Friday, 18th September

auction

IMAGES OF THE WEEK
From the upcoming (September 29th) Rock & Pop auction at Sotheby’s in London, these eight lots are my favourites. A spare £150,000 may get you Bob’s original “Hard Rain” lyrics… [From the family of Elisabeth (Lily) Djehizian, the first wife of Hugh Romney (“Wavy Gravy”). Lily met Romney whilst working as a waitress at the Gas Light and was closely associated with many of the artists working in Greenwich Village in the early 1960’s, most notably Lenny Bruce.] Click to enlarge – check out the great Beatles’ (U.S.A.) Ltd. typography.

WELL THIS RAISES THE GAME A LITTLE BIT
Spellbinding six-minute overview of the current state of Kendrick Lamar’s music on the Late Show with Stephen Colbert. Lamar makes most current music look dumb and pallid. It isn’t just the crack rhythm section or the compelling jittery shapes he throws as he sings, it’s the delivery and the timing. He romps through the mid-section with the fantastic beat of To Pimp a Butterfly’s “King Kunte” dissing musical frauds– “I can dig rappin’, but wait! a rapper with a ghost writer? tell me what happened!?“ The song relentlessly builds by moving up a semi-tone every chorus, the two bass players powering it on and on, before it morphs into a effects-driven jazzy end section with an amazing repeated vocal riff on “lovin’ you is complicated…” Staggering.

NOT STAGGERING
Is it just me, or is this as tuneless as I think? One of Apple’s new Apple Music adverts with Leon Bridges, or as he’s known in our house, Aloe Blacc without a decent song. The others aren’t much more convincing – I’m not sure Shamir or Flo Morrisey are doing anything not done better before.

BEST TELEPHONE TREE HOLD MUSIC THIS WEEK!
…and the winner is: Southern Electric, with the Miles Davis Quartet (Miles on trumpet, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums) playing “When I Fall in Love (it Will be Forever)”. It was on repeat and made the resulting 25-minute wait way more pleasant.

FROM MARK MYERS’ WSJ PIECE ON THE MAKING OF STEELY DAN’S “DEACON BLUE”
Strangely, Mr Christlieb is referred to as Pete…
Mr Fagen: “When everything was recorded – the rhythm section, the horns and the background vocals – Walter and I sat in the studio listening back and decided we needed a sax solo, someone to speak for the main character. We liked the sound of a tenor saxophonist who played in Johnny Carson’s Tonight Show band, a cat who blew like crazy when the show went to a commercial. He had this gutsy sound, but we didn’t know who it was.”

Mr Becker: “We had our producer Gary Katz ask around and he found out it was Pete Christlieb. Pete had invented any number of cool harmonic devices that made his playing sound unique. He just sounded like a take-charge soloist, a gunner.”

Pete Christlieb: “I went over to the studio one night after the Tonight Show finished taping at 6:30 p.m. When I listened on headphones to the track Tom [Scott] had arranged, there was just enough space for me to play a solo. As I listened, I realized Donald and Walter were using jazz chord changes, not the block chords of rock. This gave me a solid base for improvisation. They just told me to play what I felt. Hey, I’m a jazz musician, that’s what I do. So I listened again and recorded my first solo. We listened back and they said it was great. I recorded a second take and that’s the one they used. I was gone in a half-hour. The next thing I know I’m hearing myself in every airport bathroom in the world.”

EXTRA! FOR ALL YOU NIGHTHAWKS OUT THERE…
It’s Pete Christlieb’s sax on Tom Waits’ wonderful Nighthawks at the Diner. I found this piece on its recording, a Dan Daley interview with Bones Howe… We started talking about where we could do an album that would have a live feel to it. We thought about clubs, but the well-known ones like the Troubadour were toilets in those days. Then I remembered that Barbra Streisand had made a record at the old Record Plant studios, when they were on 3rd Street near Cahuenga Boulevard. It’s a mall now. There was a room there that she got an entire orchestra into. Back in those days they would just roll the consoles around to where they needed them. So Herb and I said let’s see if we can put tables and chairs in there and get an audience in and record a show. I got Michael Melvoin on piano, and he was one of the greatest jazz arrangers ever; I had Jim Hughart on [upright] bass, Bill Goodwin on drums and Pete Christlieb on sax. It was a totally jazz rhythm section. Herb gave out tickets to all his friends, we set up a bar, put potato chips on the tables and we had a sell-out, two nights, two shows a night, July 30 and 31, 1975. I remember that the opening act was a stripper. Her name was Dewana and her husband was a taxi driver. So for her the band played bump-and-grind music –and there’s no jazz player who has never played a strip joint, so they knew exactly what to do. But it put the room in exactly the right mood. Then Waits came out and sang “Emotional Weather Report”. Then he turned around to face the band and read the classified section of the paper while they played. It was like Allen Ginsberg with a really, really good band.” From Tomwaitsfan.com

nighthawks-soundonsound

Bones Howe’s original layout diagram for the live recording.

Wednesday, 25th March

Visual of the Week

Ken&Rose
The great Sister Rosetta documentary was shown again on BBC 4. Any chance to run these lovely Terry Cryer photos – taken in the Studio 51 Club on Great Newport Street in 1957, of Rosetta playing with my uncle’s band – cannot be turned down. A woman with an amazing voice, an electrifying style and great, great taste in guitars. Check out the wild solo two minutes into the film.

A fascinating snippet from Laura Barton’s Buena Vista piece in The Guardian:
[Nick] Gold and [Ry] Cooder felt a similar a sense of care and responsibility for the recordings they made. “Each morning, we played what we had recorded the day before,” Gold says. “We knew it was wonderful. When you listen to it, you’re right there.” This was partly due to the positioning of a pair of microphones high in the studio to capture the ambience of the room. “The studio [Egrem] has this one fantastic large room. It just has this lovely feel.” But when the pair took the recordings to California to be mixed, they immediately stumbled. “We weren’t hearing that special something,” says Gold. “There was a clarity missing.” They began a frantic search for a mixing desk that resembled the one used in Havana, eventually locating the same model in a Christian recording studio in Los Angeles. “And there it was – that sound back in all its clarity! Ry said, ‘It’s like someone’s wiped the windows clear.’”

Gary Katz in Conversation
An engaging Q&A with the bone-dry Brooklynite, in which his deep love of music and musicians shines across the orchestra pit at the Bloomsbury Theatre. It was organised by the London Song Company, and its founder Julian Marshall (who has worked with Mr Katz) led the questions. Lots to enjoy, but the heart of it was how much Katz loved working on these great songs with most of America’s greatest musicians a phone call away. It was interesting to note that Katz’s working relationship with Donald Fagen ended after Nightfly because of Fagen’s insistence on using Wendell, the prototype drum machine that engineer Roger Nicholls built by hand on Fagen’s command, instead of the mere humans (aka America’s finest drummers) who had done service on all the Steely Dan records up to Gaucho. One thing that resonated was how many of the great solos on Steely Dan tracks were done in one take, considering the Dan’s penchant for taking months fretting about the placing of one beat. Phil Woods on “Dr Wu”, Wayne Shorter on “Aja”, Jay Graydon on “Peg” – all one pass at the track, pack away the instrument, go home.

Perhaps the most astonishing of all was Steve Gadd’s drumming on “Aja”. Apparently, Becker and Fagen (and Katz) always talked about using him, but every time they came close, one of them would say, “I don’t really love his backbeat…” (laughter) and they wouldn’t call him. Having problems with the drum track (and extended solo) on “Aja”, Katz told us:
“Someone said, ‘Maybe this would be a good time to try Gadd’. [At this time] Steve had a distinct problem with drugs. When he came into the room he said, ‘Let me put the score up…’ It was a very long score, because of the eight minutes, so they set up a semi-circle of music stands. He said, ‘Can we just run it down so I can mark it?’ So Chuck Rainey, Victor Feldman, great musicians, ran it down, Gadd marks it. Said ‘Okay, I’m ready’. Walter and I were in the control room, Donald was outside with his back to us, doing the scratch vocal. He only played it once. The only time he played it, is what you hear (sounds of incredulity from audience). Walter says, ‘You know, we may have made a mistake about Gadd’. (laughter)

“So six months go by, as they usually do on our records, we went back to New York to mix, and we were just about finished mixing the song, and someone said, ‘You know Gadd’s down the hall working on a Michael Franks record’, and Don says, ‘Go get him, and let him hear this.’ So we go down, say we want to play him something – he was a mess… he sat in front of the console and we played it really loud, really good sound. The track is over, he goes ‘Wow… who’s playing drums?’ We just look at each other, ’cause he wasn’t kidding. I said, ‘You did, Steve’. He said, ‘I’m a motherfucker’ (audience collapses)”.

“We skipped the light fandango/Turned cartwheels ’cross the floor…”
Mick Gold comments on my mention of the King Curtis album “Live At The Fillmore West”. “I was watching Withnail & I for the 987th time late night on TV and was suddenly seized by curiosity. What was the opening piece of music which plays over shots of Paul McGann’s horrified face contemplating the squalor of their flat in Camden Town, 1969? A bit of a search revealed it was King Curtis performing “A Whiter Shade of Pale” from the album you mentioned. What does that honking full-bodied tenor sax solo over washes of organ fills have to do with the domestic chaos and anguish we’re seeing? It’s totally counter-intuitive yet it works…”

You are so right, Mick. Funnily enough I too had caught 15 minutes of W&I recently, and had to force myself not to watch it all (it’s one of those films that, no matter how many times you’ve seen it and wherever into the film you come in, it’s almost impossible not to continue to the end, or 2am, whichever comes first). So I re-bought it, as my copy is in storage. It’s such a great record. There’s something about the balance of the players. You can hear everything that everyone is doing – each one’s frequency seems to be perfectly sonically placed. Curtis is up high on sax, higher when he puts his soprano through a wah-wah pedal, Cornell Dupree is sliding delta just below him (his performance is a fantastic all-encompassing lesson in soul guitar by itself), the Memphis horns add glorious punctuation, Billy Preston is between them and the Rhythm Section, sometimes soaring up, sometimes grinding down, with Jerry Jemmott on the bass at the base, and Bernard Purdie is operating in some Purdie-world, all over everything without stepping on anyone’s toes. It’s such a fantastic recording. (Oh, and by the by, if you’ve never seen this short sample of Purdie doing a 16th note shuffle, it’s priceless: “Whoa! I like it very much!”)

This Week’s Homework
…consists of Courtney Barnett (courtesy of Oscar). Great so far – imagine if Patty Donahue of The Waitresses was born in Australia, grew up and married Reg Presley of The Troggs, with Aimee Mann as the maid of honour and Nirvana, fronted by Elvis Costello, as the wedding band. Great lyrics and titles, too, often ripped from regular life – “Don’t Apply Compression Gently”, “Pedestrian at Best”,“Avant Gardener” and “History Eraser” (for all you Photoshoppers out there). Great to hear an Aussie accent in song. Every Record Tells A Story thinks you should hear this album…

Kendrick Lamar To Pimp a Butterfly (courtesy of Richard). I’m just getting to grips with this and I’m already excited. It demands listening to, a complex sonic experience crammed with ideas, asides and seventies jazz samples. The refrain “I remember you was conflicted/mis-using your influence” runs through it like a river. Report next week.

Collins

And with a final word from Stephen Collins in his wonderful Guardian strip, I’m off to watch the Godmother of Rock ’n’ Roll again…


A Note
My oldest, dearest friend died last week. I’ve known Sam Charters since I was four, and he, along with his wife Ann, left a musical impression on my life that isn’t even quantifiable. I’m not sure that I can find what I want to say about him yet, so I’ll leave it for a while, but I couldn’t let the week go by with no mention of its importance to me. I’m happy that I got to Stockholm in January so that we could sit and talk and drink Martinis – and listen to James Cleveland and Willie Nelson, one more time.

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