Monday, March 27th

Have you noticed how nearly everyone interviewed on either TV or Radio nowadays prefaces the start of their answer with “So” followed by a brief but weighty pause, as if they are lecturing a slightly witless teenager? I’ve decided to get in on the act this week.

So. Here goes…

ONE OF THE BEST PIECES OF WRITING I’VE READ RECENTLY
So, Liam Noble is a jazz [I’m not even sure that kind of nomenclature is serviceable anymore] pianist who writes like a dream. Everything on his blog, Brother Face, repays reading – this is his latest, which tells of his job transcribing thirty of the Bill Evans Trio’s performances for a publisher – “Anyway, back to Bill Evans. After four months the job was done. I walked away a new man. I walked away a hollow corpse, eaten away by the parasite Bill Evans. I couldn’t play a note, because every note that came out was his, and so I tried to blank him out, and to override this I had to think of “someone else” and how they would play the same thing. So now there were three of us…” Brilliant.

SO, TWO THE MINIMALIST TURNTABLE

wheel

From What Hi-Fi: “For the space-conscious, here’s your turntable. New Kickstarter project Wheel by Miniot is a wheel that plays records. There’s no visible tonearm, no cartridge and nothing but a platter. Everything is built into the platter, including the belt drive, linear tonearm and amplifiers. It’s controlled by the stick in the middle. Turn it to start the record playing, then turn it again to adjust the volume. Tap the top to pause it, or prod the side to skip a track or go back one. It works either horizontally or vertically, so can be wall-mounted. What could be simpler?”

TRIPLE SO, THERE’S ALWAYS ROOM FOR BOB…
There’s a fascinating interview with Bob by Bill Flanagan (whose Written in My Soul is still one of the best books on the stuff and nonsense of songwriting) on bobdylan.com, for the release of Triplicate.

Up to the sixties, these songs were everywhere – now they have almost faded away. Do they mean more to you when you hear them now? “They do mean a lot more. These songs are some of the most heart-breaking stuff ever put on record and I wanted to do them justice. Now that I have lived them, and lived through them, I understand them better. They take you out of that mainstream grind where you’re trapped between differences which might seem different but are essentially the same. Modern music and songs are so institutionalized that you don’t realize it. These songs are cold and clear-sighted, there is a direct realism in them, faith in ordinary life just like in early rock and roll.”

When you see footage of yourself performing 40 or 50 years ago, does it seem like a different person? What do you see? “I see Nat King Cole, “Nature Boy” – a very strange enchanted boy, a terribly sophisticated performer, got a cross section of music in him, already postmodern. That’s a different person than who I am now.”

FOUR OVER ON TIMELINE
So, Jim Marshall is the great photographer of Rock Music, 1964 to 1970, and this is about his posthumous show, Jim Marshall, 1967, running in San Francisco at the moment. Here’s a favourite shot from Proof, a great book of his photos, of Elizabeth Cotton and Mississippi John Hurt at the Newport Folk Festival in 1964 (did I say that he was a great Folk and Jazz photographer also?)

marshall

FIVE PLAYLIST FROM LUNCH WITH GEORGE FOSTER
As we talked of Spiritland and Gearbox Records and Brilliant Corners (mostly new to me, of course) we listened on George’s extraordinarily hi-fi system. Here’s a partial playlist:
“Trouble Man”/Rickie Lee Jones (the string bass sounded huge – it could be Richard Davis (of Astral Weeks fame, for non-jazz fans), or Mike Elizondo (of Eminem fame) or Paul Nowinski, but, whoever it is, they pin you to your seat.
“Blues in the Night”/Julie London (Big, brassy and sassy, with an amazing vocal sound and a gorgeous ending).
“Deep River”/Horace Parlan and Archie Shepp (in honour of Mr. Parlan, RIP).
“Speak Low”/Karin Krog, Warne Marsh & Red Mitchell (I had no knowledge of the extraordinary Ms Krog, but the interplay of her voice, the sax and the bass is something else – as is the Kurt Weill/Ogden Nash song – written for the musical, One Touch of Venus, a collaboration with librettist S. J. Perelman. Now that’s a rehearsal room you’da wanted to be in, in 1943, no?. As Nash wrote: “Time is so old and love so brief/Love is pure gold and time a thief…”
“Poinciana”/Keith Jarrett Trio. We ended up by watching Keith Jarrett in Japan, playing “Old Man River” solo, which goes from contemplative to gospel to baroque through Billy Taylor, Broadway and Carole King (I swear!) in exquisite fashion.

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Friday, June 17th

ONE AT HENDRIX AND HANDEL’S…
…where the launch for The Last Great Event (Volume 2 of When the World Came to the Isle of Wight by Ray Foulk) took place. Since it opened in February I’ve meant to go, so it was good to finally get there.

hendrix

In the photos: A poor cut out on the greeting poster, that loses half a Stratocaster – took me back to the great old days of letterpress block cutters; A wall featuring some of Jimi’s record collection (good to see Sam’s first recording of Lightnin’ Hopkins after re-discovering him); The nicely done record bins where each record is listed alongside little stories and anecdotes; Some guests having their picture taken in the recreated bedroom; Cute plate as plaque, yours for £42.50 (£2.82 in 1970’s cash).

TWO THE BAND IN LANDYLAND
A show at Camden Proud that sadly didn’t feature an appearance by Elliot Landy (I’d taken my copy of Woodstock Vision in quest of an autograph) or enough material to sate the thirst of people who are excited by the idea of a show of photos of The Band. A disappointingly un-curated take on a fascinating period, with no real context (such as the story of Robbie Robertson, fed up with being told their album cover could be shot by the best that New York had to offer, Penn or Avedon, replying “Who’s the worst photographer…” and Grossman saying “I don’t know if he’s the worst but he keeps bugging me” and gave the job to Landy. Where were the photos of The Band playing American football remembered from the sheet music book of The Band album, where was Hudson (Garth) on a Hudson (automobile) by the Hudson (River)? Ah well, write this off as the moanings of a boring fan. Here is my favourite unseen photo, Richard Manuel as Warren Beatty.

landyband

THREE HEAR THE ICELAND FANS ROCK SAINT-ÉTIENNE

FOUR FAVOURITE CORRECTION OF THE WEEK
Corrections and clarifications, The Guardian: “A column (How we made… The Orb’s Little Fluffy Clouds, 7 June, page 19, G2) featured interviews with the Orb’s Alex Paterson and Youth. The accompanying photograph, however, did not show Paterson with Youth, as the caption said, but with another member of the Orb lineup, Thrash.
 

FIVE HERE’S A SONG FOR THE SUMMER: “SEALED WITH A KISS”
As I was recording this I read that jazz guitarist John Etheridge was doing a version in his live sets so I deliberately avoided searching for his version until I’d completed mine. Then, of course, I YouTubed his: the melody lends itself to his approach, on top of the Steely Dan-ish organ chords and I really like Mark Kircher’s drumming in the intro.

I’d heard the song for the first time in years on one of the last episodes of Mad Men and the melody nagged away at me. One one hand it’s an over-ripe teen anthem, on the other a singular melody that doesn’t sound like a “pop” tune at all. Anyhow, joined by talented, proper musicians – Mark Pringle on guitar and structure, Paul Taylor on trombone and arrangement, I give to you, on the music player to your right, my take on Brian Hyland’s summer smash, “Sealed With a Kiss”. As always, play it loud. When the music player is updated and the song is no longer there, you can find it here.

For the full 5 Things experience, please click on the Date Headline of the page in the email and you will go to the proper site (which allows you to see the Music Player). Also all the links will open in another tab or window in your browser.

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