musicology #429

noExcuses #6

(No More Blues – Terry Callier)

Even though I have MANY slices of musicology to choose from in all sincerity, for me, this is the one which authentically nails the way I feel TODAY which, let’s face it..is all there really is….A man once proclaimed, (musicology #363)

“The aristocrats live in the past, the proletariat live in the present and the poor bourgeoisie live for the future”

Well..I don’t think you need me to tell you that tomorrow never comes and as sure as the sun shines you will die waiting for it. while looking back and living for, (and in), the past will fuck your heart, mind or both beyond repair.

so with that in heart…hold this cut from the majestic Terry Callier. 1998 cut borrowed, (again), from his Timepeace set..what a poet.

musicology #419

AfterTheStorm #4

(John Coltrane – Equinox)

One from the ‘Trane…A Giant whose drive to communicate his feelings using the universal language is, (as far as I am aware), almost unparalleled. Technically there are other great musicians but something about John Coltrane feels unique. I am no Coltrane or Jazz scholar and his music only found me when I was searching for something that could define my deeply complex feelings about a deeply profound life experience, (musicology #6)

The piece that found me was from one of his masterpieces ‘A Love Supreme’ and since that day, (which inspired me beyond belief) his spirit sits among the pantheon of musicologists who I am honoured to call guide.

This cut, (recorded in 1960), was released in 1964 on an Atlantic album  called Coltrane’s Sound and features the backbone of the quartet that took music somewhere new, pianist McCoy Tyner and drummer Elvin Jones, (along with bass player Steve Davis)

Hold this quote from Elvin Jones

“To me he was like an angel on earth. He struck me that deeply. If there’s any such thing as a perfect man, I think John Coltrane was one and I think that kind of perfection has to come from a greater force than is here on earth”

musicology #416

AfterTheStorm #1

(Mulatu Astatqe – Tezeta)

Day one..
Beautiful piece of musicology that has always felt to me like bathing in sunlight at the break of day.
‘Son’..this one’s for you.

musicology #414

Terry Callier #6

(Terry Callier – Got To Get It All Straightened Out)

Caught in a triangle between me, the father and the holy spirit at the moment and for the record art doesn’t imitate life it is life. Hold this cut.

Huh, Gotta get it all straightened out,
Gotta see what it’s all about,
It’s time we should make a stand,
If we want to I know we can,
They’ve opened the curtains now,
And I know for certain now
We gotta get it all straightened out yeah,

Gotta see if it’s hit or miss,
Gotta see what the meaning is,
Gotta look back at where we been,
We don’t want to go wrong again,
This time we can make it right,
And bring all the truth to light,
We gotta get it all straightened out,

It seems to me that this old world,
Is nothing but doubt and confusion,
This old world might not be ending,
But I think it’s coming to a conclusion,
Heaven help us to see,
So we can be free of hate and illusion,
We all dreamers,
We need a light to banish the night away,
For once, for all and forever,
Come what may,
Heaven help us to see,
So that we can be free,
To stand in the light of day,

Gotta get it all straightened out,
Gotta see what it’s all about,
It’s time we should make a stand,
If we want to I know we can,
They have opened the curtains now,
And I know for certain now,
We’ve gotta get it all straightened out,

Gotta see if it’s hit or miss,
Gotta see what the meaning is,
Gotta look back at where we been,
We don’t want to go wrong again,
This time we can make it right,
And bring all the truth to light,
We gotta get it all straightened out,

Gotta get it all straightened out,
Got To get it all straightened out,
Gotta get it all straightened out,
Got To get it all straightened out,
Gotta get it all straightened out,
Got To get it all straightened out,
Gotta get it all straightened out,
Got To get it all straightened out,

musicology #413

Terry Callier #5

(Terry Callier – If I Could Make You Change Your Mind)

Later than intended but very important that the right message is communicated on this day and who better to ask for help than the poetic genius ‘Pegausus’ (Terry Callier). Right time, right place….

By the way the lines are far too intricate to read between regarding the message just know that this is quite possibly the most important cut themusicologist has ever laid down. To the recipient I MUST say that empathy is crushing my soul. Hold these lyrics in your heart.

Now we are only standing up in here,
To ease away the doubt and fear,
That might lead us back to love,
The story of our life unwinds,
We can read between the lines,
That might lead us back to love,
And if we,
Can agree,
What is real and what is fantasy,
Think how close,
We will be,
We can match the music with our harmony,
If I could make you change your mind,
Come walk with me through the bright sunshine,
What will it take to make you change your mind?,
We are searching for the rainbows end,
If we see the light my friend,
That might lead us back to love,
Sweet love,
I have just begun to realise,
Maybe if we compromise,
That might lead us back to love,
And if we,
Can agree,
What is real and what is fantasy,
Think how close,
We will be,
And we can match the music with our harmony,
If I can make you change your mind,
Come walk with me through the bright sunshine,
What will it take to make you change your mind?,

If I could make you change your mind,
Come walk with me through the bright sunshine babe,
What will it take to make you change your mind?,

Wanna make you change,
Change your mind,
I Wanna make you change,
Come on and change your mind girl hey,
Wanna make you change,
Honey change your mind,
Wanna make you change,
Wanna make you change,
Change Your mind,

He say hey, hey, hey baby change your mind alright,
I said hey, hey, hey baby change your mind woooahh,
He said hey, hey, hey baby change your mind
hey, hey, hey baby change your mind
I said hey, hey, hey baby change your mind woooahh,
Hey, hey, hey baby change your mind
Woooooooahhhhhhh
I got to make you change girl yeah.

musicology #407

Catharsis #5

(India Arie – Slow Down)

Working the Tees yesterday and couldnt find the time and space to throw down a slice of the Cathartic Pie. Listening to and learning from music ALL day though so was most definately In Training for themusicologist and today’s artist will always hold special memories for me due to her part in helping me navigate the roughest and rockiest road I have ever stumbled down. India Arie EPITOMIZES catharsis for me and is one of the most inspirational artists I have ever had the pleasure to connect with and to.

With that in mind hold this cut from one of the GREAT sets. For themusicologist rarely does a whole set hit the bullseye but this one, (Voyage to India), certainly does.

musicology #400

Sound&Fury #4

(Freddie Hubbard – Backlash)

Following on from the Ray Sharpe & King Curtis hold this ranking piece of 1966 Jazz Funk courtesy of legendary trumpeter Freddie Hubbard with a piece that swings so hard it could wake the dead.

Also featuring the collective talents of Ray Baretto on percusion, Bob Cunningham on bass, Ray Appleton on drums, James Spaulding on Sax and Albert Dailey smashing the ivories. This, the title track, is borrowed from his first in a series of sets for Atlantic and I noticed that ‘Pickett’ is credited with writing this one so I assume that it would be none other than the ‘Wicked’ Pickett (Wilson), himself? although whoever wrote it the credit here belongs to the players who are fluent in the universal language and communicate the message perfectly.

musicology #398

Sound&Fury #2

(Terry Callier – Darker Than A Shadow)

Slowing down the tempo a piece with this the second cut on the sound&fury courtesy of a Cat who has been a constant feature on themusicologist’s playlists over the past few weeks..poetic lyricologist of the highest order, childhood friend of Curtis Mayfield and one time Cabrini Green resident, Terry Callier.

This majestic slice is borrowed from his 2002 set ‘Speak Your Peace’. Just like to add thas far as I am concerned Terry Callier is an artist who deserves our support. Buy his sets, go to his concerts and let him know that he has some ‘warriors’ by his side.

“Darker than a shadow,
Darker than a shadow,

I was asleep and having dreams,
Awakened by a silent scream,
A raging wind and clouds of steam,
It was..darker than a shadow,

Unprepared for scenes like these,
With heavy air and boiling seas,
Destruction of societies,
It was..darker than a shadow,

What type insanity is this,
Standing on a precipice,
That leads into a deep abyss,
And it is darker than a shadow,
Darker than a shadow,

There was a storm like this before,
Aftermath where angels walked,
Poisoned waters, wasted shores,
And it was..darker than a shadow,

Is this all we have learned my friends,
We’re doing now what they did then,
Repeating great mistakes again,
Darker than a shadow,

What type insanity is this,
We are walking in a scorching mist,
Leads down to a deep abyss,
And it is darker than a shadow,
Darker than a shadow,
Darker than a shadow,

And then from out the deepest void,
There came a flaming asteroid,
One third of this world was destroyed,
It was…darker than a shadow

Mankind was in a raging fit,
And thermo-neuclear fires were lit,
We never saw the end of it,
‘Cause it was…darker than a shadow,

What mad insanity is this,
Standing on a precipice,
That leads into a deep abyss,
It is darker than a shadow
What type insanity is this,
Standing on a precipice,
That leads into a deep abyss,
And it is darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow”

musicology #391

PostMod/ernist #1

(Terry Callier – Keep Your Heart Right)

Transcendental cut from one of the great sets, (Timepeace), courtesy of the genius that is Terry Callier. Dedicated to my two children who have had to endure much in their young lives and today is no exception. Know that no matter what lies ahead, Dad is, and will always be, by your side.

“Can you feel the way the world is turning,
Will we live to love another day,
Is the lesson too late for the learning,
And do our emotions just get in the way,
Ohhh what d’ you say,
If the truth appears,
Will you turn away, turn away, turn away

In brightest day or darkest night
Dont give up the faith and keep your heart right,
Like a mountain stand for eternity,
Ohh your light will shine for the world to see

Keep your heart right,
Keep your heart right,

In a weary world that needs redemption,
Maybe we can learn to love again,
And this time there will be no exemptions,
Only better days ahead for us my friend
And it’s time to begin,
And if the thoughts are true wooohh,
The song never ends, never ends, never ends,

In brightest day or darkest night
Dont give up the faith and keep your heart right,
Like a mountain stand for eternity,
And your light will shine for the world to see,

Keep your heart right,
Keep your heart right,

musicology #366

Ideology&Philosophy #7

(Randy Crawford – Everything Must Change)

Taking a break from the Philosophy theme next week. To be honest it’s consuming too much of my time, is a bit too demanding and is affecting the consistency on themusicologist. Maybe I’ll come back to it at a later date? Maybe…But until then hold this final piece of dialectic concerning another stepping stone along the way, the Philosopher Jean Jaques Rousseau whose studies and subsequent observations on, (among other things), Society and Education being dominant forces controlling our lives are worth their weight in metaphorical Gold and well worth investing time in learning from.

The musicology is from the Majestic Randy Crawford….Listen Tune.

musicology #361

Ideology&Philosophy #2

(Billie Holiday – Getting Some Fun Out Of Life)

Looks like we may be in for the long haul again on this theme ! although this is NOT going to be about the history of western Philosophy more like the history of Philosophy that has influenced themusicologist or definitions of concepts that I believe are critical to living in this mis-information age..so maybe it won’t turn into an epic. Either way the ‘musical diary’ will be left open for those who have eyes and ears to see and hear.

But before we get into round two I just want to let all the Cats know that ‘The Project’ is picking up momentum so I am, (and have been), very busy trying my best to walk on water, which is hard work but once you get used to it it’s like riding a bike..you get on, you fall off, you get back on again until one day you’re riding down the street pulling wheelies shouting “Look ma…no hands” !!

I’m not there yet but for me belief is more powerful than fear in the same way that love is more powerful than hate and as a ‘believer’ there is no way negativity will dominate the one life I have to live.

Today’s dialogue, (of course strictly speaking it’s a monologue but I hope that dialectic comes from it), says a few more words about Greek philosophy, (which was in fact the first step on themusicologist’s journey to knowledge of the self after reading a short book by Plato called ‘The Trials Of Socrates’) . The way I have interperated it Socrates was the first in the western world, (on record), to question everything which, at the time was quite monumental. Up until then people, (at least the majority), just accepted whatever the dogma was and placed little importance on evaluation. Socrates through Plato, (or the other way around), challenged almost everything that was said to him in an effort to question the meaning of words. When I first read this small book I found this to be in synchronicity with my own feelings on such matters and armed with the bare minimum of formal education was able to follow Plato without trying. This important discovery helped me to realise how important it was for me, (and in know way am I trying to convince anyone else), how critical Philosophy is in making sense of the world I find myself in so the following extract is a very brief introduction to some of the thoughts contained in such a valuable discipline. By the way I’m by no means a disciple of Plato or any of the Greeks but it was where the journey started.

The music is a cut from a female singer who for me is one of the most important interperators of the 20th Century…Billie Holiday, who also happens to be one of my earliest teachers on the subject of the expression of emotions. A 1937 slice originally recorded on Vocalion. Backed up on the session by the legendary Buck Clayton, Buster Bailey, Lester Young, Claude Thornhill, Freddie Green, Walter Page and Jo Jones almost all of whom featured heavily in creating the backbone of the great Count Basie Band. The Painist, (strangely), is uncredited but it could only be one of two, the majestic Teddy Wilson or the ‘Count’ himself.

musicology #359

AlternativeSoundtrack4 #26

(Irma Thomas – It’s Too Soon To Know)

Final slice of the Alternative Hustler Soundtrack and it’s come down to the faceoff between Eddie and Bert. Yesterday’s slice heard Fats declare that Eddie was the new king of pool and Bert showed his true colours. Not that he has done much to conceal them but he hints that maybe it was his boys that broke Eddie’s thumbs and if he, (Bert), commands it his heavies will do more than that this time. But our man has learnt some character and is prepared to make whatever sacrifice is necessary to ensure that Sarah’s brings about a Victory over Bert, (who in my opinion represents the establishment).

Bert on the other hand is only really interested in ownership and money, he has said it throughout the film but what he hasn’t said is how much he envies those capable of showing true feelings and who are not chained by the evils of power and money. Classic Capitalist mentality trying to show that it’s wealth, greed and power that makes the world go round and not happiness, love and integrity, (character). I make no bones about it money and power don’t motivate themusicologist and never will. I have bills to pay and, more importantly, mouths to feed and there are some who may, (and do), call that irresponsible and obviously they are entitled to their opinion but integrity/character don’t come cheap and as with most things there is always a price to pay, (for everyone concerned). Fantastic interchange of dialogue and ideology between the antagonist, (Bert), and protaganist, (Eddie), in this scene that deserves mention. How none of the main actors received oscars for their performances is beyond reason and therefore must have been in some sense political.

The director Robert Rosen had integrity/character but ultimately it was shipwrecked on the rocks of so called ‘Democracy’ and he lost it. Which is not a judgement or criticism, (of Robert Rosen), more of an observation. For more insight into the facts of life it’s worth taking another listen to a slice featured earlier on this theme; Memphis Slim’s ‘Mother Earth’ (musicology #352)

Tough call the final cut..couple of options but going with my gut feeling it has to be this one from Irma Thomas with a slice of pure unaldultarated heart wrenching Soul, (with a capital S), A cover of the song made popular first by the Orioles and then by the irrepressible Dinah Washington a singer who set the standards for every female singer that followed. Rare to find a Dinah song covered that even comes close to her version but for themusicologist this one does. Also as far as I’m concerned it’s fitting that the final call belongs to a female in tribute to the character played by Piper Laurie and the answer, (posthumously), is a resounding Yes. Recorded and released in 1961 for and on the Minit label. Produced, (I imagine), by Allen Toussaint.

musicology #358

AlternativeSoundtrack4 #25

(John Coltrane – India)

Penultimate slice of the Hustler ‘alternative’ finds our man having finally reached the peak of his game. No alcohol or bravado..just one man and his craft. Have to give George C Scott a special mention for his contribution on this scene..full of menace and vitriol as he tries one more time to ‘boss’ the kid...

The cut is a second one from mind blowing virtuoso John Coltrane whose command of the language is out of this world. Again let me state that I’m not a big fan of the genre but more than once when the ‘Trane has spoke themusicologist listens. For me it’s like he’s reaching beyond the boundries of tonality to deliver authentic spirit and even though I’m trying, words can’t do the Cat justice.

Recorded for Impulse in 1961 at New York’s Village Vanguard..another live performance that I would ‘give me right arm’ to have been present at and ably supported by Eric Dolphy, Roy Haynes, Reggie Workman and Ahmed Abdul-Malik. What has it got to do with The Hustler and themusicologist? in a word..synchronicity.

musicology #354

AlternativeSoundtrack4 #21

(Art Blakey & The Jazz Messengers – A Little Busy)

Apologies for the eleventh hour post yesterday..out grafting and got back late but had to throw one down to try and stay on track for what’s turning out to be the Hustler marathon..best part of a month will be taken up by this theme from the sounds of it but as the French are known to say Ces’t la vie or, (for all us Anglo Saxon speakers), in the words of Lord Creator ‘Such Is Life’, (watch and listen out for this cut…soon come).

Anyway enough of the interlude and on with the marat … story.

The trio are at the party and the two men are enjoying themselves, especially Eddie who is being admired by the ladies. Bert is slinking around like a snake in the grass waiting to pounce on Sarah who is back on the bottle in response to his and Eddie’s behaviour. As previously mentioned for Sarah alcohol is for numbing the pain, sound and fury of reality so all she can do is abstain totally or get hammered..no middle ground. Sarah notices Eddie in conversation with a female and as she is already drunk goes off in search of more medicine. Bert sees this as his time to pounce and makes what must be a sexual proposition. Sarah is disgusted and gives him the least that he deserves, a drink in the face and collapses in tears stopping the party. Eddie rushes over and asks what’s happening and Bert, (the low dog), lies and palms it off on Sarah being drunk.

Eddie, (the fool), takes his word for it and escorts her upstairs to lie down and sleep it off. It’s a painful scene to watch and has almost no dialogue so you’ll have to watch the film to see what I mean…

Today’s slice of the Hustler dialogue follows on with Eddie, Bert and Findlay retiring to the Billiard table to begin ‘the dance’… we are in to the meat and bones of the underlying tensions and, for me, true meaning of the film now and there are some harsh words said here which strip the characters bare as it builds up to the final countdown..

The music is courtesy of one of the most important figures in Be-bop. Drum legend, band leader and inspirational figure Art Blakey, featuring the ground breaking collective known as the Jazz Messengers, (Bobby Timmons, Wayne Shorter, Lee Morgan and Jymie Merritt)..wicked slice of Modernist Jazz from 1960 recorded for Blue Note.

musicology #344

AlternativeSoundtrack4 #11

(John Coltrane – Spiritual)

Today’s dialogue features Eddie and Sarah almost at each other’s throats. As mentioned yesterday the way Eddie spat Charlie out has left it’s mark on Sarah who has hit the bottle again to try and numb the pain. Alcohol is a problem for Eddie too but not in the same way. For him it’s ‘fuel’ but for Sarah it’s ‘medicine’. I don’t get the impression that he thinks of his consumption as a problem, (the film portrays their reliance on alcohol completely differently), but is all too quick to conclude that for her it is. Anyway in this scene Sarah’s drunk, (it was he who got her back on the bottle at the end of the previous scene), Eddie isn’t and words are spoken, culminating in Eddie giving her a hard slap. Sarah comes back with a scathing response, (one of the best lines of dialogue in the film for me), and Fast Eddie leaves.

Todays’ cut is from a Cat, (with a capital C), whose musical prescence and command of the language is as good as it gets. Must admit that ‘Jazz’ from this period is not generally one of my musical passions but on more than one occasion the ‘Trane has blown my mind with his melodic originality and ability to communicate the message…..The piece also features Eric Dolphy, Reggie Workman, McCoy Tyner, and Elvin Jones.

Garvin Bushell, Ahmed Abdul-Malik and Jimmy Garrison were on the session which was recorded in 1961, (live), at New York’s famed ‘Vanguard Village’ but I don’t know enough about the players or the instruments to discern whether they were involved on this particular Jam. (Engineered by Rudy Van Gelder for Impulse).

musicology #337

AlternativeSoundtrack4 #4

(Jimmy Smith Trio – Jimmy’s Blues)

Fats has taken up the challenge from the young pretender and the battle hots up..first Fats on top and then for a while Eddie hits a winning streak which sees him reach his inital target of “Ten grand in one night” but rather than call it a night the kid fancies that “this table is mine” and in his naivite he gives his opponent the opportunity to carry on playing “Until Minnesota Fats says it’s over”.

I say naivite but in my experience ‘etiquette’ can and does play it’s part in ‘the game’ and offering the loser the chance to win his money back is, (or was in the games I played), accepted as an unwritten rule. Unless of course the Hustle is your business and then there are no unwritten rules.

During the contest George C. Scott enters the fray as Minnesota’s backer and we hear him ‘pipe up’ for the first time after watching Eddie and Fats going toe to toe for  hours but as we, (and Eddie) are soon to find out “the Race is not for the swift but for who can endure it”

The music is yet another slice of the 1961 pie but today it’s courtesy of Hammond Organ supremo ‘The Incredible’ Jimmy Smith and Trio freaturing Quentin Warren on guitar and Donald Bailey on drums…borrowed from a Blue Note session called ‘Straight Life’, (recorded by Rudy Van Gelder).

musicology #308

Live&Direct #5

(Lou Rawls – Goin’ To Chicago Blues)

Today’s cut features yet another of the great vocalists…Louis Allen Rawls. Life long friend of ‘Mr Soul’ Who was equally at home singing Gospel, Soul or Jazz whose impassioned response to Sam Cooke on the immortal 1962 cut ‘Bring It On Home To Me’ deserves special mention. A singer of the highest order about whom Frank Sinatra was quoted to have said “he has the classiest singing and silkiest chops in the singing game”…

This cut, first performed, (and written), by Jimmy Rushing and the Count Basie band was recorded for Capitol in 1966 featuring musicians James Bond, Earl Palmer, Tommy Strode, Herb Ellis..produced by David Axelrod.

musicology #305

Live&Direct#2

(Fela Kuti – Mistake – Live)

Day two of the theme has an element of synchronicity for me as the performance was recorded in Berlin…what has that got to do with anything I hear you say? well not only does one of my most valued ‘brethren’ live there but the woman in my life is there today working on/at the film festival. Couldn’t resist or pass up this ‘oppo’ to throw down a second piece on themusicologist by the legend that is, Fela Kuti.

Recorded in 1978 a year after his Kalakuta Republic had been destroyed by a thousand soldiers during which horror his elderly mother had been thrown out of a window suffering fatal injuries with Fela almost being beaten to death for his non-stop scathing critique of Nigerian politics. Word has it that after the tour most of the band left him as he intended to use all the proceeds to fund his election campaign.

Perhaps THE most political musician of all time Fela was his own project and an ‘Existentialist’ in the truest sense. NEVER allowing anyone to deny him the freedom to say and do what he thought right. The hugely influential philosopher Martin Heidegger spoke about Authenticity in relation to one’s life and for themusicologist Fela lived life in a way that, (among others), Heidegger would have been proud of.

musicology #289

twolegendsclash #12

(Louis Armstrong & His Orchestra – Basin Street Blues)

Final cut of the ‘legends’ and it’s down to ‘Gate’ to close the show. Just like to say that such is the quality, (and quantity), from the twolegends that this selection could last a year !! The Cats featured over the last two weeks are an inspiration and deserve all the accolades that have been written and spoken about them over the last 100 years…

Today’s cut is the first of his many recordings of the legendary ‘Basin Street Blues’ recorded in Chicago 1928 on a special day for themusicologist, (December 4th), one of my favourite Satchelmouth cuts.. featuring two other legendary musicologists Earl Hines and Zutty Singleton.

musicology #287

twolegendsclash #10

(Louis Armstrong And His Orchestra – Lawd You Made The Night Too Long)

Penultimate cut from ‘Gate’. (Better late than never)…Recorded in Chi for OKeh at the end of his contract in 1932.

musicology #286

twolegendsclash #9

(Sidney Bechet & His New Orleans Feetwarmers – What Is This Thing Called Love)

Today’s 1941 cut, (recorded in New York), is dedicated to themusicologist junior#2 who is now eleven years of age. Happy birthday kid..I love you more than words can say and thank my lucky stars every day that you, (and your sister), are part of my life. Bechet, (and Shavers). come in and blow one for the yoots them..

musicology #285

twolegendsclash #8

(Louis Armstrong & His Hot 5 – Hotter Than That)

Last of the uptempo and fittingly it’s one from Father Armstrong’s final recording session with the original, groundbreaking super group known as the Hot 5. Featuring not only the talents of Armstrong but also Kid Ory on the trombone, Johnny Dodds playing clarinet, Lil Hardin on the piano, Johnny St Cyr plucking the banjo and Blues guitarist Lonnie Johnson. Might not sound ‘Avant Garde’ now but at the time it was. This group came with the ‘new style’ that was to influence much of the music that followed…

musicology #284

twolegendsclash #7

(The Haitian Orchestra – Meringue D’Amour)

Day seven of the twolegends…two more uptempo cuts and then it’s downtempo until Saturday. Today’s cut features Sidney Bechet blowing Soprano, (the instrument he single handedly introduced to modern music), as well as piano legend Willie ‘ The Lion ‘ Smith keeping time, Olin Alderhold plucking bass, Leo Warney on the drums and Kenneth Roane on the trumpet. Recorded in New York on November 22nd 1939. Maybe not as technical or improvisational as many of the other Bechet recordings but, for me, one of the most infectious…I can’t get enough of this one. BIG tune down themusicologist way.

musicology #283

twolegendsclash #6

(Louis Armstrong And His New Sebastian Cotton Club Orchestra – You’re Drivin’ Me Crazy)

Judging by this weeks viewer statistics It would be far more effective for themusicologist to roll with some funk/boogie/reggae/etc, boosting the figures, (and the ego), and patting myself on the back for my musical taste and how well it is received around the world but, for me, the unviversal language has a will of it’s own and compells me to follow rather than lead. themusicologist has no destination in mind or even a reason for being other than to share and spread the word.

It’s harder to be and stay positive when under seige from the media and society at large but through thick and thin music is always there to inspire thought and action on the journey and for themusicologist the selection chooses itself…

Armstrong and Bechet, (to name but two), learned, spoke, evolved and taught the language of the underdog, the oppressed and the disenfranchised to millions around the world in a style and formula that needed no translation or formal education. Listening to these Cats blow delivers musical riches beyond my wildest dreams and makes the spirit soar in tandem with the notes that emerge from their weapons.

Doesn’t matter who you are, where you come from, what you believe in or what colour skin you have, (which it most certainly did back then), the universal language speaks to us all and as always this page is a tribute to the artists on parade.

Today’s cut, featuring Father Armstrong, recorded on December 23rd 1930 in Los Angeles showcases his dexterity as trumpet player, vocalist and authentic man of the people. The way he mixes and blends, weaving in and out is a hallmark of his uniqueness. How many trumpet players are there, (or have ever been), that swing so effortlessy from playing to singing?

The band supporting consist of:

Armstrong, Louis (Trumpet, Vocal)
Hite, Les (Conductor, Alto Saxophone, Bass Saxophone)
Orendorff, George (Trumpet)
Scott, Harold (Trumpet)
Graven, Luther (Trombone)
Johnson, Marvin (Alto Saxophone)
Jones, Charlie (Tenor Saxophone, Clarinet)
Prince, Henry (Piano)
Perkins, Bill (Banjo, Steel Guitar)
Bailey, Joe (Tuba, Bass)
Hampton, Lionel (Drums, Vibraphone)

musicology #282

twolegendsclash #5

(Bechet-Spannier Big4 – Sweet Sue Just You)

Yet another top ranking slice featuring original Hell raiser Sidney Bechet this time in tandem with cornet player Muggsy Spanier, (who always sounds to me like he should have run with Al Capone !!), bassman Wellman Braud and guitarist Carmen Mastren. Recorded in New York in April 1940.

musicology #281

twolegendsclash #4

(Louis Armstrong – Weather Bird)

After deliberating ALL day on what piece of the Satchelmouth pie to serve, (and still not really coming up with a firm favourite), I’m just going to bite the bullet and lay this one down. A 1928 !!! cut featuring not only the improviser supreme but also one of the greatest players to ever tinkle the Ivories…Earl Hines.

Amazing duet that, to me, sounds almost like a whole orchestra such is the ‘fullness’ of the sound produced. One of his own compositions recorded for OKeh on December 5th 1928 in Chicago and the first to bear just his name, (all previous cuts were either featuring him or with an orchestra), What is impossible for us to comprehend is the impact that these 20’s cuts of his had. Granted there are probably players who came after him that could match his technique and as previously mentioned there were also those from before recording whose names shine bright but NONE of them had the same impact on 20th Century music. Louis blazed the trail for everyone who followed and not just in the field of instrumentals.

Ride on Mr Armstrong and let the Cats here know exactly what your’e talking about…

musicology #280

twolegendsclash #3

(Sidney Bechet -Jungle Drums)

Majestic 1938? cut from Brother Bechet whose life experience was about as ‘rich’ as it gets.  A true restless spirit who never stayed in one place too long. Left New Orleans in 1915 to tour with Clarence Williams, then headed for Chicago in 1917 with Joe ‘King’ Oliver and Freddie Keppard. First left America for London in 1919 where he became the first modernist to master the Soprano Sax which he plays on this cut that also features drum legend Zutty Singleton, Ernie Cacares on Baritone, Dave Bowman tinkling the Ivories, Leonard Ware on ELECTRIC guitar and Henry Turner on Bass…

“Bechet to me was the very epitome of jazz… everything he played in his whole life was completely original. I honestly think he was the most unique man to ever be in this music” – Duke Ellington

’nuff said.

musicology #279

twolegendsclash #2

(Louis Armstrong & His Orchestra  – Them There Eyes)

Ladies and Gentlemen, Boys, Girls, Cats, (and Dogs), please join me in welcoming into ‘the ring’, coming out of New Orleans Mr Louis, Satchelmouth, Pops, Armstrong undisputed King of the Horn. A Cat who is known the world over for spreading joy to millions and whose legacy and name is written across almost every page in the book of 20th Century music.

Before soaking up some top ranking swing a brief historical outline for those of us who know the name and even some of his more popular cuts but are maybe not as aware of his true genius and the life he lived as a young ragamuffin on the streets of one of America’s most dangerous Cities. That he climbed every mountain put in front of him is testament to his human as well as his musical qualities. A man who almost never let his bitterness at the injustice of the world he lived in get the better of him instead he chose to sing, dance, blow, laugh and smile his way through to the end of his days. Born August the 4th 1901in Uptown New Orleans to young parents, (his mother was 15), Little Louis, (and I use that term with the greatest respect), studied hard, eventually graduating with honours at the infamous University Of Life, spending almost all his youth on the streets listening, learning, hustling, ducking and diving to not only survive but to set his own agenda. So much has been written about the Cat that I’m not about to rewrite what is already known, (or available elsewhere on the information highway), so I’ll just start his contribution to the twolegendsclash with a quote from the great man:

“One Sunday our Pastor whom we all loved happened to take a Sunday off and sent in another preacher who wasn’t near as good. The whole Congregation frowned on him except one Sister. She seemed to enjoy the other Pastor same as she did our Pastor. This aroused the Congregation’s curiousity so much until when Church service was over they all rushed over to this one Sister and asked her why did she enjoy the substitute preacher the same as our regular one?, she said, “Well, when our pastor preach I can look right through him and see Jesus and when I hear a preacher who’s not as good as ours I just look over his shoulder and see Jesus just the same.” That applies to me all through my life in music ever since I left New Orleans. Iv’e been just like that Sister in our Church. I have played with quite a few musicians who weren’t so good. But as long as they could hold their instruments correct, and display their willingness to play as best they could, I would look over their shoulders and see Joe Oliver and several other great masters from my home town”

Recorded April 1931 in ‘Chi’ for the OKeh label

musicology #278

twolegendsclash #1

(Noble Sissle Orchestra (feat Sidney Bechet) – Dear Old Southland)

As promised a new theme starts today, a ‘Soundclash’ between two of the greatest soloists, innovators, and players of instrument ever recorded. I say recorded because there were others who didn’t record, (Buddy Bolden for instance), or who like Louis Armstrong’s mentor Joe ‘King’ Oliver had health problems that affected the quality of their recorded legacy. Others like Frank Dusen refused to record on the basis that others would be able to hear and imitate their ‘licks’ claiming them as their own. Imitation and competition was fierce as ragtime evolved into ‘Jazz’ and many of the original cats were left behind as the age of recording began to take shape. Not only that but, (as hard as it is for us to imagine today), recording was nothing, (financially), compared to live performance and maybe those players thought that this new fangled technology would never account to much. Youngbloods like Armstrong and Bechet on the other hand were in the right place at the right time and were ‘modernists’ to the core.

First up is Clarinet and Saxophone virtuoso Sidney Bechet, who along with Armstrong took improvisation to a new level. That’s not to say that there weren’t others who were as innovative and talented, Johnny Dodds or ‘Big Eye’ Louis Nelson for example, (who Bechet had lessons with).

Born in 1897 Bechet grew up in New Orlean’s Seventh Ward graduating as a fourteen year old from his brother Leonard’s Silver Leaf band into Bunk Johnson/ Frankie Dusen’s famed rough house ‘Eagle band’ which had previously featured the Legendary Buddy Bolden and later Joe ‘King’ Oliver. This is where the young Bechet’s talent really began to shine and take shape. Obviously no recordings exist from them days so I can’t lay one on you so this 1937 cut featuring brother Bechet on Soprano Sax, (recorded with the Noble Sissle Orchestra in New York), will have to do.

musicology #270

sleighbellsring #18

(Loius Armstrong – Zat You Santa Claus)

Time for a slice from the cat who almost single handedly changed the universal language’s direction adding a new vocabulary with which to connect and communicate. hugely influential for the music that we know and love today..words like Genius, Legend and Virtuoso don’t do the man justice but they’re all we have.

Gifts I’m preparin’
For some Christmas sharin’
But I pause because
Hangin’ my stockin’
I can hear a knockin’
‘Zat you, Santa Claus

Sure is dark out
Not the slighest spark out
Pardon my clackin’ jaws
Uh, who there, Who is it
Uh, stoppin’ for a visit
‘Zat you, Santa Claus

Are you bringin’ a present for me
Something pleasantly pleasant for me
That’s what I’ve been waitin’ for
Would you mind slippin’ it under the door

Four winds are howlin’
Or maybe that be growlin’
My legs feel like straws
Oh my, my, me, my
Kindly would you reply
‘Zat you, Santa Claus
Yeah

Oh hangin’ my stockin’
I can hear a knockin’
‘Zat you, Santa Claus

Yeah, say now
Hey there, who is it
Stoppin’ for a visit
‘Zat you, Santa Claus

Whoa there Santa you gave me a scare
Now stop teasin’ ’cause I know you’re there
We don’t believe in no goblins today
But I can’t explain why I’m shakin’ this way

Well I see old Santa in the keyhole
I’ll give to the cause
One peek and I’ll try there
Uh-oh there’s an eye there
‘Zat you, Santa Claus

Please, please
I pity my knees
Say that’s you Santa Claus
That’s him alright

musicology #254

sleighbellsring #2

(Fats Waller – Swinging Them Jingle Bells)

One from the king..Thomas Wright Waller. Without doubt one of the most influential musicologists of the 20th Century. The word legend was invented to try and describe in one word cats like ‘Fats’. Virtuoso pianist and supreme songwriter who swung every time he played. Rumour has it that the man played piano for 3 days straight after being kidnapped to play at Al Capone’s birthday party. Leaving the gaff lagging drunk, no doubt as high as a kite and thousands of dollars richer….

If aliens came down from space and wanted to get an idea of what Christmas, (or Jazz), is all about they could do no worse than listen to this cut.

“Swing them Jingles son…”

musicology #213

12AngryMen #9 (alternativesoundtrack #3)

(Jimmy Smith & Lou Donaldson – Summertime)

so the count is now 9 to 3 in favour of the guilty’s. The evidence is being torn to shreds piece by piece and what started as an open and shut case is turning into a battle of subjectivite opinion vs objective facts.

the two performances that, for me, are outstanding are Henry Fonda and Lee J Cobb. The others are good but these two are special. both are featured on this piece of dialogue.

the song which comes courtesy of organist supreme Jimmy Smith and Blue Note stable mate, Saxophone legend Lou Donaldson is a haunting 1957 rendition of the George Gershwin classic Summertime, (penned for the Opera Porgy & Bess). A song that has been covered more times than I’ve had hot dinners, rumour has it that Gershwin adapted it from a Ukranian lullaby ‘Oy Khodyt Son Kolo Vikon’, (A Dream Passes By The Windows), which he heard in 1926.

musicology #206

12AngryMen #3 (alternativesoundtrack #3)

(Sun Ra & His Arkestra – El Viktor)

what strikes me is how much quality dialogue is in this film and thinking about it that’s probably what drew me in when I first saw it. I enjoy language and words very much and crave dialogue and communication. themusicologist provides and delivers a great opportunity for me to connect using the universal language that speaks to us all, (if we listen), and is a manifestation of this desire to communicate.

back to the ‘12 Angry’ selection…the dialogue paints it’s own picture and introduces the Henry Fonda character in Socriatic style.

the music is courtesy of Maverick Pianist Sun Ra, (and Arkestra), a cosmic cat of the highest order whose life seems as rich a tapestry as could be woven. Born around 1914, he grew up with Jazz and played the piano/organ/keyboard consistently for his whole life, (recording over a thousand songs). His first recording in 1946 was as Pianist for Rhythm & Blues legend Wynonie Harris. I’m not going to lay out his life story as it’s well documented so I’ll just leave it to Ra and Arkestra to ’speak’.

musicology #203

teachings of billionaire YenTzu #13

(Billie Holiday – They Can’t Take That Away From Me)

end of the teachings…beginning of the journey.

epilogue

‘Three weeks on the road and all that greets me are smouldering ashes,’ sighed the Merchant-Sage, Ni.

‘What was it that you expected,’ said a voice behind him. ‘With all the provinces in such chaos! where have you been?’

Turning round the merchant saw a young man in a bedraggled state, his face stained with blackened smoke and blood. Getting down from his horse Ni said. ‘I had hoped that I would arrive before the Emperor Ch’in’s outrages had reached this outpost. But, I see that I am too late. Has all been lost?’

‘If you are a former graduate of this Academy, as I suspect you are,’ said the man, ‘you would be wise to take care. For they are imprisoning all who are followers of the ways of the ancients.’

‘My ancestor, the renowned Merchant Ni, was the grand-nephew of the founding Patriarch, Yen Tzu. Our house is loyal to the philosophy he and his followers taught. And you…,’ Ni once more surveyed the man before him, ‘….what part have you played to be in such a sorry state?’

‘I, too, came here for a similar purpose, but alas I was also too late. My name is Lu, of the House of Chou, whose founding father was also a pupil of Yen Tzu. My young heart and legs were sent by my Uncle in an attempt to rescue what parchments I could. But all was already aflame when I arrived this morning. It must have burned all night. I have fallen many times and scorched myself in my frantic search, but to no avail.’

The two paused in silence as they surveyed the ruins around them. As they did so, their eyes rested on the main gate keystone that now stood alone, unaccompanied by it’s former walls. The charred words were still clear to see.

‘So, not all is lost,’ said Lu.

‘Indeed, none of it can ever be lost,’ added Ni, as together they read the stone’s inscription.

Wisdom comes from one great Sage,
A true source for every age.
Mind, the door, Heart, the key,
Spirit guide, the path to be.
Listen within, Trust to feel,
Illusions vanish, Truth is real.

musicology #183

soulsearching #5

(Dinah Washington – Am I Asking Too Much)

penultimate cut of the soulsearching which, to be honest feels like it has been a piece disjointed and not quite how I imagined it. still…”The best-laid plans of mice and men often go awry” to quote a, (much used by me), line from Rabbie Burns’s 1785 poem ‘To A Mouse’

But Mousie, thou are no thy-lane,
In proving foresight may be vain:
The best laid schemes o’ Mice an’ Men,
Gang aft agley,
An’ lea’e us nought but grief an’ pain,
For promis’d joy!

Still, thou art blest, compar’d wi’ me!
The present only toucheth thee:
But Och! I backward cast my e’e,
On prospects drear!
An’ forward, tho’ I canna see,
I guess an’ fear

which, apoun reading inspired author John Steinbeck to change the name of his book from ‘Something That Happened’ to ‘Of Mice And Men’

anyway back to the music with a 1947 slice of the downbeat pie. this one shouldnt need any explanation and is as plain as the nose on my face. I’m trying hard to ‘Tame The Bull’ but at the moment it feels like an uphill climb to the bottom. if your ‘companion’ is treating you like dirt on the ground then you know how it feels, if not…then good luck to you.

musicology #168

malevocals2 #6

(Fela Kuti – Sorrow, Tears & Blood)

didn’t throw one down yesterday…late night Friday and then headed straight out of ‘the smoke’ for some country air…slept for most of the day and be the time we returned it was too late.

this last cut of the malevocals is a song that has been getting a lot of exposure over the last few weeks and even though the cat in question may not be especially well known for his singing it was as a vocalist that he began his career.

as far as legends go ‘Fela’ stood as tall as anyone. almost singlehandedly inventing, (along with drummer Tony Allen), the genre known as ‘AfroBeat’. the life and times of Fela Kuti are well documented so i’ll leave it down to the music to provide an insight into the man.

taken from his 1977 album ‘Sorrow, Tears & Blood’ this is the title track about political conditions in his homeland. to say that Fela was an activist and thorn in the side of the government is an understatement for a man who was beaten to within an inch of his life, imprisoned on trumped up charges and hounded at every turn. but it never stopped him making powerful, immortal slices of music that communicated on many levels.

Fela was and still is an example of how music is the most effective form of communicating the message and is, as far as I’m concerned, the only ‘language’ that transcends all ‘boundries’

“Everybody run, run, run
everybody scatter, scatter….”

musicology #149

ladiesweek2 #3

(Billie Holiday – Georgia On My Mind)

no post yesterday so I’ll just have to try and make it up to you with this one.

along with Bessie Smith, (soon come), and Ella Fitzgerald, Billie Holliday’s influence on the art of singing is second to none and was a major influence on all the singers that followed such as Dinah Washington and Aretha Franklin, (to name but 2)

this song written in 1930 by Stuart Gorrell for Hoagy Carmichael’s sister, (Georgia), was recorded at and for Columbia by Billie, (backed by the Eddie Heywood Orchestra), in 1941 and even though the ‘Brother Ray’ version is the one associated with the song for themusicologist it has always been the Billie that ‘takes the biscuit’.

musicology #21

ladiesweek #1

(Billie Holiday – Love Me Or Leave Me)

Kicking off ladiesweek with possibly the most influential female vocalist of all time…Eleanora Fagan Gough popularly known as Billie Holiday who most certainly had a right to sing the Blues and sing them she did but in a new ‘uptown’ style that took it’s lead from the one and only Louis Armstrong.

Of course there’s Bessie Smith, Mahalia Jackson and Dinah Washington  to consider but let’s leave that debate to one side.

very difficult to pick one slice of musicology from her repertoire but one it must be…

Accompanied by the sublime artistry of Teddy Wilson and full crew from sometime in the 1930’s … Billie step up to the m.i.c and let us know what time it is..