music clip of the day

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Category: bass

Friday, 8/13/10

three takes

I don’t often feel like listening to someone named after a punctuation mark, but when I do I know just where to turn.

? and the Mysterians, “96 Tears”

With Ronnie Spector, live, New York, 2010

*****

Live, New York (1998)

*****

TV broadcast, 1966

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langiappe

inscrutable instructions

Amazon: Express Checkout with Payphrase

To use Express Checkout on Amazon.com and across the web,
create a PayPhrase like “Richard’s Overarching Dentist”

Thursday, 8/12/10

my new mantra

Say ‘bye bye, bogeyman.’

—Whispering Jack Smith

Whispering Jack Smith, “Happy Days” (Happy Days [shot in 1929, released in 1930])

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lagniappe

more music to chase away the bogeyman

Sidney Bechet (clarinet, with Henry “Red” Allen, trumpet; J.C. Higginbotham, trombone; James Tolliver, piano; Wellman Braud, bass; J.C. Heard, drums), “Egyptian Fantasy” (1941)

Wednesday, 8/11/10

Anyone can play fast.

Ben Webster (tenor saxophone, with Kenny Drew, piano; Niels-Henning Orsted Pedersen, bass; Alex Riel, drums), “How Long Has This Been Going On?”; live

Want more? Here. Here.

Sunday, 8/8/10

The gospel according to Al Green: Blessed are the lost for they will be found.

Al Green, “Amazing Grace”/“Nearer My God To Thee,” live, 1983 (Gospel According to Al Green, 1984)

More Al Green? Here.

Sam Cooke’s take on “Nearer My God To Thee”? Here.

Saturday, 8/7/10

Let’s lift the bandstand.

—Thelonious Monk

Woody Shaw/Johnny Griffin Quintet (Woody Shaw, trumpet; Johnny Griffin, tenor saxophone; John Hicks, piano; Reggie Johnson, bass; Alvin Queens, drums), “Night in Tunisia,” live, Germany (Koln), 1986

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lagniappe

Now there’s a great trumpet player. He [Woody Shaw] can play different from all of them.

—Miles Davis

*****

Anthony Braxton on playing with Woody Shaw.

*****

reading table

Look after the sound and the sense will take care of itself.

—Adam Phillips, London Review of Books, 7/22/10 (reviewing Christopher Ricks’ True Friendship: Geoffrey Hill, Anthony Hecht and Robert Lowell Under The Sign Of Eliot And Pound)

Friday, 8/6/10

How quaint they seem today—the predictions made, years ago, that drum machines would make flesh-and-blood drummers obsolete.

The Black Keys, “Too Afraid To Love You”

Recording Studio (Muscle Shoals, Alabama), Brothers (2010)

***

Live, New York, 2010

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lagniappe

record shopping with a Black Key

Tuesday, 7/20/10

recipe

1 cup funkiness

1 cup elegance

Mix until thoroughly blended.

Professor Longhair (AKA Henry Roeland [“Roy”] Byrd), December 19, 1918-January 30, 1980

“Tipitina,” live

*****

“Hey Little Girl,” live

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lagniappe

mail

Mike Kinnamon, Bonnie Bramlett’s Nashville-based manager, in response to an email letting him (and Bonnie) know that her music was featured here (Delaney, alas, is no longer alive), left a voice-mail message yesterday:

. . . I just love it when somebody like you cares enough to send stuff like that around. It’s really cool, and it lifts her [Bonnie] up, too. Thank you so much, buddy . . .

Wednesday, 7/14/10

They weren’t glamorous. And they couldn’t have been paying a whole lot. But everybody, it seemed, wanted to play with them.

Delaney & Bonnie

With Eric Clapton (guitar), Dave Mason (guitar), Bobby Whitlock (vocal); “Poor Elijah-Tribute to Robert Johnson”; live (TV broadcast), England, 1969

•••••

With Eric Clapton (guitar), George Harrison (guitar), Bobby Whitlock (keyboards), Carl Radle (bass), Jim Gordon (drums); “Comin’ Home”; live, England, 1969

*****

With Duane Allman (guitar), Gregg Allman (organ), King Curtis (tenor saxophone); “Only You Know And I Know”; live, 1971

(The bass player, whoever he is, is the MVP here—he lights up everything [check out, for instance, 1:06-1:56].)

Monday, 7/12/10

Here’s a big birthday shout-out to my wife Suzanne, who’s not nearly as crazy as I am about music—not nearly as crazy, period—but is crazy enough that she kept going out with me after I took her on our first date, in the summer of 1974, to Chicago’s Jazz Showcase (then on Lincoln Avenue) to see this guy, whose multimedia performance that night featured some of this footage—the stuff with the pyramids.

Sun Ra & His Arkestra in Egypt and Italy, 1971

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lagniappe

Even in the excesses of this era there were few audiences prepared for an ominous, ragtag group of musicians in Egyptian robes, Mongolian caps (Mongolian, as from the planet Mongo of Flash Gordon), and B-movie spacesuits who played on a variety of newly invented or strangely modified electronic instruments (the sun harp, the space organ, the cosmic side drum) and proclaimed the greatness of the most ancient of races (this, the Sun Ra of the Solar-Myth Arkestra); or, on yet another night, a merry band in jester’s motley, jerkins, and pointed caps (a la Robin Hood or perhaps the Archers of Arboria) who marched or crawled through the audience, chanting cheerful songs about travel to Venus. It was intensely dramatic music, moving from stasis to chaos and back, horn players leaping about, or rolling on the bandstand, sometimes with fire eaters, gilded muscle men, and midgets, an all-out assault on the senses. At the end of the evening the musicians and dancers moved among the audience, touching them, surrounding them, inviting them to join the Arkestra in marching off to Jupiter.

—John F. Szwed, Space Is The Place: The Lives And Times Of Sun Ra (1997)

*****

Sun Ra’s consistent statement, musically and spoken, is that this is a primitive world. Its practices, beliefs, religions, are uneducated, unenlightened, savage, destructive, already in the past. . . . That’s why Sun Ra returned only to say he left. Into the future. Into Space.

—Amiri Baraka (formerly known as LeRoi Jones)

*****

Silence is music. There are different kinds of silence, each silence is a world all of its own . . . silence is an integral part of all music . . .

***

When you meet a man

You meet a scheme of words

Patterns of concept

A concepted being

Whose very birth conception is called.

***

The earth cannot move without music. The earth moves in a certain rhythm, a certain sound, a certain note. When the music stops the earth will stop and everything upon it will die.

—Sun Ra

*****

Friday, 7/9/10

Alternate career plan for the next life (if the tap-dance thing doesn’t work out): rubboard player.

C.J. Chenier & the Red Hot Louisiana Band, “Jolie Blonde” & “Jambalaya,” New York City, 2008

Like the Blasters and Brave Combo, these guys played last weekend (Sunday the 4th) at FitzGerald’s American Music Festival.

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lagniappe

reading table

. . . I received five hundred thousand discrete bits of information today, of which maybe twenty-five are important. And how am I going to sort that out, you know?

—David Foster Wallace (in David Lipsky, Although of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace [2010])

*****

great minds at work

When you see your starting pitcher win a game, that means you’ve played a good baseball game.

—Lou Piniella, talking with Ron Santo on WGN Radio before last night’s Cubs game