music clip of the day

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Category: R&B

Friday, 12/11/09

Wednesday’s featured artist, Curtis Mayfield, was so popular and influential among Jamaican musicians, including the early Wailers (back when the group included Peter Tosh and Bunny Wailer [before becoming “Bob Marley and . . .”]), that one British deejay dubbed him the “Godfather of Reggae.”

The Wailers (with Bob Marley, Peter Tosh, and Bunny Wailer), “Keep On Moving” (1972)

Want more? Here (don’t miss “Soul Shakedown Party”).

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The Impressions (with Curtis Mayfield), “I Gotta Keep on Moving” (1964)

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lagniappe

reading table

It’s odd to think back on the time—not so long ago—when there were distinct stylistic trends, such as “this season’s colour” or “abstract expressionism” or “psychedelic music.” It seems we don’t think like that any more. There are just too many styles around, and they keep mutating too fast to assume that kind of dominance.

As an example, go into a record shop and look at the dividers used to separate music into different categories. There used to be about a dozen: rock, jazz, ethnic, and so on. Now there are almost as many dividers as there are records, and they keep proliferating.

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We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.

I think this is good news. As people become increasingly comfortable with drawing their culture from a rich range of sources—cherry-picking whatever makes sense to them—it becomes more natural to do the same thing with their social, political and other cultural ideas. The sharing of art is a precursor to the sharing of other human experiences, for what is pleasurable in art becomes thinkable in life.—Brian Eno, 11/18/09

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MEMO

To: Elliott Carter

From: MCOTD

Happy 101st Birthday!

Wednesday, 12/9/09

Take away the hand drums and the music of this man—another of the great artists to come out of Chicago in the last 50 years—would have a whole different flavor.

Curtis Mayfield (with Master Henry Gibson on hand drums), “Move On Up,” live, The Netherlands (The Hague), 1987

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lagniappe

In the Sixties, you had percussionists like Master Henry Gibson that was playing with Curtis Mayfield and he was pretty much used as melodic accents. When you listen to a lot of Curtis’ work after the Impressions, rather than a horn player he’s got Henry Gibson out front on percussions. A lot of people had missed that in the sense of compositional expression.—Kahil El’Zabar

Friday, 11/20/09

Elvis Presley, Michael Jackson: what other artist was a big influence on both?

Jackie Wilson (Mr. Excitement), “Lonely Teardrops,” live (TV broadcast), 1958

Saturday, 10/31/09

If you’re looking for something to listen to while checking your email, don’t bother with these clips. Once you start watching them, you won’t be able to stop.

Janelle Monae, “Sincerely, Jane”

Take 1: Philadelphia, 2008

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Take 2: Los Angeles, 2008

Saturday, 9/26/09

Soul Music Festival/day 3 of 3

After following these guys onstage for several shows, Otis Redding said, “They’re making me work harder than I ever did in my life.”

After a few more shows: “I don’t ever want to see those two motherfuckers again.”

(quotes in Peter Guralnick, Sweet Soul Music [1986])

Sam and Dave, “Hold On, I’m Coming,” live, Norway, 1966

Friday, 9/25/09

Soul Music Festival/day 2 of 3

Buddy Holly, Patsy Cline, Stevie Ray Vaughan, this guy: if you could somehow revive all the folks who’ve died falling out of the sky, you’d have a hell of a band.

Otis Redding, “Try a Little Tenderness,” live, Norway, 1967

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give the drummer some/part 2

Listen to the double-time pattern Al Jackson begins playing at the start of the second verse (0:47): what a subtle, rippling urgency it creates.

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lagniappe

“[Otis would] keep pushing, and each time Al Jackson would go with him. He would enable the rest of the musicians to reach whatever Otis was trying for. Otis would record stripped to the waist. He put bath towels under his arms. He wanted those horn players live on the floor; he’d sing their parts to them and put that whole session together. Otis got a live feel that nobody else on that label [Stax] ever got.”—Jim Dickinson (in Peter Guralnick, Sweet Soul Music [1986]; for more on Dickinson, see the 9/9/09 post)

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Bassist Duck Dunn (also in Guralnick’s book):

— “Otis would come in [the studio], and, boy, he’d just bring everybody up. ‘Cause you knew something was gonna be different. When Otis was there, it was just a revitalization of the whole thing. You wanted to play with Otis. He brought out the best in you. If there was a best, he brought it out. That was his secret.”

— “When you talked to him [Otis Redding], he was like you was. Then you see him on stage. Hey, there ain’t too many people wear the crown. Elvis wore it, and I guess Frank Sinatra wore it. And here he comes, and, boy, he wore it. He wore that halo. He knew it. He was a goddam star.”

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At Redding’s 1996 Whiskey A Go Go shows in Los Angeles, Bob Dylan “presented Redding with a prerelease copy of ‘Just Like A Woman,’ claiming his vocal approach had been Otis-inspired. ‘Otis’ appraisal of it,’ says [Phil] Walden, ‘was that it had too damn many words in it.'”—Carol Cooper

Thursday, 9/24/09

Soul Music Festival/day 1 of 3

“So there’s this black guy, see, and he walks onto the stage of a concert hall in Norway, and this guy starts singing, in this Norwegian concert hall, ‘Do you like good music, that sweet soul music,’ and . . .”

Arthur Conley, “Sweet Soul Music,” live, Norway, 1967

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give the drummer some

Listening to this performance, I’m reminded of what a terrific drummer Al Jackson was—how essential he was to the Memphis sound. Not only could he drive a band, hard, through the turnarounds (1:23-1:32, etc.); he could play with such lightness and buoyancy—just listen to what he does with the ride cymbal—that the groove floated (0:18-1:22, etc.).

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later note

One of the hazards of posting YouTube clips is that sometimes, as here, they disappear on you. But here (for the moment, anyway) is a shorter snippet from that same Arthur Conley performance (the times for the Al Jackson stuff referenced above are a little different here [the first turnaround, for instance, comes at 1:08-1:17]).

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lagniappe

“Memphis is an ugly place, but I love it. People who wouldn’t have stood a chance anywhere else were recorded here. And have traditionally been drawn here, because, I guess, it’s always been a center for crazy people.”—Jim Dickinson (in Peter Guralnick, Sweet Soul Music [1986]; for more on Dickinson, see the 9/9/09 post)