From Reminders for Daily Living (3d ed. 2007):
Always keep a cape handy.
James Brown, “Please, Please, Please,” live, 1964, California (Santa Monica), The T.A.M.I. Show
More people than ever are cultural nomads. Take this guy, for instance: a Swiss-born Iranian, he moved to New York in 2008, after living in Japan. His music conjures places that can’t be found on any map—a jazz club in the desert, sand hills in Manhattan.
The Tehran-Dakar Brothers (Sohrab Saadat Ladjevardi, tenor saxophone, with Ladell McLin, guitar; Al MacDowell, bass; Lukas Ligeti [son of composer Gyorgy Ligeti], drums), live, New York, 2009
“Welcome New Iran”
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“Desert Blues”
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“Khorasan”
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“Tavalod”
Delmar Allen “Dale” Hawkins, a rockabilly pioneer who gave the music world the hit “Oh! Suzy-Q,” died Saturday in Little Rock of colon cancer. He was 73.
Hawkins, originally from Goldmine, in Richland Parish, recorded his first hit in the KWKH Radio studios in downtown Shreveport in 1956 with then-15-year-old guitarist James Burton, who later went on to perform and record with Elvis Presley, Ricky Nelson, John Denver and Jerry Lee Lewis, among others.
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[Burton] recalled the guitar lick that became the hook for “Oh! Suzy-Q.”
“I wrote that little guitar lick when I was 14,” Burton recalled. “It got to be so pop in the club that Dale decided to write some lyrics to it and that became ‘Suzy-Q.’ It became a good record for him and (me) both.
“I was probably his first fan. He was a good guy, a good friend, and I think he lived life to the fullest, right up to the end.”
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Bassist Joe Osborn, whose career on hundreds of No. 1 and Top 10 hits includes work with Ricky Nelson, Johnny Rivers, the Carpenters, the Fifth Dimension and Bob Dylan, credits Hawkins with starting his career and transitioning him from the guitar to the electric bass.
“In 1956, I was working at Sears in the hardware department and Dale came in,” Osborn said. “‘Suzy-Q’ was already out and a hit, and he wanted me to play with his brother Jerry and his band at the Skyway Club. That’s how me and Dale started. If he hadn’t come in that day I’d still be at Sears, selling hardware.”
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In addition to his classic “Suzy-Q,” Hawkins recorded more than 40 songs on the “Chess” label. According to an obituary, he was the third entertainer to appear on Dick Clark’s American Bandstand and was the first white artist to perform at the “Apollo Theatre” in Harlem and the “Regal” in Chicago.
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In the mid-1980s, after moving to Arkansas and entering into a second career as a social worker and counselor, Hawkins returned to live performances in a comeback concert at then-Cowboys nightclub in Bossier City, an event put together by Oil City producer Tom Ayres.
Hawkins, a Navy veteran of the Korean War, is in the Rockabilly Hall of Fame and the Louisiana Music Hall of Fame.
Dale Hawkins (August 22, 1936-February, 13, 2010)
“Susie Q” (1956 [variously spelled over the years])
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“Little Pig” (1957)
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With James Burton (guitar), “Who Do You Love?”, live, Louisiana (Shreveport), 2008
Great drummers are like great basketball players—they lift everybody’s game.
Trixie Whitley with Brian Blade (drums) and Daniel Lanois, “I’d Rather Go Blind,” recording session, 2008
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Herbie Hancock (piano), Wayne Shorter (saxophone), Dave Holland (bass), Brian Blade (drums); live, Germany (Salzau), 2004
Part 1
(It may simply be a coincidence [or my imagination], but a four-note pattern that Herbie keeps repeating, with variations, reminds me, particularly at around 2:27 and following, of the beginning of Alfred Schnittke’s Piano Concerto [featured on 1/14/10].)
Part 2
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lagniappe
Johnny [Vidacovich, featured on 9/30/09], man . . . what an inspiration. His playing is so liquid but at the same time just the street of it is so intoxicating. Studying with him, the drumming aspect was never about fundamental things. It was never about the drums as much as it was about the music and playing with this melodic sensibility. That sticks with me even more than the thickness or the groove, which he never spoke about, really. That was like a given. If you have it inside of you, that groove, you need to lay it down. But also need to be able to sing through the drums.—Brian Blade
Sometimes you’re not in the mood for subtlety.
Or complexity.
Or anything else that’s got more than one syllable.
You want sweat.
Funk.
That clenched scream: “Uhowwwww!”
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Wilson Pickett, live, Germany, 1968
“Everybody Needs Someone To Love”
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“I’m In Love”
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“Ninety-Nine And A Half (Won’t Do)”
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“Mustang Sally”
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lagniappe
“We didn’t make enough money to press our suits,” Pickett reminisced when asked about the Violinaires, the gospel group he formed shortly after moving to Detroit from his native Alabama. “We would sing three programs a Sunday at different churches. We’d sing our hearts out, and so we done sweated up that suit three times — from the socks all the way up.
“The sisters would get up and they’d put a penny or a dime on the table and say ‘Ya’ll boys sho’ can sing.’ And we’d come in the back, and they got all the chicken baskets and pies and stuff to eat, and even occasionally one of the sisters would take you home.”
The young Pickett soon caught the eye not only of a sister or two, but also of the Falcons, a local R&B group with whom he later wrote and sang his first hit song, “I Found a Love,” in 1962.
“I was scared because these people says that if you leave God and go to the devil, you’re going to go to hell. You see, I wanted to sing gospel, but I wanted to make some money, too. So I said, ‘No I’ll never leave, I’ll never leave God.’ Until that evening that one of the Falcons came by and I was sitting on the back porch and I went down and tried it out. And from then on I told God, I looked up and I said, ‘I’m on my way this way — would You care to go with me? I’d really appreciate Your being with me. It’d make me feel better.’—Ken Emerson, “Wilson Pickett: Soul Man On Ice”
In a recent NIH-funded study, conducted over a period of six months, individuals suffering from clinical depression who listened to this man’s music for ten minutes a day fared significantly better, as measured by the Hamilton Depression Rating Scale (HDRS), than those who did not.
Fats Waller
“Honeysuckle Rose” (1941)
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“Your Feet’s Too Big” (1940s)
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“Ain’t Misbehavin'” (1941)
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“The Joint Is Jumpin'” (1940s)
Who needs electricity?
Jimi Hendrix, “Hound Dog,” live, 1960s
Last week we heard the Blues Busters and the Maytals.
Here’s a very young Jimmy Cliff.
Jimmy Cliff, “King of Kings,” live, Jamaica (Kingston [Sombrero Club]), 1962
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lagniappe
The Sound System was and is an integral part of the Jamaican social scene especially the working class who rely on this for their entertainment and social life. The middle and upper class fly to Miami and N.Y while the working class depend on the Sound System, which had an impact on my life from my boyhood days in the countryside of Jamaica where I could listen the Sound System at the big upstairs house that was beside the little house where I lived with my Father and my Brother.
This big upstairs downstairs house had a bar called ” Money Rock Tavern ” where the Sound System called “Pope Pius” would play and this was my me only opportunity to hear different kinds of music especially Latino.
My parents were staunch Christians so I was not permitted to associate with those kinds of music so I had to hide and steel away to go to the fair grounds where dances and fairs were held. I could see and learn the latest Dance moves and hear the latest, Rumba, R’n’B, Calypso, Merengay etc…
A little later in my youth life my Father managed to buy a little battery powered radio so I had another opportunity to tune in to American radio particularity New Orleans and Miami, and of course Cuba which is close to Jamaica only 90 miles away. On the local radio station I learned of local Artists writing and recording their own songs so I decided to write my own while still in school, quite a fete for a little country boy but I had high ambitions. Among the locals that inspired me wave Derrick Morgan, Prince Buster and Monty Morris.
After leaving primary school at Somerton my father took me to the capital of Jamaica Kingston to go to Kingston technical school, with a few songs in my head I had written. Where I was going to live was unknown but I ended up in East Kingston. Miss Gwen a stranger Lady said she would cook and wash my clothes while I slept with my cousin in his one rented room.
I was happy to be in Kingston to fulfil my dreams. I tried many producers while still going to school studing radio and tv trying to get the songs recorded without much luck. I entered talent shows and won some and was cheated on some. One night I was walking past a record store and restaurant as they were closing, I pushed myself in and sang for the Chinese owners of the store and convinced one of them Leslie Kong to go into the recording business starting with me.
My second recording with him Hurricane Hattie became a number one hit in Jamaica. I followed that hit up with Miss Jamaica, One Eyed Jacks, King of Kings and Leslie Kong went on to become King Kong among the producers in Jamaica.
This was the ska era of Jamaican Music.—Jimmy Cliff
You can pay 600 bucks to fly to Berlin—or you can play this clip.
Arto Lindsay, The Penny Parade, live, Berlin, 2009
Want more? Here.
Blind Willie Johnson recorded this song in 1929.
Tonight it’s up for a Grammy.
Ashley Cleveland, “God Don’t Never Change” (God Don’t Never Change, nominee, Best Traditional Gospel Album)
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Blind Willie Johnson, “God Don’t Never Change” (1929, New Orleans) (previously featured on 11/15/09)
music clip of the day 