Tag Archives: Music

What we’re listening to — Take Five by The Dave Brubeck Quartet

If you are just starting a Jazz collection there are a few seminal records you should acquire right out of the box. Anything by the Miles Davis Quintet from the 1950s, any of Coltrane’s Atlantic recordings, Stan Getz’s Bossa Nova years just to name a few. Another certain must-have is 1959’s Time Out by The Dave Brubeck Quartet. Looking nothing like reefer-smoking beatniks with their spit-and-polish suits and heavy frame glasses, this classic ensemble featured Brubeck on piano, the great and super smooth Paul Desmond on alto sax, Eugene Wright on bass and the wonderfully nuanced Joe Morello on drums. But the four were actually radicals in geeky disguise. Inspired by Turkish and Bulgarian folk music, the whole album features compositions with weird time signatures like 9/8 and 6/4 and “Take Five”, credited to Desmond, swings ever so propulsively in 5/4 time.

Radiating cool and sophistication, “Take Five” sounds as fresh today as it did in 1959 even as it has permeated the entire pop culture subconsciousness with its omnipresence for over 50 years. It’s a must-have for the beginner, intermediate or expert Jazz fan because it is quite simply one of the greatest compositions in 20th century popular music. Put it on the hi-fi then slip into your smoking jacket, mix up some ice cold martinis for you and that special someone and see if you don’t feel like Hef at the Playboy Mansion.

Somewhat amazingly, you can get free unlimited streaming of Time Out and a ton of other classic Jazz albums with a subscription to Amazon Prime.

What we’re listening to — Not Ready Yet by Eels

Since depression is the watchword the past few days, I think this Eels song from 1996’s Beautiful Freak does an amazing job of encapsulating the hoepless feeling and the futility of someone else telling you to buck up. Listen to the lyrics and tell me if you don’t agree.

Sometimes the best way to beat sadness is to listen to sad music, especially when the singer has more than a passing knowledge of what he’s talking about (as frontman E certainly does). Not everyone’s preferred therapy, I’m sure, but works for me.

What we’re listening to — The Yardbirds

There’s no arguing that The Yardbirds were one of the most important bands at the forefront of the British Invasion following the Beatles trans-Atlantic seismic smash-through. They were also an incubator of greatness. There is no other band in Rock history that can boast of having three of the most legendary guitarists grace their lineup at different points in its evolution. But with first Eric Clapton then Jeff Beck and finally Jimmy Page, The Yardbirds can stake exactly that claim. While they were somewhat eclipsed as a band by their illustrious members’ later fame and renown, it’s important to remember just how bloody good and groundbreaking The Yardbirds really were.

They started out by covering American Blues with an original lineup consisting of lead singer Keith Relf, Paul Samwell-Smith on base, Chris Dreja on rhythm guitar, Jim McCarty on drums and the short-lived Anthony Topham on lead guitar. When Clapton replaced Topham and the band took over the Rolling Stones’ spot at the famed Crawdaddy Club in 1963 the word was out in R&B-mad London that there was a new force to be reckoned with. But, much like the Stones and the Animals, The Yardbirds were not content with traditional Blues covers despite their proficiency and they rapidly branched out into offbeat, minor chord arrangements and a desire to push the Blues further into a heavy rock feel by utilizing distortion and feedback. It’s no accident that the last incarnation of The Yardbirds was actually the first coming together of Led Zeppelin in all but name only. It can be argued that there is a direct line from The Yardbirds fist pioneering improvised raveups circa 1964 to the heavy English Blues explosion of the later 60s that led to not just Zep but Cream, Iron Butterfly, Free, Deep Purple and a million other hard rocking white boys, eventually morphing into Glam and Heavy Metal.

With the charismatic Relf’s distinctive, somewhat ominous baritone and the band’s penchant for offbeat tempos and Eastern influences, The Yardbirds consistently produced some of the most interesting singles of the 60s, beginning with their breakout hit, “For Your Love.”  Continue reading →

RIP Bobby Womack, 1944 – 2014

R&B and Soul legend Bobby Womack has passed away at the age of 70. One of the classic “middleweights” of the African-American music scene in the 1960s & 70s, Womack made hugely popular singles that, like Tyrone Davis and Johnny Taylor, charted big time in R&B but did not have the crossover appeal of a Marvin Gaye or Al Green as radio was becoming more & more re-segregated.

Mentored by the legendary Sam Cooke, Womack followed a similar trajectory by emerging from strong Gospel roots to perform “profane” secular music. That connection was further cemented when Womack married Cooke’s widow not long after the latter’s shooting death, a move which many found distastefully opportunistic and led to de facto blacklisting by the music industry. But, as Womack always maintained, it was probably just a case of two people devastated by the loss of the most important person in their lives who found solace with each other.

In any event, Womack recovered after many years in the shadows doing important back up work with the likes of Sly and the Family Stone and Janis Joplin to release two exceptionally strong albmus in the early 1970s, Communication and Understanding. These yielded a string of major hits including “That’s the Way I Feel About ‘Cha”, “Woman’s Gotta Have It” and the quirky “Harry Hippie”. Womack also scored with the socially conscious “Across 110th Street”, the theme to a mediocre 1972 Blaxploitation movie that was reused 20 years later by Quentin Tarantino for Jackie Brown, his excellent homage to that unique genre.

Womack stayed busy and relevent to the end, recording with the Rolling Stones, The Roots, Mos Def and Gorillaz among many others. But it is for his special run of 1960s and 70s hits that he will be best remembered. One thing’s for sure: ain’t nobody gonna forget about Bobby Womack.

His full New York Times obituary is here.

What we’re listening to today — ‘Round About Midnight by Miles Davis

And I mean the whole album, Miles’ first for Columbia in 1955, and not just the admittedly fantastic Thelonius Monk track “‘Round Midnight” that opens up this seminal work.

With Davis on trumpet, Coltrane on tenor sax, pianist Red Garland, bassist Paul Chambers and Philly Joe Jones on drums, this was the archetypal 1950s quintet’s maiden voyage and set the tone for a massive outpouring of now-classic music that filled four more smokin’ albums in quick succession (Cookin’, Workin’, Relaxin’ and Steamin’).

As the session that started it all, the newly patented mix of Cool and Hard Bop sounds magically intimate, warm and almost casually virtuosic and ‘Round Midnight still has that “breaking of a new dawn” kind of effect even today. From the not-quite-eponymous opener to the gorgeously aired out “Dear Old Stockholm” to the telepathic “Bye-Bye Blackbird”, this 10-track masterpiece is an album that belongs in any serious music collection, Jazz-focused or otherwise. It creates an inspired mood all its own, whether you’re on your own, entertaining friends or wooing that special someone. It never disappoints and always sounds fresh. How many things can you say that about?

What we’re listening to today — Monkey Gone to Heaven by The Pixies

Just a quick and dirty blast of punk rock today as life intrudes but it is often posited that without the Pixies, there would be no Nirvana. Discuss.

And remember, kids: If man is 5, then the Devil is 6 and if the Devil is 6 then GOD IS 7!!! Bless Black Francis for that bit of theology and I promise we’ll get into the Pixie ouvre in greater length — or at least crank out some more of their tunes — at a later date. In the meantime, enjoy it again live and watch out for that NY/NJ sludge!

https://www.youtube.com/watch?v=wJwnpi_iM6A

What we’re listening to today — In a Sentimental Mood

Apologies for the radio silence — we’ve been moving the MFL world headquarters to new digs and as anyone who has moved recently (or ever) knows: it’s a time consuming PITA. But we’ll be back and running up to full strength very soon, have no fear. In the meantime here are a couple of sterling versions of Duke Ellington‘s gorgeous Jazz standard, “In a Sentimental Mood”, to tide you over while we get back up to speed.

The first is by the great John Coltrane accompanied by Ellington himself from their wonderful eponymous album:

And the second is by Coltrane’s nearest rival on the tenor sax, Sonny Rollins along with the Modern Jazz Quartet:

http://www.youtube.com/watch?v=EOYYaBBJr_E

Enjoy that and we’ll be back with our regularly scheduled blogging soon!

What we’re listening to today — Jackie Wilson

Often overlooked today because of his somewhat lightweight repertoire, Jackie Wilson should still be considered one of the all-time R&B greats. With his soaring range, boundless energy and legendary live performance chops, there’s a reason they called him Mr. Excitement.

http://www.youtube.com/watch?v=j1nZ-u41H9s

An important transitional figure in the evolution of R&B, Wilson can boast not only a dynamic weepy like “Lonely Teardrops” but other stone classics such as “You Got Me Walking”, “Reet Petite”, “Baby Workout”, “Whispers (Getting Louder)” and his last big smash, 1966’s “(You’re Love Keeps Lifting Me) Higher and Higher”.

After some relatively lean years in the 1970s Wilson’s remarkable 20-year run as a force in pop music was ended by a massive heart attack while performing at a Dick Clark oldies show in 1975. He would never awake from the resulting coma and passed away in 1984. But while Jackie Wilson never quite had the impact of a Sam Cooke, Marvin Gaye, James Brown or Curtis Mayfield due to his inability to evolve into a true Soul singer and adherence to the 3-minute radio single, a good anthology of his recordings belongs in any serious R&B and Pop music collection. It can safely be said that no one has ever sung quite like him. He had such a unique sound, almost operatic, that no one even tried. There was only one Jackie Wilson and when you hear him you can’t mistake him for any other singer in the Pop canon.

What we’re listening to today — Asimbonanga (Mandela) by Johnny Clegg & Savuka

The death of the great man Nelson Mandela has brought back a torrent of memories from my youth, when Apartheid was still the law of the land in South Africa and Mandela was still in prison. No one then could conceive of the astonishing turn of events that would see Mandela one day lead his nation. But I do remember the strong feeling that Apartheid was doomed sooner than later. And as Lord Jim referred to the other day, a lot of that optimism derived from music as a form of social awareness. In my case, the music of Johnny Clegg with Juluka and Savuka was a particular inspiration, especially the beautiful “Asimbonanga (Mandela)”.

http://www.youtube.com/watch?v=V3LLcikA8-M

To hear a white South African leading traditional Zulu ensembles in overtly anti-Apartheid music was particularly powerful, especially since interracial bands were illegal in South Africa at the time. Despite the official crackdown on Clegg & his bands, including arrests, breaking up their concerts and blacklisting them from radio play, Juluka and Savuka became hugely successful acts in Europe and the music trickled over to America in the “World Music” movement of the 1980s. That is where I first was exposed to it, in high school, as a natural extension of the curiosity inspired by the World Music explorations of Peter Gabriel, Paul Simon and David Byrne among others. I was able to get a cassette copy of Juluka from a friend and “Scatterlings of Africa” was very often on my stereo throughout the school year.

Continue reading →