I remember the first time I ever saw him, on video, of course.  It was in the Blues Brothers.  Here’s my favorite scene from that movie – Dunn shows up in a green shirt at 0:27.

And then, later, he was on the Eric Clapton record “Behind the Sun,” and the video for “Forever Man” features a slick Dunn.  I totally ate that record up when it came out.  I also recall thinking that I needed a denim trench coat after seeing that video…

What a sad moment.  Much love to his family, and respect to the great master.

R.

PS – ok, really, this is probably my favorite scene in The Blues Brothers, but Dunn isn’t in it.

• The Great London Concert – It’s great, just like the title suggests.  The first side, “Forms and Sounds for Wind Quintet” is lovely, fascinating.  Then, the band comes on and it’s just amazing from then on.  I love this band, with David Izenson on bass and Charles Moffett on drums.  Check out the amazing Live at the Golden Circle records for more with that great band, recorded on the same tour.  On “Silence,” he quoted “Cherokee,” which was pretty hilarious.  The crowd went wild.
• Skies of America – Wow.  This totally floors me. There’s this great quote from Allmusic (which I found on Wikipedia), that this “is still dangerous and rewarding music.”  I totally agree.  The whole first side is just strings (London Symphony Orchestra), but when Ornette finally comes in on the last track, side one (“The Artist in America”), it’s glorious.  And the backgrounds are like Thrash Metal for Orchestra.
• Soapsuds, Soapsuds – A duo record with the great Charlie Haden.  This is my favorite period for Haden’s playing, the ’70s.  The bummer about my copy of this record is that it comes with an 8-page booklet, which I don’t have.  But the music is amazing, peaceful, searching, curious, lively, lovely.
• Virgin Beauty – This is with Prime Time, Ornette’s electric funk band.  I bought it around 1990, initially because Jerry Garcia is on it, and I was contemplating the Dead.  Actually, I didn’t like it that much at first, because I just couldn’t figure out what the heck was going on.  Now, I love it, even though it’s not the first Ornette album I run to.  In August, 1992, when I moved from the mid-west to Boston, I found myself sitting in the Philadelphia train station next to a drummer.  We were talking.  He had his cymbal bag and I had my basses.  It was a good hang.  Full of myself and over-confident, I said, “I’m moving to Boston to go to Berklee,” as if my destiny was to bring peace and love to the universe through music.  He said, “I’m heading into NYC to play a few gigs with Ornette Coleman.”  It completely flipped me out.  That was Grant Calvin Weston, the drummer on this record, and I think I had even been listening to a cassette of this record on that trip.  The tune “Singing in the Shower” is so Arsenio Hall show, but if it were in Star Wars.

Next up, some Coltrane records.  But this moment brings a problem.  Sitting there on the shelf is the Complete John Coltrane on Prestige, packaged in an LP-sized box, but consisting of CDs!  What to do?  Well, I think I’ll listen to them, because they are absolutely amazing.  Note to self, fix iTunes on this computer…

Best, R.

Cocteau Twins – “The Pink Opaque” – Ok, that was interesting.  I think I remember saying, after the first time I heard this, “Ok, that was interesting.  I’m glad I had a chance to hear that, but I don’t think I need to hear that again.”  This being the second time, I’m saying the same thing.  I’m super glad that this music exists and there’s lots of great stuff there, it’s just really not my cup of tea.  It’s as if Enya and The Cure had a love child.  I actually do like The Cure, mostly, but man, wow…love child.

Al Cohn – “The Progressive Al Cohn” – Ahhh.  Much better.  I mean, I’m not interested in making the Cocteau Twins out to be bad at all, it’s just not my thing.  In fact, this isn’t even quite my thing, but it’s so great, I can’t help loving it.  This recording has great performances by Al Cohn (who I think it totally underrated), George Wallington (also underrated, amazing composer/pianist), Tommy Potter, some early Horace Silver, great Curly Russell bass playing (note to self: transcribe), and Max Roach.  super great record.  ”That’s What You Think” is a classic.

King Cole Trio – Trio Days – This is Vol. 8 of a Capitol Jazz Series that I love.  Each volume of this series is amazing, and Vol. 8 here is no exception.  These recordings are from 1949, way before Nat “King” Cole became a pop singer.  His piano playing is amazing, I mean, seriously amazing.  He uses the whole tone scale on “The Man I Love,” and it sounds incredible.  The Trio plays a lovely arrangement of Rachmaninov’s Prelude in C Sharp Minor, pre-dating the Third Stream universe by several years.  This is a great record, pure and simple.  The version of “Smoke Gets in Your Eyes” is so awesome!  It’s this cute 2-feel, a bit fast for a ballad, not quite medium tempo, but then on the bridge, it slows down to ballad tempo.  Nat’s playing makes me wonder if George Shearing and Bill Evans had spent much time listening.

Nat King Cole – The Sunset Allstars, Anatomy of a Jam Session – Swingin’.  Some alternate takes and gems.  Charlie Shavers, Cole, John Simmons and Buddy Rich are absolutely shredding.  Tenor saxophonist Herbie Haymber is also really great, but I’m unfamiliar with his playing, so I’m just learning his sound.  He died in 1949, in a car accident.  I know I’m a sucker for a sappy ballad, so with that…the versions of “I’ll Never Be the Same” are really great.  Love that 2-beat, medium ballad tempo.  You know that great version of this tun on the Stan Getz record, “The Peacocks” – sung by Jimmy Rowles?

Stanley Clark – “School Days” – By FAR the most fusion-y of all the records so far in this listening project.  This album, plus some Return to Forever albums and a few other amazing Stanley Clarke records (especially If This Bass Could Only Talk), caused a pretty big stir in my teenage mind, back in the day.  Here’s proof – Stanley Clarke playing an amazing Alembic Bass:

Then, in 1990 or 1991, I was working in a guitar shop in Des Moines, IA, and a similarly amazing Alembic bass came in, used.  I scooped that thing up right away:

In re-listening to this LP, I’m struck by how much I actually learned from the album.  There are a bunch of melodies and grooves that I learned, but also there are approaches to playing chords and using the ol’ thumb/pop technique, which to this day I don’t really like, but when I use it, I can’t help but channel Mr. Clarke a little bit.  Heck, I even played an overdubbed, over-layered cover of “Quiet Afternoon” on my demo to tape to come to Berklee, way, way back.

Ok, that’s just way to great.  Had to listen to it again.  The disco is so wrong, and yet…  Clarke’s solo on School Days is a masterpiece.  I love the way he takes such a simple idea and builds it into a frenzy.  And the band is incredible, too, stopping on a dime (actually a harmonic).

Buck Clayton – “The Classic Swing of…” – Swingin’.  I have been digging Buck Clayton a lot recently, since he takes an amazing solo on Billie Holiday’s “Mean to Me” from 1937, which I have been showing a bit at NEC.  This record is just great.  Some old timers like Trummy Young and Dicy Wells rub elbows with some younger cats like Billy Taylor (who plays celeste, uncredited, on “Sentimental Summer”) and Al McKibbon.  The result is delightful.  Oh, and George Johnson takes an absolutely shredding alto saxophone solo on the appropriately titled “Johnson Rock.”

Buck Clayton – “Passport to Paradise” – Recorded in May 1961, in Paris, this is a totally mellow, straight-forward, swing-era-styled jazz record.  Gene Ramey – as always – is amazing.  They do one of my all time faves on this, “I Cover the Waterfront.”  And Sir Charles Thompson’s organ solo on “Passport to Paradise” – it’s so hip!  The groove on “Green Eyes” is incredible, too.  It’s an old-timey shuffle with a beautiful snare drum shuffle and wicked short bass notes – delicious.

Jimmy Cleveland – “1956″ – Beautiful playing, lovely arrangements, some amazing Paul Chambers.  Other great musicians on this record include Ernie Royal, Jerome Richardson, Cecil Payne, Wade Legge, Joe Harris, Barry Galbraith (!), Quincy Jones, Lucky Thompson(!), Max Roach, John Williams, Hank Jones, Osie Johnson, and some incredible Oscar Pettiford.  Man, Jimmy Cleveland reminds me so much of my friend Joel Yennior.

Ok, off to the races.  Best, R.

• Eric Clapton – This is the eponymous debut as a leader, on Atco.  I love that label.  It’s nice l’il record, and stars some amazing 1970s musicians, like Leon Russell, the writing team of Delaney and Bonnie, and Rita Coolidge.  This record also features an early hit, “After Midnight.”
• No Reason to Cry – Lots of nice things about this record; great playing, excellent mix, nice tunes.  I will confess that I don’t like the drum sound that much, and especially don’t like the fills on “Innocent Times,” because there’s something about a slow 12/8 that can bring out the worst in a rock drummer.  But I love “Sign Language” because Bob Dylan is just way too awesome.  And I also love “Hello Old Friend,” but mostly because the background vocals are incredible, and I’m thinking that’s because of Marcy Levy, who makes Slowhand worthwhile…
• Slowhand – Man, I never liked that tune “Cocaine,” I just never did.  This record is a Marcy Levy classic – I love saying that because I only started paying attention to her singing a few years ago, and noticed that every time you hear her voice on this record, and other Clapton records especially, she just makes the tune.
• Backless – Both Slowhand and Backless have great, classic, fantastic rock drumming.  Some nifty slide guitar playing on this here record.  Also, Marcy Levy rules on “Promises.”

Best, R.

• Charlie Christian – The Genius of Charlie Christian – this is an absolute must-own for any lover of electric guitar.  Swingin’!
• Pete Christlieb/Warne Marsh Quartet – Apogee – This was produced by Walter Becker and Donald Fagan, and that makes it a pretty bizarre sounding record (the crystal clarity of a great pop record, but a bit too much isolation between the instruments), although the playing is amazing.  I love Jim Hughart!  Absolutely burning.  But, by far, the most wonderful moment comes on “Donna Lee,” where they displace the melody, building on the classic Lee Konitz/Warne Marsh recording.  Here’s a link to “Donna Lee” on Spotify.

Best, R.

• Chicago Transit Authority (CTA) – Man, this record is absolutely amazing.  Really!  When I was a kid, this was one of those jaw-dropping records.  I couldn’t believe how much energy was on this record, how masterful the playing seemed, and how freaking catchy the tunes were.  I could play every single note of Danny Seraphine’s performance on this record (the drummer!), and all of Peter Cetera’s foundational bass playing.  It’s hardly the band that you expect to release, um, Chicago 17.  My favorite tunes are “Introduction,” “Beginnings” (except for the ending), “Questions 67 & 68,” and “Listen.”  Totally amazing.  And Terry Kath!  His playing is massive on this record.  I guess Hendrix was quoted sometime, someplace, as having said that Terry Kath was doing what Hendrix eventually did, but first.  Or something.  And anyone who thinks Chicago is cheesy needs to check out this record.  Try to tell me that “Free Form Guitar” or “Liberation” are cheesy.  I dare you.
• Chicago II – I also love (most of) the follow up album.  I have a difference of opinion on some simple things, like the bass drum feathering during the “swing” section of the first tune, and Peter Cetera’s note choices in that section.  But my negative feelings are balanced by the meter and feel changes in “The Road,” and a few great solos.  ”Poem for the People” is a study in genre bending, with a Mahler-like opening processional, bebop background lines in the horns (on the verse), nifty rock and roll guitar playing, and Beatles-esque background vocals.  Of course, the “Ballet for a Girl in Buchanon” is a masterpiece.  I think the drumming, especially, is spectacular.  And as a Zappa fan, I love “West Virginia Fantasies” because it’s so very Mothers of Invention (compared to all the rest of Chicago’s music!).  ”Make Me Smile” is the highlight though, and it’s amazing to hear it on the LP, broken into pieces, instead of as a single.  When I hear “Fancy Colours,” I think about the band Traffic and wonder why they were so influential.  I mean, I dig them and everything, but there presence seems to be everywhere in 1970.  ”25 or 6 to 4″ demonstrates incontrovertibly how unbelievable Terry Kath’s guitar playing was.
• Chicago III – “Sing a Mean Tune Kid” is the funkiest thing they ever did, and the tenor solo with guitar double is a great effect, and the change in groove underneath the (amazing) Terry Kath guitar solo rules…ok, it blithers on a bit, still great.  On side 2, there’s a free piece, “Free Country.”  I imagine the sound to be what would happen if Muhal Richard Abrams and Henry Threadgill were briefly inhabiting the bodies of Robert Lamm and Walter Parazader with Barry Altschul flying in for a minute, disguised as Danny Seraphine.  So, it’s out and free and great, but not that out.  On the other hand, this is the middle of a record by a band that – at the time – was enjoying huge stardom.  Could you imagine something similar happening on a Maroon 5 record?  For that matter, what was the last pop record you listened to with a jam in 5?
• Chicago VII – The opening piece(s) showcase the band, but this time the whole first side is instrumental, and much of it is in 7…guitar solo in 10; liner notes thank Jo Jones and Elvin Jones.  Side two starts in 10, again.  10!  But the truth is that I find this album…uh…perplexing.  I mean, where else, after a side of fusion jams will you find a tune like “Happy Man” – a smooth, quiet little ditty that is the opposite of everything that just happened.  Or, on “Song of the Evergreens” the repeated chant of the word “Snow”…?  And farm animals on the cover – not like the Pink Floyd record Animals, but more like a leather coat – and the band sitting on a ranch in like Montana or someplace, wearing overalls and such?  It’s so out!  But for me, this one is not exactly a winner.
• Chicago XI – This is the second recording of Chicago I ever heard.  It’s packed with early hits, and an obvious way to enter the domain of Chicago.  Of course, my favorite stuff – all the weird stuff – is omitted, but hey, this is a Greatest Hits record, so…  Oh, wait, I almost forgot to mention the album cover.  Maybe it was cool in 1975.
• Chicago’s Greatest Hits Vol. II – So, this is 1981, and my memory is fuzzy but what I know is that this was the first cassette I ever got.  For my 10th or 11th birthday, my parents bought me this totally rocking cassette player/recorder – you know, the old style with a single speaker and a handle…
  Anyway, I also got this cassette for my birthday.  Can’t really remember what else I got that day, but probably a Beatles greatest hits or two.  Anyway, I wore this cassette out, made it all warbly.  I couldn’t believe it!  Rock music with horns and jazz stuff – what could be better?  Funny how perceptions change after a few decades.  The tunes are mostly later 1970s ballads, although there is the rocking “Questions 67 & 68″ from CTA.  Honestly, “Take Me Back to Chicago” has always been a stand out for me, maybe because it’s great, maybe because it asks for a simpler time (Hello, Middle Age, nice to meet you…), or maybe it’s because guest singer Chaka Khan is just unbelievable.

Onward!

Best, R.

Just back from an amazing time at the Chicago Jazz Festival…really, really amazing.  Here’s a clip:

Enjoy, R.

I have been struck by the importance of balancing my performing/teaching career with the business of music in the 21st century.  It’s not easy to focus on being an artist…no wait, a teacher…no wait, a businessman…no wait, a person.  There are many, many ways in which those things combine to create a less schizophrenic Rick, but sometimes those things are disparate entities.  As an art-driven person, it has always been easy for me to live in a musical fantasy world, stepping outside of it long enough to articulate aspects of that world to colleagues and students.  But harder has been the quantification of that realm, translated into a business-model.

In the 1980s, the trick was to find a way to document your work somehow, and it took a lot of expense and time to get that done.  In the 1990s, things became less expensive to document, but relating it to the rest of the world was still tricky, depending upon how you feel about the intersection of music, technology and business (remember the old Napster?).  Now, it’s super easy and fairly inexpensive to document your work, but getting the new, global, digital audience to pay any attention whatsoever is still hard.

The tool in the 1990s that most musicians I know used was a minidisc (MD) recorder.  This was a relatively inexpensive, decent sounding recording device which enabled the capture of an artist’s music for later dissemination.  The “capture” was easy, but the “dissemination” was very hard.  Convert to cassette, or burn a CD?  If you can imagine, there was actually a time when the MD recorders (one major manufacturer comes to mind) would not allow a musician to record his/her own concert on the MD, transfer the file to the computer, and then burn a CD of it.  Sure, you could record all you wanted to, and you could even upload your files to the computer.  But no burning.  I understand why that decision was made, but it rendered the entire MD experience useless because the practical application of the product vanished the moment you tried to use it for anything but archiving.

I have a real chip on my shoulder about that because it meant that the only reasonable tool was a disaster of sound recording.  Remember this:

Most of my friends, way back when, actually used this to record concerts and rehearsals, and then to make cassette demos.  Cumbersome!  Time consuming!  Uh, not very fantastic sound!

Ok, well lots of time has passed, and the RIAA and Napster have come to some kind of agreement which has meant that consumer recording devices are actually made in a way that is reasonable for musicians.  I have a Roland Edirol, which I love, but there are some issues with it – it’s very big, and lately I have been having problems with setting peak levels, so I get lots of distortion.

When Sanyo’s people asked me about reviewing their Xacti, I sent this back to them:

I have been using the Sanyo Xacti for the past month in a wide variety of situations, from concert performances and rehearsals, to teaching classes and private lessons.  For about 10 years, I have been searching for a reasonable replacement for my minidisc recorder, which I used religiously, but I couldn’t find anything that met my expectations for 21st century/digital convenience, plus sound quality.  The Xacti fills this gap nicely, adding things like portability – it is tiny – and on-board editing tools to the equation.  Connecting to the computer to recharge the battery seems strange at first, but this combined with the easy back-up of files makes this very, very reasonable.  An excellent companion for gigging/teaching musicians.

So, I like it.  I’m using it.  It’s a good thing.  Really.

Wait a minute – that wasn’t funny at all!  Well, here’s a link to Krusty the Clown’s product endorsement agreement, and list of endorsements.

Best, R.

A really great concert…

Best, R.