Here’s an excerpt from a cease and desist note authored by John McLaughlin’s label manager, upset about RapidShare postings of his artists’ releases:
The information storeby your internet service provider will clearly point to your computer and location so it will not be that difficult to prove that your guilty.
Your choice .. but we are being very polite and nice about since we are sure that you love and support the music and what you are doing is destoying many peoples livelihood.
Uh-oh.
I have literally just started this book (on Scalzi‘s recommedation) and, so far, its a fascinating techno thriller, centered around a 15 year-old girl who has never been able to see. The acknowledgments show that the author spent a lot of time trying to get it right – working with physicians, scinetists, blind people, to be able to tell much of the story through this character. There is so much about how she hears the world, and it really resonates with me. So far, and it’s very early in the story, there is really no music to speak of.
(That is so baddass)
The traditional organ trio, as far as I understand it, is comprised of Hammond B3, drums and guitar or sax. Think about Jimmy Smith, Jimmy McGriff, Joey DeFrancesco – they used the awsome power of the B3 to carry the bass on the left hand and go nuts with the right for leads and melody. Darediablo proved that the format could work well in a rock setting. In the world of jazz fusion, the great example is Tony Williams Lifetime of 1969. The twist there was that the organ, normally dominant in such contexts, had to play second fiddle to Williams’ drums and McLaughlin’s guitar. Even though Jack Bruce came along to play electric bass, that lineup never gelled. The true genius of Lifetime was the trio – no bass.
Then comes Medeski Martin and Wood. This is not an organ trio, because Medeski is playing everyhing in sight, so long as it has black and white keys, not just the B3. Medeski’s the focus and and it all goes through his playing, but now there is a bass. Wood is almost always on a stand-up acoustic, but it doesn’t take away from the funk. When that band wants to get down, it gets down.
Now I arrive at Elephant9. Things are different in Scandanavia. Fusion is not a dirty word. Progressive Rock is an art form, and not an insult. And in Norway, Stale Storlokken absolutely burns on keys. This is a band that has not one but TWO Joe Zawinul covers on the same record. There is no hiding the influence. This is a direct decendent of early 70’s Miles Davis and Weather Report. Storlokken’s ability to conjure a fiery groove is matched only by his seemingly limitless technical ability. The drums and electric Fender Bass add pure muscle. This is not subtle music. And then you hear the variety of synths and other sound generators in Storlokken’s arsenal, and you can understand why these young men embrace a prog identity.
In 2008 I discovered Beardfish – an amazingly talented group from Sweeden. That love of Zappa and old Genesis has not gotten old, and I wait with bated breath for the time when I can see them live. But Elephant9, and particularly Storlokken, feels like the next big thing for me. I have not been this excited about young musicians in many months.
Your Fake Tan Looks Really Fake
Put a little Frank in yer tank!
I’m supposed to be writing a big Complaint to be filed with the Court, but I need a quick break. Music is a huge help when I’m writing (or drafting, if you prefer) but the recent release of ‘Wazoo‘ from the Zappa archives is especially challenging release. The title of this post is one of the lines from “The Adventures of Greggery Peccary” – it’s one of Zappa’s movies-for-your-ears and it’s extra crazy. Before this live rendering, he even warns the audience about ‘obstruse’ music.
You could say that Frank is telling the world to go shove it up their snoot – he’s gonna play what he goddamn wants to play. I don’t sense any of that anger or obstinance. In fact, he has such love and admiration for his audience that he believes in them and has faith that whatever insanity might be displayed at a given ‘rock’ concert, they will get it because they know what good music is. So, yes, he’s challenging himself to render a complicated piece of studio work as a live performance with a 20-piece band, but he’s also offering something (however difficult it may be for his band) that his audience will not get to experience anywhere else.
Is it great music? I don’t know. I’ve heard this live recording a few times, and listened to the studio version a few more times. It’s tough. It’s all over the place. It’s long. It’s chaotic.
But Frank invites you in and offers you something special and unique, something on which he’s worked incredibly hard. That attitude toward connecting art and audience is the purpose of creativity. Take his hand. Take the ride.
After that post below, I need something to cheer me up. Last night’s Tilbrook show was genius and I wish you had all been there. Read my extensive comments below. however bad cancer is, music will save us all. Good, loud, rock music. I’m going to post a tasty Squeeze show on Blogerantz to celebrate the concert last night.
Glenn takes flight
Note: this was my first attempt at ‘live blogging’, but I had no internet connection. Thankfully, WordPress for iPhone/iPod Touch saves to a local draft file. Then when I got home, I published the whole she-bang. I real live blog should have times of posts, as well as be updated to the net while the event is happening. That’s not what happened here, even thoug these comments and observations were made during the show.
Glenn Tilbrook and The Fluffers (w/ Spring Standard opneing)
World Cafe Live, 32nd and Walnut, Philadelphia, PA
March 31, 2009
Opening act is horrible and has lots off equient, which means that there will be a long delay between sets. At least songs are short.
It makes me wonder which drink on the menu has the most alcohol. How is it that this singer songwriter routine can be so bad and so acceptable.
I think there is a hard ceiling for this kind of music and I think it is getting lower and lower. Do these people think they are going to be big stars playing this kind of music? Is. There some satisfaction in doing something that’s already been done to death? And why not have a drummer in the band? They’re all tryng to play part of the kit rather than having one additional musican who could actually handle the percussion duties. Uh-oh. Now they’re trying to rock out. Ugh!
Ok. So now they’ve got Glenn and the Fluffers on stage for a big r’n’b ending. It’s cacophonous. I’m glad they’ve gotten some portion of our money, but suit, that was brutal. Now we have a long break til the main attraction.
In between music sounds like it might be Ryan Adams. That’s encouraging. Here’s the thing: live music is good for you. Life is too short to listen to music that sucks, but I think the shitty part of the night is over.
The main event has begun! A cream Strat instead of the old black Tele. Too much open space in front of the band. Through the Net is 2 d and it sounds great!!
Band is in fine form. Songs are too short. Hostage is 3rd. I like this set.
Next song is about the RV from the tour a few years back. The image is on on of Em’s shirts. Guitar playing is so effortless.
Slap and Tickle is high energy and perfectly executed. Doeople know this is a Squeeze song? First big solo of the night. Lots of phaser.
Something agout changing the lyrics of the next song so as not to offend the young’ns. I don’t know this one, but it’s a nice mid tempo break after the ferocious Slap and Tickle.
Bridget Bardot wrap followed by a new acoustic number. Lucy is taking lead vocal. Can’t tell if she’s a bit weak in the vox or if it’s part of he tune. Keys are outrageous all night.
More acoustic guitar on The Best of Times. Steven on accordion. Glenn is monstrous on guitar, even when just strumming away. His voice is still real strong and we’re well into the set. This is another great song. I can’t wait to hear the record!
Talking about Johnny Depp and Too Close The Sun. He’s got his volunteer. Progtastic duet win Glenn & Steve doubling up the licks like Banks and Hackett! Pure silliness.
Now into one of those sweet crooning rockers he does. Why hasn’t this record come out yet? Big guitar solo, so I’m happy.
Untouchable. This always reminds me of the MS150. What a great tune and a great version. Lucy thinks Glenn is of of tune. He’ll grab a black strat during the piano break. Steve turn into Roy Bitten for the big finish. Now he’ll dose set one with Mussels and the audience is happy. Two people are dancing and Steve is playing with his feet.
We’ve had a fifteen minute break and we’re back with Uranus. More perfect pop from the solo catalog. Big keys and drums at the end. Nice jam!! The in ear monitors go flying and the crowd goes wild just in time for a Squeeze favorite Is That Love. More folks dancing and a nice twangy solo on the creme strat.
Quickly into the next number as Steve works the Rhodes and Hammond sounds win left and right hands. It’s very Jools, but I don’t know this tune. Your basic one four jam goes great with the twangy jazzy solo, and it’s a big one. Away he goes!
‘Relentless Pursuit’ ? Whatever it is, another pop ballad with harmony and melody to spare. The band does carry the live harmonies as well as the artist in the studio, but the point is made.
‘One For The Road’ is even better live. He’s so twangy, even without a wammy bar. Here comes Steve with organ and piano. Nice!
Tempted. Why not? Was he recently on tour with a reconstituted Squeeze? Yeah, maybe, but what a great song. He should be proud and he really enjoys playing it. Same with the band.
And now it’s time to get funky with the Parallel Worlds. Few people know, but the band a more into this tune than Tempted. Me too. Jazzy space jam as Steve works the oscillators on his synth. Big drums! Great version! Morphing into the next tune with Hendrix style accents. Yes! We’re Up The Junction. What a show! Slow and psychedelic version. Slow tempo suits sad lyrics. And, of course, when you start slow, you can build to a big ending. But no, it’s a tease and we’re done. Encores?
Spring whatevers are out for the encore. We’ll see if this is any good.
A heavy rocker gives way to heavy version of Take Me. Steve is stealing the show with the vocoder. Spring Standards are not adding much. Here GT with a big solo before bedtime. Matching the vocoder with a scat solo to go with guitar. Funky Town jam is on the other side of annoying. Let’s wrap this up, folks. Now Steve’s feet are stickng up and he interpretative dance is lovely for all on stage. Done
Just spent the last two hours working on a new-is composition. I’ll post the draft a little later today. The song is called ‘Real Change’, which comes from remarks made by Jesse Jackson before a 1969 benefit concert by Cannonball Adderly. This project grows out of my displaced interest in becoming a DJ. That was not what I was after because I didn’t really contemplate doing anything live, and that’s kind of essential for a DJ. Anyway, I’ve used samples and mixed in live performance and Logic loops. It’s getting there and it’s definitely fun.
The legends of Polish Prog are back! SBB’s new album is called ‘Iron Curtain’ and it’s so good, for those of us who are so inclined, it will make you cry.
The pressure of the modern world is the reason for human oblivion. We are the generation that destroyed the myth of Europe’s ‘iron curtain’. The new sound of SBB is like a mirror of the lives of the barriers’ breakers…
-Józef Skrzek
This bust is currently in Lithuania to commemorate the immortal genius of Zappa. Now, someone in these United States of America has finally gotten the idea to honor one of the greatest artists this Country has ever produced. Another version of the above monument will now find a home at Fels Point in Baltimore. Kudos!