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Category: bass

Monday, 6/4/12

passings

Pete Cosey, guitar player, October 9, 1943-May 30, 2012

Miles Davis, “Ife,” live, Austria (Vienna), 1973
With Pete Cosey, guitar (solo begins at 5:30) and percussion; Dave Liebman, flute, soprano and tenor saxophones; Reggie Lucas, guitar; Michael Henderson, bass; Al Foster, drums; James Mtume Forman, conga and percussion

*****

Here’s an earlier post (12/31/09):

In the public imagination, the guitar’s associated with freedom and individuality. The musical reality’s different. Guitarists travel in herds; few stray from the pack. One who has gone his own way is this man, who’s played with everyone from Muddy Waters (as a session musician for Chicago-based Chess Records) to Miles Davis (as a member of his group [1973-1975]). He employs a variety of unusual tunings and effects. He sounds like no one else.

Pete Cosey, guitar

“Calypso Frelimo” (excerpt), Pete Cosey’s Children of Agharta (JT Lewis, drums; Gary Bartz and John Stubblefield, saxophones & flute; Matt Rubano, bass; Johnny Juice, turntables; Baba Israel, words and beats; Kyle Jason, voice; Bern Pizzitola, guitar; Wendy Oxenhorn, harmonica), live, 2002, New York

*****

Live (with Melvin Gibbs, bass; JT Lewis, drums; Johnny Juice, congas and turntables)

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lagniappe

. . . the guy who, after Hendrix, showed you how ‘out’ you could go with guitar playing, particularly in the improvised context.

Greg Tate

Saturday, 6/2/12

Ever feel like wandering, aimlessly, in a fog?

The Velvet Underground and Nico, directed by Andy Warhol (shot at his NYC studio, The Factory), 1966

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lagniappe

reading table

More than twenty years west of Mount Yen . . .
when the moon lights the summit at night I sing

—Stonehouse, The Zen Works of Stonehouse: Poems and Talks of a Fourteenth Century Chinese Hermit (translated from Chinese by Red Pine)

*****

Happy Birthday, Don!

Sixty-two?

I remember when you were twenty-six.

And six.

We met, as I recall, when you were two.

Tuesday, 5/29/12

two takes

“Human Nature” (S. Porcaro & J. Bettis)

Vijay Iyer Trio (VI, piano; Stephan Crump, bass; Marcus Gilmore, drums), live (studio performance [KPLU-FM]), 2011

***

Michael Jackson, recording (Thriller), 1982

Friday, 5/25/12

two takes

“Kung Fu” (C. Mayfield)

The Dirtbombs, live, New York (Southpaw, Brooklyn), 2008

*****

Curtis Mayfield, recording (Sweet Exorcist), 1974

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lagniappe

found words

Yesterday, in Cambridge, Massachusetts (where I am for my son Alex’s college graduation), sitting on a brick sidewalk in Harvard Square, a panhandler with a sign:

OBAMA’S NOT THE ONLY ONE
WHO WANTS CHANGE

Saturday, 5/19/12

Michael Burks (7/30/57-5/6/12), “Twenty-Four Hour Blues”
Live, Belgium (Zingem), 5/5/12

One day he makes these sounds, the next no sound at all—not the world I would have designed.

More? Here.

Friday, 5/18/12

James Brown, live, Boston, 4/5/68

“Cold Sweat”

Part 1

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Part 2

*****

“I Got the Feelin'”

*****

More?

Here’s the whole show.

*****

On the morning after the assassination of Dr. Martin Luther King, Jr., city officials in Boston, Massachusetts, were scrambling to prepare for an expected second straight night of violent unrest. Similar preparations were being made in cities across America, including in the nation’s capital, where armed units of the regular Army patrolled outside the White House and U.S. Capitol following President Johnson’s state-of-emergency declaration. But Boston would be nearly alone among America’s major cities in remaining quiet and calm that turbulent Friday night, thanks in large part to one of the least quiet and calm musical performers of all time. On the night of April 5, 1968, James Brown kept the peace in Boston by the sheer force of his music and his personal charisma.

Brown’s appearance that night at the Boston Garden had been scheduled for months, but it nearly didn’t happen. Following a long night of riots and fires in the predominantly black Roxbury and South End sections of the city, Boston’s young mayor, Kevin White, gave serious consideration to canceling an event that some feared would bring the same kind of violence into the city’s center. The racial component of those fears was very much on the surface of a city in which school integration and mandatory busing had played a major role in the recent mayoral election. Mayor White faced a politically impossible choice: anger black Bostonians by canceling Brown’s concert over transparently racial fears, or antagonize the law-and-order crowd by simply ignoring those fears. The idea that resolved the mayor’s dilemma came from a young, African American city councilman name Tom Atkins, who proposed going on with the concert, but finding a way to mount a free, live broadcast of the show in the hopes of keeping most Bostonians at home in front of their TV sets rather than on the streets.

Atkins and White convinced public television station WGBH to carry the concert on short notice, but convincing James Brown took some doing. Due to a non-compete agreement relating to an upcoming televised concert, Brown stood to lose roughly $60,000 if his Boston show were televised. Ever the savvy businessman, James Brown made his financial needs known to Mayor White, who made the very wise decision to meet them.

The broadcast of Brown’s concert had the exact effect it was intended to, as Boston saw less crime that night than would be expected on a perfectly normal Friday in April. There was a moment, however, when it appeared that the plan might backfire. As a handful of young, male fans—most, but not all of them black—began climbing on stage mid-concert, white Boston policemen began forcefully pushing them back. Sensing the volatility of the situation, Brown urged the cops to back away from the stage, then addressed the crowd. “Wait a minute, wait a minute now WAIT!” Brown said. “Step down, now, be a gentleman . . . Now I asked the police to step back, because I think I can get some respect from my own people.”

Brown successfully restored order while keeping the police away from the crowd, and continued the successful peacekeeping concert in honor of the slain Dr. King on this day in 1968.

history.com

Monday, 5/14/12

only rock ’n’ roll

This’ll wake you up.

The Men, “Open Your Heart,” live, SXSW (Austin, Tx.), 3/6/12

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More?

Here’s the whole show.

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lagniappe

musical thoughts

The pop music being made in the 1960s sounded nothing like that of the 1920s. But, today, the formula employed by The Men (and many other bands)—electric guitar + bass + drums + volume + energy—is the same one the MC5 was using when I first heard them in August of 1968, in Chicago’s Lincoln Park, during the Democratic Convention. What, if anything, does it mean that pop music—some of it, anyway—has changed so little in the last 40 years?

Thursday, 5/10/12

two takes

“Spring Can Really Hang You Up The Most” (T. Wolf & F. Landesman)

Bob Dorough, vocals & piano (Right On My Way Home, 1997)

*****

Betty Carter, vocals (Inside Betty Carter, 1964)

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lagniappe

reading table

Alcove
by John Ashbery
(Planisphere, 2009)

Is it possible that spring could be
once more approaching? We forget each time
what a mindless business it is, porous like sleep,
adrift on the horizon, refusing to take sides, “mugwump
of the final hour,” lest an agenda—horrors!—be imputed to it,
and the whole point of its being spring collapse
like a hole dug in sand. It’s breathy, though,
you have to say that for it.

And should further seasons coagulate
into years, like spilled, dried paint, why,
who’s to say we weren’t provident? We indeed
looked out for others as though they mattered, and they,
catching the spirit, came home with us, spent the night
in an alcove from which their breathing could be heard clearly.
But it’s not over yet. Terrible incidents happen
daily. That’s how we get around obstacles.

Tuesday, 5/8/12

passings

Michael Burks, singer, guitar player, songwriter
July 30, 1957-May 6, 2012

Here’s what I wrote when I first posted this clip (2/28/11):

When something is this lyrical, this convincing, there’s only one thing I want to do when it ends—hear it again.

“Empty Promises”
Live, Falls Church, Virginia, 8/21/09

***

Michael came to Alligator Records long after I left. But a few years ago I did some legal work for him and got to know him. Soft-spoken, gentle, warm: these are the words that come to mind. He collapsed at the Atlanta airport after returning from a European tour—heart attack.

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“Fire and Water”
Live, Denmark (Frederikshavn), 2010

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“Since I’ve Been Loving You”
Live, Jacksonville Beach, Florida, 2010

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“House of the Rising Sun”
Live, Legendary Rhythm & Blues Cruise, 2008

Monday, 5/7/12

Muddy Waters with Mick Jagger, Keith Richards, Ronnie Wood, et al., “Mannish Boy,” live, Chicago (Checkerboard Lounge), 1981

Keith and Ronnie understand something many rockers don’t: the importance, in blues, of restraint. They also understand that when you’re a guest you don’t try to upstage the host. Mick, meanwhile, hasn’t got a clue.