Song
7. Sierra Leone

concerts

I am amazed at how many concerts I have had the good fortune to see over the years.  Concerts are special things to me, just because I purely LOVE music so much.  The costs for attending shows today are VERY exorbitant in my humble opinion, and that's just to keep the wallets of the ticket agencies full more than anything.  But, most concerts I've been to (even if I've paid a monumental price for a ticket) have been WELL WORTH IT!  I have a list of all the shows I've been to but that would be a long, tedious thing to write about (all those concerts that I still remember but are well, deep in my memory bank by now).  As a sampling, I will list artists from many genres that I have seen.  I'll try.

I think I can list ALL of them.  But, trust me, these names and years won't be in order.

Willie Nelson                    2002

The Charlie Daniels Band  2003

The Allman Brothers (twice) 2004 & 2007

Eric Clapton (twice) (2006 world tour with a STELLAR band featuring Doyle Bramhall II. on guitar, Tim Carmon & Chris Stainton on keys, Derek Trucks on slide guitar, Steve Jordan on drums, and Willie Weeks on bass).  Clapton 2006 & 2009

Steve Winwood (twice)  (opened for Tom Petty in 2008 and played with Eric Clapton in 2009, revisiting their days in the band Blind Faith).  2008 & 2009 

Tom Petty & The Heartbreakers 2008

Roger Waters from Pink Floyd 2007

ZZ Top 2005

Steely Dan 2009 & 2011

Bonnie Raitt & Taj Mahal  2009

The Black Crowes 2008 & 2009

Gov't Mule 2009

Jackson Browne 2009

Lynyrd Skynyrd w/Hank Williams Jr. 2007

Vince Gill w/Amy Grant & The Del McCoury Band  2007

B.B. King w/Etta James & Al Green 2007

Buddy Guy w/Jonny Lang & Big Head Todd & The Monsters 2008

BoDeans w/Big Head Todd & The Monsters 2010

Rush 2010

Stanley Clarke 2011

Return To Forever & Zappa Plays Zappa 2011

Tony Hymas (keyboardist with Jeff Beck for a while) 2010

The Gear Daddies (local Minnesota alt. country/country rock band) 2005

Steve Miller Band 2006

Alan Jackson 2006

Jimi Hendrix Experience (a multi artist tribute to Jimi Hendrix) 2010  For this concert and for their current 2011 tour refer to www.experiencehendrix.com.  There were MANY great guitarists on the bill that night.

Bruce Springsteen & The E Street Band 2007 & 2008

The Moody Blues 2007

Vince Gill w/Amy Grant & The Del McCoury Band  2007

Johnny Winter 2007

Gin Blossoms 2008

Eagles 2008

Coldplay 2008

The Black Keys (opening act for The Black Crowes: 2008 & featured artist: 2011)

John Mayer 2010

Jackson Browne 2009

Booker T. & the MG's w/Eddie Floyd  2010

Kansas, Foreigner & Styx  2010

Walter Trout  2011

OK, I've made the point.  But, concerts are things that I REALLY enjoy.  There is just something cool about the experience of seeing bands in person, especially if you know their music entirely or even if you don't.  I don't go to shows to party.  Rather, I am there to LISTEN 100% to the music, whether I know it or not.  I try my best (as has been seen in this blog), to fairly, honestly and succinctly review a number of the shows I see.  Should have started writing this a while ago.  Oh well.  Readers will get my point.  Live shows are just plain fun.  Go see live music!

country music

I have been a fan of country music for a lot of years, but, I have been complaining (as many fans have) about how commercial and how similar all a lot of today's artists sound.  Willie Nelson was the first "country" artist I began listening to and I had a chance to see him in concert.  I care a lot more about the genres legends and the roots of the music which started out in the Virginia and Kentucky mountains.  It was called mountain music in the beginning and then spread through other areas of the country including Texas, Oklahoma and other parts of the southwest.  Nashville is country's home because that's where the epicenter of the industry is.  People like Chet Atkins revolutionized the music because with him producing records at RCA particularly, it brought a pop-like sound to a very roots oriented form of music.

But, in the 2000s or so, maybe country has gotten a little too glamorous.  There are some artists who stick to the roots of the music.  But others take a similar route to Chet Atkins' philosophy abd try to put the pop spin on it.  Now, I'm not saying this is a bad thing.  But, it (in my opinion), takes away from some of the elements of the songwriting aspect.  I don't know.  A lot of people may complain that country is twangy, and it is.  The pedal steel guitars and "Nashville" tuned Fender Telecasters that are played in a lot of the songs make it that way.  Nashville tuning consists of tuning a Telecaster (or any other electric guitar for that matter) where three of the strings (I am not sure which three, though), are unwound.  I think it's the bass strings. 

There are so many great artists though.  Just as a sampling of some of the country legends and current artists who I listen to (or who have influenced me as far as writing, singing, or even, guitar playing), I'll put them here as I remember the names

Alan Jackson
Vince Gill
Willie Nelson
Waylon Jennings
Johnny Cash
Roger Miller
Charlie Daniels
Glenn Campbell
Eddy Arnold
Buck Owens
Merle Haggard
Hank Williams Sr.
Hank Williams Jr.
Ray Price
Chet Atkins
Faron Young
George Jones
George Strait
June Carter Cash
Maybelle Carter (early country music)
Jimmie Rodgers (early country music)
Bill Monroe (bluegrass)
Dwight Yoakam
Dr. Ralph Stanley (bluegrass)
Lefty Frizzell
Kenny Rogers
Carl Perkins
Emmylou Harris
Kris Kristofferson
Bob Wills

These are a lot of the artists I've drawn influence from.

Country music had many great eras from it's beginnings in the Virginia mountains, to moving into other parts of the south (including it's current "home" of Nashville, Tennessee).  But, there were also big followings for the music in the southwest.  Buck Owens and Merle Haggard came out of Bakersfield, California.  Haggard actually grew up in Oklahoma, during the dust bowl.  Texas has also seen many great singers in country.  Willie Nelson, George Jones, George Strait, Lefty Frizzell and others.  The city of Austin is a hub for all music, but not the least of which is traditional country and also, Americana/alt country which was pioneered by Jennings, Nelson, Steve Earle and Jack Ingram who all came from that area.

That was in the 1960s and '70s when some artists felt disenfranchised by Nashville's slick, pop oriented, mainstream sound that they felt lacked personality and was akin to having artists serve the record companies instead of making their own music.  This movement gave rise to several trends of bringing traditional country back to Nashville and giving the artists a way to probably still do things on their own terms (but who is to say).  It started with Willie and Waylon for me.  I saw Willie Nelson in concert back in 2002 and was hooked on country music for a long while.

That love is still there.  Though it hasn't diminished, it just has sort of intermixed with other styles I find influential to me such as jazz in all of it's forms, the myriad of blues styles and of course, rock and roll or folk music.  Artists like Willie Nelson and Johnny Cash are "universal".  Country music cannot "claim" them because they are well recognized and artists like Cash, Elvis, Jerry Lee Lewis and Carl Perkins, and to a certain extent, a lot of modern country acts or even someone like Charlie Daniels and his remarkable band (who have had pop success), are universal, because people know their names, even if it is for maybe one hit song.

Today, that's still true.  A lot of country music has gotten very glitzy and pop oriented again which is the same criticism that may have been lobbied back in the '60s and '70s when some artists were trying to shed that image.  But, the roots are undoubtedly still there in mountain music (bluegrass), gospel songs, cowboy songs (Gene Autry, Roy Rogers & Dale Evans), and western swing (Bob Wills), mixing country and fiddle music with swing jazz.  If you trace the roots of a lot of music, you will find where it all comes from.  That's what I do.  I get into a given band in almost any genre and then go back and find out where their influence came from.

That's the beauty of music.  Country music (despite it's vices about infidelity in relationships, drinking, lost love etc.), still has it's happy sides or spiritual sides (if you delve into country artists who have sung gospel songs and made gospel records like the Stanley brothers or the Carter family), it's got a rough and tumble side and a sweet, pretty, melodic side, like any kind of music.  People, I think, are sometimes too quick to judge the music without delving into the whole of it.  But, I've looked into it and really enjoy it. 

I will get to reviewing and looking into the country records in my collection on this blog.  Stay tuned.  It's a great form of music.  As an old cowboy might say, "yee ha!" and, "happy trails to you, until we meet again."

Groove-o-rama! Medeski, Martin & Wood at First Avenue

Everyone knows a groove is a strong rhythmic beat.  But do bands really and truly apply that to their playing while being virtuosic at the same time?  Medeski, Martin and Wood, does, as they showed in their gig at First Avenue on Saturday night.  The trio (formed in 1991 as a jazz/funk jam band) features keyboardist John Medeski, bassist Chris Wood and drummer, Billy Martin.  These guys are truly a groove band and not too many of their grooves would seemingly have titles.  They do, however, the casual listener would not know it.  John Medeski can go from any of his given keyboards on the stage and make them sound incredible!  He plays a Hammond B3 that has the front panel removed, exposing the mechanical parts inside it, a Wurlitzer electric piano, a Hohner Clavinet, a grand piano and a melodica controlled with a separate mouthpiece. 

The band played grooves (songs) ranging from raucous and funky to completely ethereal.  Medeski's keyboard antics were thoroughly matched by Billy Martin's drumming as he could do anything from spirited and thunderous fills to New Orleans swinging Clave rhythms and went as far as employing an African originated drum of some kind to bring a world music flavor.  They could be very jazzy with a Latin vibe on one jam, on the next one, get completely spaced out on a psychedelic groove.  Or, on another they'd bring pure, down and dirty, what I like to call, "uncut" funk.  It was quite an experience and this writer was held in awe for the whole set because it could change so much and if you blinked or turned away from watching it (though the music could clearly be heard), you'd miss something big.

Talk about a band that can bring the audience into their music.  Medeski, Martin and Wood does that.  It's music.  But more than that, it's an adventure in sonic exploration.  Some people who casually listen to music might say, "ugh!  I can't understand or tolerate one bit of this racket!"  But, to people who are serious about it, the grooves are definitely there and that's why I call them a "groove" band.  To learn more about their music and see a video of a full length performance to at least find out what they do with their ethereal grooves, go to:

www.mmw.net

bass players & music fans, check this out!

Bass players rejoice!  Found this two part jam on "School Days" with Stanley Clarke and an all star cast of players all showing their individual bass styles from a Stanley Clarke concert called "Night School" probably done sometime in the 1990s.  The list of players is pretty astonishing.  Some may be familiar while others may not be too well known.  He had quite the band backing him up, too (credits roll at the end of the second video).

Stanley Clarke

Flea (Red Hot Chili Peppers)

Armano Sabal-Lecco

Bunny Brunel

Alex Al

Billy Sheehan

Stuart Hamm

Jimmy Johnson

Wayman Tisdale

Brian Bromberg

Marcus Miller

Some of the best bassists on the planet, doing what '70s southern boogie rock bands called "a watermelon jam".  This is for all intents and purposes, a bassists summit.  There are MANY MORE great bass players out there.  But this dozen is pretty remarkable in itself. 

record collection revisited: Derek Trucks & Susan Tedeschi Band "Revelator"

I have followed the career of guitarist Derek Trucks since I first heard him play on a broadcast of an Allman Brothers concert from back in 2003.  That concert subsequently became available on DVD.  Here's this young, blond kid with a ponytail, playing slide guitar on a red Gibson SG with a tone unlike ANY I'd ever heard before.  It was not harsh and shrill like a distorted blues harmonica played through a bullet microphone.  But rather, it was a sweet, glassy tone.  This really intrigued me, in the very short amount of time I'd been following guitarists to that point, almost a decade ago.


Until that time, I hadn't heard his name or knew anything about him.  I wanted to know more.  So, finding a record by his first band (The Derek Trucks Band), I keenly listened to what he did, and my world changed, much like it had with my discovery of Duane Allman as well.  I thought, "wow!  This guy is the real deal and he's totally unique!"  This was even way before Derek's playing would inspire me to dabble in playing slide guitar.  I couldn't believe that someone could get such a sweet, singing sound out of a guitar.

On "Revelator", however, it is the songwriting that takes some precedence over guitar fireworks, although Trucks and Tedeschi both do dig in on some of their numbers.  All of these songs are written by the band.  Tedeschi's voice is a sure highlight of the record.  She is one of the most soulful singers I've heard and one of the top female blues vocalists today.

Trucks' playing has always been fiery.  Adding Tedeschi (who is also his wife), to the fold, brings a whole new dimension and makes the band a true ensemble.  Horns and keyboards (contributed by Kofi Burbridge, Trucks' longtime friend and music collaborator, and brother of Oteil Burbridge who plays bass with the Allman Brothers), are also a highlight, as well as another ABB trait (twin drummers).  The horn section that backs the band also adds a huge dose of soul to the record and perfectly complements the songs in their lyrical structure.

The writing paints very vivid portraits.  The whole band does contribute to the songs (as Derek's previous band, The Derek Trucks Band), did.  But, Tedeschi/Trucks Band is slightly less about jamming and wowing people with guitar virtuosity and more about the songs.  Derek Trucks has stated that throughout his career he's wanted to have a band that focuses on great songs but still has highly talented players, a super group of sorts like Delaney & Bonnie or Mad Dogs & Englishmen.

Well, he seems to have achieved that type of a group with this band and in the process has made a very listener friendly record where someone can casually hear the whole thing and not have to be too hung up on guitar licks.  Yet, it also satisfies those of us who are guitar purists as well, I am sure. 

"Revelator" Track listing

1. Come See About Me
2. Don't Let Me Slide
3. Midnight in Harlem
4. Bound For Glory
5. Simple Things
6. Until You Remember
7. Ball and Chain
8. These Walls
9. Learn How To Love
10. Shrimp & Grits (Interlude)
11. Love Has Something Else To Say
12. Shelter/Jam

record collection revisited: Return To Forever "Romantic Warrior"

After seeing them in concert back in August (which was posted in a blog entry here at the time), I thought it would be worthwhile to return (no pun intended) to Return To Forever's 1976 "Romantic Warrior" record.  Since I've already described more or less, the instrumental virtuosity of the musicians, the record itself, is a springboard for RTF as it was the first or second one to feature Al di Meola and his unique guitar playing which carried the band through most of it's existence except for original guitarist Bill Connors in the early '70s, and of course, Frank Gambale's position in the band today.

From "Romantic Warrior", the band played the first half of the album at the concert which included the first three cuts ("Medieval Overture", "Sorceress" and "Romantic Warrior" itself) while delving into other albums for the remainder of the set.  Refer back to the August section of this blog for that review.  But what was heard live, can also be heard on the actual recording.  RTF does a good job balancing their recorded and live sound which holds to the idea of "don't put anything on the record that you can't reproduce in a live setting."  This is a great record to listen to, period.  There are some very intriguing things going on sonically with di Meola's guitar and Chick Corea's keyboard work, especially on a track like "Sorceress" which leans heavily on contribution from the whole band.  That's the best thing about RTF is that they sound pretty much the same live as they do on record.

It might very well have been a goal for the band.  But who's to say.  "Romantic Warrior" cements their place in the realm of fusion jazz and they will remain there forever.  The band has made an indelible mark on music.  Will they tour again after their current 2011 tour comes to a close?  Only time will tell.  I must reiterate though, seeing RTF live and having an opportunity to meet the band will still always be one of the best musical experiences I personally have ever had. 

While I revel in the wonderment of their music, here's the track list in full for "Romantic Warrior"

1. Medieval Overture
2. Sorceress
3. The Romantic Warrior
4. Majestic Dance
5. The Magician
6. Duel of the Jester and the Tyrant (Part 1 & Part 2)