Elwood Blues

With some help from IMBD.com, today I'd like to feature the speech that Elwood Blues gives the rest of the band when they all want to give up and go home before making the trip into Louisiana to audition for Queen Mousette so they can play in the battle of the blues bands.  The speech comes from the second movie of the Blues Brothers franchise.  The original 1980 movie is by far the better of the two, but the 2000 film has its merits, too.

Take it away, Elwood.

ELWOOD: [addressing the rest if the band] You may go if you wish. But remember this: walk away now and you walk away from your crafts, your skills, your vocations; leaving the next generation with nothing but recycled, digitally-sampled techno-grooves, quasi-synth rhythms, pseudo-songs of violence-laden gangsta-rap, acid pop, and simpering, saccharine, soulless slush. Depart now and you forever separate yourselves from the vital American legacies of Robert Johnson, Muddy Waters, Willie Dixon, Jimmy Reed, Memphis Slim, Blind Boy Fuller, Louie Jordon, Little Walter, Big Walter, Sonnyboy Williamson I and II, Otis Redding, Jackie Wilson, Elvis Presley, Lieber and Stoller, and Robert K. Weiss.

DONALD "DUCK" DUNN: Who is Robert K. Weiss?
[the rest of the band shrug]

ELWOOD:  Turn your backs now and you snuff out the fragile candles of Blues, R&B and Soul, and when those flames flicker and expire, the light of the world is extinguished because the music which has moved mankind through seven decades leading to the millennium will whither and die on the vine of abandonment and neglect.
[he walks off, followed by Buster, Mack and then the rest of the band]

 And, scene.
Nicely spoken, Elwood.

P. S.  Robert K Weiss was the producer for the original Blues Brothers movie, and the reference is given as an inside joke when Weiss told Dan Aykroyd and director John Landis not to give up on the film.  Don't give up on the film and don't give up on the Blues.

Art & Paul down by the schoolyard

I'm still gnawing on the most recent Off the Shelf selection (it's a chewy one), so I don't have that worked out yet.  But, I did visit a local thrift store yesterday and picked up a few good music CDs.  Among them: Miles Davis & Quincy Jones Live at the Montreux Jazz Festival (one of Davis' final performances before his death), a couple of Count Basie albums (including a reissue of the April in Paris album and a collection of Neal Hefti arrangements performed by the Basie band), and the Simon & Garfunkel Central Park Concert.

Officially titled The Concert in Central Park, the recording is the first live album from the folk-rock duo.  The concert took place in Central Park, New York City on September 19, 1981.  Over 500,000 people were in attendance and the proceeds from the concert went towards improvement of the park.  Paul Simon and Art Garfunkel had been friends since they were kids and were a big part of the music scene and environment of the 1960s, channeling the turbulent emotions of that time in American history.  They admit to being influenced by the Everly Brothers, as evidenced by the close-harmony vocal style and folk tendencies.

After some disagreements about which way they should go artistically, they officially broke up as a duo in 1970.  Paul Simon went on to have a very successful solo career (he is the songwriting powerhouse between them).  Art Garfunkel wanted to pursue work in acting.  Their final duo album was Bridge Over Troubled Water.

Of course, Paul Simon is talented and interesting, but after doing a bit of research on Art Garfunkel, it's possible to see why these two musicians could have had artistic disagreements.  They are radically unique people.  Garfunkel is known to be a voracious reader: on his website you can find a list of every book he's read since 1968.  He also writes poetry and has walked across America several times between 1983 and 1997.  Simon is completely focused on his music career.

The Central Park concert was a reunion of sorts.  The concert was a success and they did a world tour 1982-83.  The subsequent album, to be released as a duo work, was scrapped and reworked by Simon, who released it as a solo album.  The two didn't speak for a while after that.  There was a lot of troubled water, apparently, and the bridge had been hacked to bits.

In 2003, they performed The Sound of Silence to open the Grammy Awards.  They also accepted the Grammy Lifetime Achievement Award.  They still occasionally perform together, most recently at the New Orleans Jazz Fest in 2010.

The Central Park concert still sounds pretty good to me.

Off the Shelf: Boots Randolph

I was delighted with my random shelf pick this week!  Saxophone extraordinaire, native of Paducah, KY, icon of the "Nashville sound": Homer Louis "Boots" Randolph III.  (I researched the "Nashville sound" and it refers more to an era-late 1950s to 1960s-and style of music than an actual sound, but the impression that I get is that it is a sort of country/pop music blend with a touch of Dixieland jazz and a generous dash of honky-tonk swing.) 

Boots' most famous tune is Yakety Sax, a catchy little tune that he wrote with James Q. "Spider" Rich.  The song is original material, with blends of fiddle reels woven in.  It's sometimes referred to as "The Benny Hill Song," because it was popularly used by the Benny Hill show during funny chase scenes.  It was the success of Yakety Sax, actually, that took Boots "out of the hills of Kentucky and put me in the hills of Tennessee" (to use his words).  It's also one of the first solo sax tunes that really captivated me as a young Music Zombie.  I managed to track down the sheet music in high school and performed it for a talent show.  I played it well enough, and I'm sure that I can play it better now, but I will have to work on it a bit more to make it sound anywhere close to Boots' version. 

Boots learned a variety of instruments as a kid before settling on the tenor saxophone at age 16.  He went on to play with the U. S. Army Band until 1946, after which he decided to put his playing to professional use.  He was the first ever saxophonist to play on an Elvis Presley record, and the only saxist to solo with him.  He enjoyed a busy career as soloist and session musician in Nashville (and all over the country), then decided to open his own dinner club in 1977.  It ran for a successful 17 years. 

The disc I pulled off the shelf is another cheap reproduction, opening with Boots' Yakety Sax, but also includes some nice renditions of King of the Road, Stardust, Smoke Gets in Your Eyes, and a charming two-beat tune called Mountain Minuet.  He really could make the horn sing.

Off the Shelf: Blues Traveler

Ah!  Fond memories from the latest random CD pick!  Four, the breakthrough album by the New Jersey jam band, is a representative disc for the sound of this great group of musicians.  It was not their first album, but their fourth (hence the album's title, I suppose), released in 1994 . 

My copy still has evidence of being a used disc I picked up in a CD store somewhere (remember when stores sold CDs?).  I probably got it for the first track, Run-Around, a song that got lots of radio play (it is one of a handful of songs that define the 1990s for me) and remains a major hit for the band.  Front man John Popper is amazing.  He has the kind of voice that is almost impossible to imitate and he can do things on a harmonica that many guitar players can't pull off.

They are a blues band of sorts, and the "traveler" part of the band's name comes from the demon Gozer the Traveler, from the movie Ghostbusters.  During an early jam session, and black cat happened to wander by, and it was decided that a funky black cat should be the groups insignia.

Other notable tracks from this album include Hook, The Mountains Win Again (that I seem to recall wound up in a beer commercial), Price to Pay, and The Good, the Bad, and the Ugly (not the one you're thinking of.  Same title, different tune).  And for some reason, my memory links Blues Traveler with the 1996 movie Kingpin.  After some checking into the soundtrack, they do indeed appear on the credits with one of their first major hits, But Anyway.  Interesting how the mind makes relationships.

One of the funniest memories I have in relation to the music of Blues Traveler involves one of my friends at a talent show.  He recited the lyrics to Run-Around in the style of a dramatic poem reading.  Funny stuff. 

Anyone can improvise

Last weekend I attended the 2-day Jamey Aebersold Jazz Improvisation Workshop held at the University of Louisville in Kentucky.  This workshop is taught by Jamey Aebersold himself, which I think is great.  If you've ever used any of his play-along CDs (or LPs, if you've used them for a very long time) you've heard his voice, counting off the tempo.

I must say, he's a monster of a musician, demonstrating his points beautifully on both piano and saxophone.  The first morning session didn't have much in the way of theoretical information, but it did serve to get everyone into the "be creative" mindset.  As a teacher, I was interested in ways of introducing improvisation to some of my students, and the first day afternoon session gave me some helpful tips.  For example, instead of having the student try to solo over a progression, have them try over just two or three chords, using only two or three scales.  This keeps the amount of intimidating choices down to a manageable number and allows the player to experiment with actually trying to make up a melody on the spot.

Day 2 dealt more with some theoretical aspects of jazz music, like ii-V7-I progressions, scale usage, and ear training.

He did address the interesting question of whether or not analyzing or talking about jazz diminishes its spontaneity.  To paraphrase Aebersold: The greats may have not known whether or not they were playing diminished scales or tritone substitutions, or even if they played them intentionally (some did, Coltrane and Miles Davis were known to use modes and scales in experimental ways) but that's what they were doing.  And it's interesting how much you can learn about soloing by analyzing a solo from one of the great players.  We looked at couple of transcriptions, one from a Jimmy Forrest solo and one from Sonny Stitt.  By comparing note choices to the chord symbols, it's possible to see how they followed the progression.  It's really illuminating to see how a great soloist builds their melodies.

Some other interesting points: 

• Rhythm is at least as important as the correct notes.
• Imagination provides FREEDOM.  Develop your creativity.
• Music doesn't care who plays it.
• TV kills imagination. 
• LISTEN! All of the answers are in the recordings.
• Charlie Parker practiced 11-15 hours every day for 3-4 years.
• Get some music in your head (and in your fingers).  Don't rely too heavily on books and written music.
• Use your ears and memory.
• Try first improvising by singing.  Your voice can go places you may not be able to easily find with your instrument, and it helps to get ideas moving.

Also, Jamey can circular breathe.  It didn't hit me right away, at first I only noticed that he never stopped to take a breath when he played his saxophone.  Circular breathing is a technique where the player breathes in through the nose while exhaling into the instrument.  It requires practice; few people can do it naturally. 

Overall, it was a useful two days.  I picked up some new ideas to try with my students and new ways of practicing and developing my own playing.  Maybe in a year or two I can return for one of the week-long sessions to learn more.

After the final session, Jamey was so kind as to autograph my book!

So Damn Lucky

A friend and I made the trip to Alpine Valley in East Troy, WI to see the Dave Matthews Band show on July 6.  The venue allowed cameras this year, so here are some pictures from the concert.  People attend Dave shows for lots of reasons: some go for the party, some go to them because it's tradition to attend one or more concerts every summer, and some go simply for the music. 

Almost there!

YAAAAAY!!!

The venue.  All seats will be filled and the upper lawns will be filled with fans.  Right around 40,000 people.

Somehow managed to get a glimpse of Dave pre-show.  Those are his twin daughters with him.  Their tour buses are behind them.

The Eco-Village had some nifty things, like a couple of these listening stations.

Listening to a track from the new album, due for release in September.

This is Brandi Carlile.  The opening act.  She's really good!  Go buy her music!  She has a Johnny Cash/Sheryl Crow/bluegrass vibe.  Solid vocals, strong guitar/piano work.

Hard working stage crew.  Setting the stage.

Look! Boyd's violin!

He has the best seat in the house.

Stage Left Solidarity.

Stefan Lessard, Rashawn Ross, Jeff Coffin.  Bass, trumpet, saxes, respectively.  Of these three, only Stefan is a founding member, Jeff was brought in after LeRoi's death to cover the sax parts, and Rashawn adds so much to the sound of the band.  Always tasteful, always musical.  The musicianship here is just incredible.

Boyd Tinsley, Tim Reynolds

 It was a hot night.  98-103 degrees.  But the band delivered three hours of solid, non-stop, energized music.  A good mix of old and new songs, including some of my personal favourites.  I try not to go into concerts hoping to hear one song, or expecting them to play certain songs.  They'll play what they want to play.  However, it was great to hear Seven as an opener, The Song That Jane Likes, You Never Know, and All Along the Watchtower.  Closing the show with Tripping Billies was perfect.

Dave, Stefan.

Carter is hidden behind his drum set.  He has a very busy style of playing, but it's never in the way.  Good drummers know how to add to the music without overwhelming it.

A great concert.  Despite the heat, the (very large) crowd seemed to be in good spirits, and the band was appreciative.  It's so great to be a part of something so big and so positive.

Rock on.
 :-)

Under Kentucky skies

When it comes to road trips, my road atlas and the term "unlimited mileage" on rental cars are my two best friends.  About five years ago, I started a tradition of making at least one big road trip over the summer months.  I save money all year for these trips and since starting this tradition, I've been to Kansas City, St. Louis, the Black Hills of South Dakota/Wyoming/Colorado, Milwaukee and other parts of Wisconsin, and most recently my "mini" road trip into Louisville, Kentucky. 

I will definitely tell you about some interesting things I picked up from the jazz workshop, but before I do, I'll explain the 'unlimited mileage' thing.  While driving around in places I've never been, I like to watch the road signs for interesting places that I might want to stop at.  Yesterday, I was driving the Kentucky Parkway (highway that crosses the north side of the state, between Louisville and Paducah).  The highway cuts through the bluffs and rolling hills, highlighting the beautiful countryside .  Nearing the exit for Beaver Dam and Hartford, I saw a sign for the home place of Bill Monroe.  You will remember that I wrote part of a recent post about Monroe while researching Kentucky musicians.  Well, how could I resist?!  Consulting my handy atlas, I saw that Hartford isn't too far away from the highway, so, thinking that it may be a quick detour off the road, I make the exit.  I drive through the town of Beaver Dam, then, mistakenly thinking that the house was in Hartford (the next town over), I hesitated before turning at the not-very-obviously-marked sign for Monroe's house.

I started to wonder why I was so bent on seeing this place.  But, the inner zombie pushed me forward.

I kept driving, along a road called "Blue Moon of Kentucky Highway."  Well, that sounds promising, I think to myself.  I continued driving, for what seemed like forever (but it always seems like a long time when you don't know where you are going), and just when I was starting to think that I misread the sign or somehow got onto the wrong road, I drive past a sign that says "Jerusalem Ridge."

At first, I kept driving past it, thinking that it was for something else...but I had been driving for at least the 6.3 miles that the previous sign had said, so I turned around for a better look.  No other warning sign (like the helpful "destination in 1 mile" sort of signs).  Just this one is all you get.  I entered the short drive.  I felt for a moment like I was intruding onto someone's land or private property.

There are friendly looking caution signs, telling you that you're in Monroe Country.  They were about the only thing keeping me from deciding that I was in the wrong place and needed to turn around and look for the 'real' spot.  If you decide to look for the place, you will use this entry road.  The road into the homestead is narrow, gravelly, and winding.  "Drive slow and keep right" the road signs tell me.  Will do.  Several blind curves later I see a couple of signs like this:

Follow the arrows.  That's what traveling is, isn't it?  To navigate highways you just need to follow arrows to stay on certain roads or pass onto different roads.  I follow the arrows.  To get to this sign, it took several hairpin turns and steep grades.  Drive slow and keep right.  I had seen only one other car up until this sign, and they were leaving.  I follow the arrows.

Finally, I arrived at the top of a hill that opened up into a clearing.  There is a house, a sign that says "Tour guide on duty", and no obvious parking lot.  I park at a spot that looks reasonable, and get out to take a look around.  I am struck by two things:  it's really hot and humid, and it's reeeeally quiet.  Scary quiet.  This place is far from the highway or any well-traveled roads, so it's silent.  No music, no cars.  It's been a while since I've been somewhere this quiet.

I first see one of these little huts:

 I later learn from the frail, elderly, but knowledgeable gentleman tour guide that there are several of these little huts around the property.  They are used during a music festival that takes place here in October.  He tells me that last year there were 15000 people on the grounds for the festival.  I try to imagine that many people driving up that curvy, narrow road. 

So, I made it.  I found it.   I'm in the spot where the inventor of Bluegrass music was born and grew up.

While reading this sign, I heard a funny sound and was startled by three adorable chickens, who apparently call this place home.

This is the house.  It looks nice, but inside there are pictures of the building before it was rescued from dilapidation.  Originally, there had been a log cabin standing here.  It was destroyed in a fire, and so this house was built over the same chimney post.  The Monroe family (parents and 8 children) lived here, and they were visited often by other musicians, including Uncle Pendleton Vandiver (Uncle Pen) who was a great musical influence on the whole family.  Everyone played something, or sang.  Bill played the mandolin because no one else in the family played it.

One half of the house.

Other half of the house.  What a great porch!  The other side has a similar porch.

 If you make the trip, be prepared for the driving conditions.  Watch carefully for the signs.  Pop some bluegrass music into the CD player. 

I know, it's not Texas.  But it was an official looking plaque...

Follow the arrows, drive slow, and keep right.