music clip of the day

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Category: guitar

Friday, 1/25/13

You can only hear with the ears you’ve got. And the ones I’ve got came of age in another era. But is it merely reflexive nostalgia to ask: Is there anything today—anything at all—that can compare with this?

Otis Redding (1941-1967), with Booker T.  & the M.G.’s* and The Mar-Keys,** “I’ve Been Loving You Too Long” (O. Redding & J. Butler), live, Monterey Pop Festival, 1967

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lagniappe

reading table

What advice would you give to people who are looking to be happy?

For starters, learn how to cook.

“Questions for Charles Simic: In-Verse Thinking,” interview by Deborah Solomon, New York Times, 2/3/08

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*Booker T. Jones, organ; Steve Cropper, guitar; Donald “Duck” Dunn, bass; Al Jackson, Jr., drums.

**Wayne Jackson, trumpet; Joe Arnold, alto saxophone; Andrew Love, tenor saxophone.

Wednesday, 1/23/13

Saturday night, between trips to Northwestern’s Pick-Staiger Hall, I caught these folks at Chicago’s City Winery.

Dolly Varden, “Forgiven Now,” live, Chicago area (SPACE, Evanston), 2011

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Here they talk about, and play songs from, their new album (For A While).

Tuesday, 1/22/13

soundtrack of a marriage

On my first date with Suzanne, in 1974, we went to Chicago’s Jazz Showcase (then upstairs on Lincoln, just south of Fullerton), where we saw Sun Ra & His Arkestra. With a start like that, how could one ever go wrong? When we got married, on this date in 1977, Von Freeman played at the wedding, with pianist John Young. Years later John told me: “When I marry ’em, they stay married.”

Sun Ra & His Arkestra, live, Ann Arbor Blues & Jazz Festival, 1974

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Von Freeman, live (with John Young, piano), “Remember,” Chicago (Jazz Showcase), New Year’s Eve 1983 (according to the clip) or 1979 (according to NPR)

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lagniappe

Want to hear what Von and John sounded like on that cold, snowy night thirty-six years ago, at a church north of Chicago? Here (give it a few seconds). As you’ll hear, they played before, during (the processional was Ellington’s “In A Sentimental Mood”), and after the ceremony.

Friday, 1/18/13

three takes

“Driving Wheel,” AKA “Driving Wheel Blues” (R. Sykes)

Buddy Guy & Junior Wells (BG, guitar; JW, harmonica and vocals; Jimmy Johnson, guitar; Dave Myers, bass; Odie Payne, drums), live, Portugal (Algarve Jazz Festival), 1978

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Junior Parker, 1961

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Roosevelt Sykes, 1936

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lagniappe

reading table

[I]t is out of adolescents who last a sufficient number of years that life makes old men.

—Marcel Proust, Finding Time Again (translated from French by Ian Patterson)

Thursday, 1/17/13

sui generis

DJ/rupture (turntables) & Andy Moor (guitar), “Hot Pink Version”; recorded in France (Orleans), 2007; photos by Andy Moor

Friday, 1/4/13

My heart’s on fire . . .

Nona Hendryx (with Ronny Drayton, guitar), Philadelphia, 2012

“Temple of Heaven”

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“Rock This House”

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lagniappe

reading table

Her life, she said, was an out-of-tune piano played with passion.

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This evening I sat listening to five presidential candidates offering their imaginary solutions for a country that doesn’t exist.

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“Imaginary maladies are much worse than the real ones, because they’re incurable,” an old friend who walks with difficulty was telling me.

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Much of what our eyes see and our ears hear is lost in translation.

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 “An alarm clock with no hands, ticking on the town dump,” is how he described himself.

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They gave the nice old gentleman I met at the bake sale several medals for the misery he caused in some country that no one could find any longer on the map.

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I bet all our elected representatives in Washington spend a great deal of time in front of mirrors admiring themselves. They lift their noses and chins, stare straight ahead without moving an eyebrow or a muscle, then nod their heads gravely and smile to themselves as they go out to meet the people.

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He sat on a bench in Washington Square Park whispering something extremely confidential to his dog, who sat before him with ears perked, wagging his tail cautiously from time to time.

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The crosses all men and women must carry through life are even more visible on this dark and rainy November evening.

—Charles Simic, “A Year in Fragments” (excerpts), New York Review Blog, 12/31/12

Tuesday, 1/1/13

Happy New Year!

Albert King & Stevie Ray Vaughan, TV show (In Session, Canada), 1983

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lagniappe

musical thoughts

Once upon a time there was a common musical culture. Certain dialects, like blues, were known to nearly everyone. No more.

Friday, 12/21/12

only rock ’n’ roll

There are only a few bands I come back to often.

One of them is The National.

—my (25-year-old) son Alex, talking music the other day

The National, “Fake Empire,” live, New York, 2011

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More?

Live, Netherlands, 2011*

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lagniappe

musical thoughts

Here’s Bryan Ferry talking about his new album (featured yesterday):

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*Here’s the set list (courtesy of a YouTube comment):

00:00 runaway. 06:30 anyone’s ghost. 09:45 bloodbuzz ohio. 14:40 afraid of everyone. 19:00 conversation 16. 23:20 lemonworld. 27:04 apartment story. 30:50 sorrow. 35:50 england. 42:10 fake empire. 45:45 encore break. 48:05 mr november. 53:13 terrible love.

Saturday, 12/15/12

A reader writes:

Dear Richard:

I think you should check out the YouTube link below. From Dore Stein who is the host of a great radio show on Sat. nights on the SF United School District’s radio station, KALW.

Melos: Mediterranean Songs (filmed in Tunisia and Germany, 2011)*

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taking a break

I’m taking some time off—back in a while.

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*With Dorsaf Hamdani & Ensemble (Tunisia), En Chordais (Greece), Juan Carmona & Ensemble (Spain), Keyvan Chemirani (France/Iran), et al.

Monday, 12/10/12

basement jukebox

The Falcons (feat. Wilson Pickett, lead vocals; Robert Ward, guitar)
“I Found A Love” (1962)

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Albert Washington (feat. Lonnie Mack, guitar)
“Hold Me Baby” (1969)

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lagniappe

reading table

[T]he greatest reading pleasure has an element of self-annihilation. To be so engrossed that you barely know you exist. I last felt that in relation to a poem while in the sitting room of Elizabeth Bishop’s old home in rural Brazil. I stood in a corner, apart from the general conversation, and read “Under the Window: Ouro Preto.” The street outside was once an obscure thoroughfare for donkeys and peasants. Bishop reports overheard lines as people pass by her window, including the beautifully noted “When my mother combs my hair it hurts.” That same street now is filled with thunderous traffic — it fairly shakes the house. When I finished the poem I found that my friends and our hosts had left the room. What is it precisely, that feeling of “returning” from a poem? Something is lighter, softer, larger — then it fades, but never completely.

—Ian McEwan, New York Times Sunday Book Review, 12/9/12