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Category: guitar

Saturday, 3/20/10

What a nasty one-two punch for Memphis: first Jim Dickinson, then—seven months later—Alex Chilton.

Alex Chilton, December 28, 1950-March 17, 2010

Big Star, “Thirteen” (1972)

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Big Star, “September Gurls” (1974)

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Alex Chilton, “Bangkok” (1978)

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The Replacements, “Alex Chilton” (1987)

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Alex Chilton, “There Will Never Be Another You” (1985?)

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Alex Chilton, the pop hitmaker, cult icon and Memphis rock iconoclast best known as a member of 1960s pop-soul act the Box Tops and the 1970s power-pop act Big Star, died Wednesday at a hospital in New Orleans.

The singer, songwriter and guitarist was 59.

“I’m crushed. We’re all just crushed,” said John Fry, owner of Memphis’ Ardent Studios and a longtime friend of Chilton’s. “This sudden death experience is never something that you’re prepared for. And yet it occurs.”

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The Memphis-born Chilton rose to prominence at age 16 when his gruff vocals powered the massive Box Tops hit “The Letter,” as well as “Cry Like a Baby” and “Neon Rainbow.”

After the Box Tops broke up in 1970, Chilton had a brief solo run in New York before returning to Memphis. He soon joined forces with a group of Anglo-pop-obsessed musicians — fellow songwriter/guitarist Chris Bell, bassist Andy Hummel and drummer Jody Stephens — to form Big Star.

The group became the flagship act for Ardent’s Stax-distributed label. Big Star’s 1972 debut album, #1 Record, met with critical acclaim but poor sales.

The group briefly disbanded, but reunited without Bell to record the album Radio City. Released in 1974, the second album suffered a similar fate, plagued by Stax’s distribution woes.

The group made one more album, Third/Sister Lovers, with just Chilton and Stephens — and it, too, was a minor masterpiece. Darker and more complex than the band’s previous pop-oriented material, it remained unreleased for several years.

In 2003, Rolling Stone magazine named all three Big Star albums to its list of the 500 Greatest Albums of All Time.

“It’s a fork in the road that a lot of different bands stemmed from,” said Jeff Powell, a respected local producer who worked on some of Chilton’s records. “If you’re drawing a family tree of American music, they’re definitely a branch.”

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“When some people pass, you say it was the end of an era. In this case, it’s really true,” said Van Duren, a fellow Memphis musician who knew Chilton for decades. “It puts an end to the Big Star thing, and that’s a very sad thing.”—Jody Callahan, Bob Mehr, Memphis Commericial Appeal (3/17/10)

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A day after the death of Memphis music legend Alex Chilton, shock and sadness slowly gave way to fond remembrance by friends, fans and fellow musicians.

Over the course of a remarkably varied 40-plus-year career with the Box Tops, Big Star and as a solo artist, Chilton was a creative chameleon. A teen pop hitmaker, a reluctant cult hero, a champion of Southern roots music, a visionary producer, a punk-rock provocateur and a much underrated guitarist, Chilton had carved his place as one of the most singular figures — both as an artist and as a personality — that Memphis music has ever produced.

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The news of Chilton’s death sent shockwaves through the annual South by Southwest music conference in Austin, Texas. The massive industry gathering kicked off Wednesday night just as word of his passing began to spread.

Chilton had been scheduled to perform with Big Star on Saturday night, part of a headlining set at Antone’s nightclub, and the group was also set to be the subject of a historical panel earlier in the day.

After consulting with Chilton’s wife and festival organizers, surviving Big Star members Jody Stephens, Jon Auer and Ken Stringfellow confirmed that the panel and performance would go on as scheduled, effectively serving as memorials for Chilton.

“It felt like we had to pay tribute in some form,” said Auer. “In a strange way, it’s amazing that it happened around something like South by Southwest. So many people there are hyper-aware of Chilton and understand what he means musically, so it seems like the perfect place to do something like this.”

The Saturday night Big Star set is shaping up to be an all-star tribute. Though the lineup is still coming together, a variety of artists including X’s John Doe, R.E.M.’s Mike Mills, indie-folk singer M. Ward, the dB’s Chris Stamey, Green on Red veteran Chuck Prophet and Chilton’s longtime New Orleans collaborators Doug Garrison and René Coman are among those expected to appear.

For Coman, the sheer breadth of Chilton’s artistry and the scope of his career remain the true measure of the man. “Alex had such a long career, and all kinds of different stages to it.” said Coman. “The people that stay in it for a really long time and still enjoy it, it seems like they wind up finding different things to keep them interested as the years go by.

“Alex, being the free spirit that he was, always followed his own muse.”—Bob Mehr, Memphis Commercial Appeal (3/18/10)

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Congressman Steve Cohen (3/18/10)

Tuesday, 3/16/10

street music

New Orleans

Loose Marbles, in the French Quarter

Part 1

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Part 2

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The Loose Marbles is a sort of Amalgamated Jazz Corporation that creates subsidiaries around the city, to maximize tips and minimize boredom. The fifteen musicians play clarinet, trumpet, banjo, washboard, accordion, trombone, guitars, sousaphone, standup bass, and guitars, but you’re likely to see only seven or eight performers at any given gig. And since you rarely see the same configuration of instruments twice in a row, you rarely hear the same kind of jazz. If Patrick McPeck is there with the accordion, you’ll hear the Marbles’ repertoire of spooky, minor-keyed, Gypsy-influenced songs. If Alynda Segarra is there, with her banjo or washboard, and Jason Jurzek is on string bass instead of tuba, they’ll be playing songs that sound as if they were first performed in a hobo jungle during the Hoover Administration. In Washington Square, in New York, they split into two groups, one anchored by the tuba and the other anchored by the bass, and they play on opposite sides of the park. Halfway through the day, they’ll mix up the configurations to give both the musicians and the crowd a change of pace. At the end of the day, they pool all the tips and divide them equally. I’ve seen days here in New Orleans where they have a stack of bills that’s so thick it can’t be held in one hand, and that contains a lot of portraits of Hamilton and Jackson.

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The Loose Marbles look like street urchins, and at least a few of them are. The goat-bearded guitar and tuba player, Barnabus Jones; Ruth’s boy, Kiowa Wells; and the banjo and washboard player Alynda all come from a subculture of rail-riding, outdoor-living hobos that was beautifully documented a couple of years ago by the photographer James Heil in Time. . . . But the trumpeter Ben Polcer is a University of Michigan music-school graduate, and the clarinetist Mike Magro, from suburban Philadelphia, is a virtuoso who can hold forth at length about the rare and antiquated Albert fingering of his clarinet.

In addition to their song selection and their remarkably tight and vibrant musicianship, two things particularly excite me about the Loose Marbles. One is how carefully thought out their act is; their inter-war, Mitteleuropean flavor is somehow more than accidental and less than shtick. The other is how much, and how obviously, they all love each other.

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I asked Ben why he and his friends aren’t playing rock and roll like proper twenty-somethings. What is the attraction, I wanted to know, of music his grandparents listened to?

“I’ve played in a lot of rock bands,” he said. “I like rock and roll. We all like rock and roll. But jazz is special. To play it well, you really have to listen to each other.”—Dan Baum

Friday, 3/12/10

Both Chicago blues artists. Both guitar players. Both influenced by other kinds of music.

Musical personalities? They could hardly be more different.

Buddy Guy, “Let Me Love You Baby,” live

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Fenton Robinson, “Somebody Loan Me A Dime,” live, 1977

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Back in the 1970s, when I was at Alligator Records, I had the pleasure of working with Fenton, co-producing his album I Hear Some Blues Downstairs (a Grammy nominee). He didn’t fit the stereotype of a bluesman. Gentle, soft-spoken, serious, introspective: he was all these things. He died in 1997.

Wednesday, 3/10/10

God the poet, the master of metaphor, wanting to comment on what a big, open, unruly country this is, put the birthdays of Ornette Coleman, born in 1930 in Fort Worth, Texas, and Bix Beiderbecke, born in 1903 in Davenport, Iowa, back to back.

Bix Beiderbecke, cornet, with Frankie Trumbauer and His Orchestra, 1927

“I’m Coming, Virginia”

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“Singin’ the Blues”

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“Riverboat Shuffle”

lagniappe

Speaking of Bix’s playing, Louis Armstrong said:

Those pretty notes went right through me.

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Radio Bix: all Bix, all the time

As they did with Ornette’s birthday yesterday, WKCR-FM is celebrating Bix’s birthday by playing his music all day.

Sunday, 3/7/10

Rock, jazz, gospel—no genre has a monopoly on the ecstatic impulse.

Rev. Louis Overstreet, live, “Working On The Building Praise”

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want more gospel?

Every Saturday morning, beginning at 10 a.m. (CST), you can hear an hour of great gospel on WLUW-FM, hosted by Bob Marovich (Black Gospel Blog).

Saturday, 3/6/10

For some people, going their own way seems to be the only way they could possibly go.

Captain Beefheart (AKA Don Van Vliet)

The Artist Formerly Known As Captain Beefheart (BBC Documentary, 1997)

Part 1

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Part 2

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Part 3

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Part 4

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Part 5

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Part 6

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lagniappe

Don’t you think that somebody like Stravinsky, for instance . . . that it would annoy him if somebody bent a note the wrong way?—Captain Beefheart

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About the seventh or eighth time [I listened to Trout Mask Replica], I thought it was the greatest album ever made—and I still do.—Matt Groening

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art beat

Paintings by Don Van Vliet

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Friday, 3/5/10

Elvis!

Elvis Presley, live, Tupelo, Mississippi (Mississippi-Alabama Fair & Dairy Show), 1956

“Heartbreak Hotel”

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“Long Tall Sally”

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Wednesday, 3/3/10

What other pop star has made such stunning contributions as a guest artist?

Sinead O’Connor

With Willie Nelson, “Don’t Give Up”

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With the Chieftains, “The Foggy Dew”

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With Shane MacGowan, “Haunted”

Saturday, 2/27/10

It used to be that music came from a particular place. No more. Whether it’s Sohrab Saadat Ladjevardi (the Iranian saxophonist who’s lived in Germany, in Japan, and now in New York City [2/18/10]), or Burkina Electric (whose members come from Burkina Faso, from Germany, and from New York City [by way of Austria] [2/22/10]), or this singer, who’s lived (and has homes) in Nigeria and in Germany, much of today’s most intriguing music has its ears and heart and feet on more than one continent.

Nneka, “Heartbeat”

Take 1: recording/video

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Take 2: live, Philadelphia, 2009

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Take 3: J. Period Remix, featuring Talib Kweli

Wednesday, 2/24/10

recipe

1. Take a singer whose range includes about as many notes as he has fingers (on one hand).

2. Add a saxophonist who’s renowned for his melodic and harmonic inventiveness.

3. Mix?

Leonard Cohen with Sonny Rollins, “Who By Fire,” live (TV broadcast), 1989

These two mostly sound (to these ears) like, well, what they are: two distinctive artists whose musical worlds couldn’t be more different. But when Sonny finally leaves his world and enters Leonard’s—a world where melodic invention counts for nothing and subtle changes in inflection count for everything—the results are breathtaking (5:47 and following).

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mail

Salam Richard!

Thanks for the post! How did you find me?

Have you check my personal website: http://www.sohrab.info?

Do you know about my music on-line mag Doo Bee Doo Be Doo (which is looking for writers. What about you?)? Please visit http://www.doobeedoobeedoo.info

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Hope that sometime I will play in your city to have a chance to meet you.

Greetings!

—Sohrab Saadat Ladjevardi [2/18/10]