Dave Holland's Prism at SF Jazz

I've been busy starting new recording projects (including TVP II) and realize I still need to write about the brilliant Bay Area debut of Dave Holland's Prism in February at SF Jazz.  Holland has been at the forefront of new music for over 40 years, and is still fresh, challenging, and inventive.  Originally discovered by Miles playing at Ronnie Scott's in London, he replaced Ron Carter in the Quintet.  With Chick Corea on electric piano, and Jack DeJohnette on drums, within two years the music changed from the still largely acoustic Filles de Killimanjaro, to Silent Way, to Bitches Brew.
A new cd/dvd set live from Europe in 1968 demonstrates just how powerful this "missing" Quintet was.  And Holland was at the very core of the change - even recommending former roommate John McLaughlin to Miles.  After Miles, Holland recorded Conference of the Birds with Sam Rivers, Barry Altschul, and Anthony Braxton for ECM, which marked another major change in improvised music.  On both acoustic and electric bass he has been on countless important records.  Two of my favorites are So Near, So Far - Joe Henderson with John Scofield and Al Foster, and Hands, with the great flamenco guitarist Pepe Habichuela.

Prism features Kevin Eubanks on guitar, Eric Harland on drums, and Craig Taborn on acoustic and electric piano.  Freed from the constraints of his long time gig on the Tonight Show, Eubanks was fiery and inventive; nearly harmelodic in a Blood Ulmer way.  Harland is majestic and wildly creative, and Taborn was a revelation.  Souful, funky, and with a mastery of harmony, Taborn is a perfect foil for the continuously creative Holland.  Always a very generous leader, Prism performs compositions by all the members.  Past, present, and future all are a split second away when Holland plays.  And if it is somewhat reminiscent of the best of 60's fusion, it should be.  Dave helped invent it!

Mariza at SF Jazz

Mariza is my pick for the most dynamic performer on the planet.  I first saw her years ago at the Henry Kaiser Auditorium in Oakland.  The usually jaded Tom Waites was weeping a few seats away from me.  And I have tears in my eyes from the moment she takes the stage.  How much is her amazing stage presence, how much the notes I know will be coming, how much some triggering of my Sephardic blood, I don't know.  But she seems to have this effect on most of her audience.  Fado is by nature heart wrenching, and Mariza is blessed with a huge voice and incredibly  intuitive musicianship.  From full blast to a whisper, every note is a revelation, every note a sweet arrow in the heart.  Every nuanced move, dance step, hand gesture, intensifies the theme of the song.  One is reminded of Frank Sinatra and Miles Davis (a great singer of songs, as Gil Evans said) with the rare ability to project duende with a note, a gesture.  She has been playing large halls for years, and I was apprehensive the intimate Robert Miner Auditorium would be too small a venue.  Many a great artist overplays a small room.  "Ah, this reminds me of a taverna".  She walked through the audience, whisppered to them, sang without a mic.  Mariza, African and Portuguese, born in Mozambique, and raised in Lisbon, was raised in her parents' taverna singing fado from the age of five. http://en.wikipedia.org/wiki/Mariza   For this series of concerts she has Jose Neto on guitarra, Pedro Joia on guitar, Nando Araujo on bass, and Vicky Marques on drums. They played with an understated elegance, obviously delighted to be playing for such a gifted performer.  In a black beaded backless gown, and a royal blue belt cinched at her long waist, Mariza is the epitome of fado.  Her performance of Amalia's Primavera, "My great passion" was riveting.  If you never see another performer live, see Mariza.

Zakir Hussain at SF Jazz

Last month I attended my first performance at the new SF Jazz Center Robert N. Miner auditorium.  Bob was a dear friend of mine, and he loved jazz.  While a very private guy, I think he would have thought it pretty cool to be remembered this way.  Is is a beautiful and intimate hall.  I'll write more about the first concert,which was Dave Holland's Prism, in my next post.  Last night's concert was Zakir Hussain, and it was amazing.  Zakir is perhaps the most accomplished musician of any genre currently living (as was Ravi Shankar).  Staggering technique, a great listener, a deep spirituality, and a sense of humor and showmanship allow him to chaarm and amaze even those unfamiliar with Indian classical music.  The purpose of this concert was to introduce young musicians to the west that Zakir believes are the leaders of the future.  Rakesh Chaurasia (the nephew of Hariprasad  Chaurasia, who I saw perform an amazing concert with Ravi and Ali Akbar Khan at Berkeley Community many years ago) on bansuri  (bamboo flutes) Niladri Kumar on sitar, and Ganesh Rajagopalan on violin.  As Zakir stated, it is an unusual instrumentation for Indian classical music.  Each instrument was featured in a raga.  They would start with the traditional alap, and then expand and build tension and tempo.  There was a distinct western edge to some of the themes, and occasionally a music cue would trigger a rehearsed unison band line, ala Weather Report or late 60's Miles.  And like Miles, it was obvious that Zakir was there to listen to his young players.  Often with eyes closed and hands folded in his lap for the alaps.  And then, with the flick of a wrist, a world of explosive percussion would wash over the audience.  Aficionados and novices alike are stunned by his virtuosity.  He reminds us that  time and polyrythyms are infinite.  As Charles Mingus said, he plays around the core of the beat, without ever having to state it.  Niladri hit harmonics and double stops (which aren't used in Indian music) and bent notes in western blues and rock scales, as well as the traditional rags.  The second set took on an even more overt western tinge, with quotes from Smoke On The Water, and the theme to The Good, The Bad, and Thge Ugly (which even Zakir quoted).  These players have mastered their music, and feel free to incorporate other musics within the framework of their art.  Just as jazz and rock and roll have influenced young flamencos, and of course Indian music has influenced rock and roll, and jazz, for over 50 years.  Bravo Zakir!

Butch Morris

I first met Butch Morris in New York around 1980.  He was part of a new wave of artists, many from the West Coast, that included David Murray, Arthur Blythe, and James Newton.  There was a revolution going on, and I wanted to be part of it.  Butch was still playing coronet at the time.  They say you only regret the things you don't do.  I had wanted to record with Butch, I had an idea to call it Blue Flute Clan.  By the time I had my own label in the early 80's, Butch had left the coronet and was doing his conductions exclusively.  We would meet with mutual friends over the years, usually when I was visiting New York.  My producer Cookie Marenco also knew Butch through Dino J.A. Deane, a long time collaborator of Butch's.  Dino was one of the very first samplers, and Butch would incorporate that into his conductions.  A couple of years ago Butch was awarded a residency at Montalvo, and Cookie and I had several meetings and dinners with him.  Butch was looking for a label to release his film score to L'Amore Cache, and one of his music box pieces, Nowhere Everafter.  http://butchmorris.downloadsnow.net/  We agreed my label would release them.  We spoke of perhaps doing a live recording to DSD of his Nublu Orchestra, perhaps with myself and/or Emily Palen.  While never famous in mainstream media, Butch's influence among musicians and composers is immense.  He was such a gentle soul, and had a wonderful sense of humor.  Like Harry Partch and Lou Harrison, he was extremely prolific in spite of not receiving the recognition and rewards he deserved.  I've always considered that persistence an act of great bravery, and I am inspired by it.  Vale, Butch, it was a privilege, an honor, and a blast to know you.  Thank you for all the music.  That will be with us forever. http://www.wnyc.org/shows/newsounds/blogs/new-sounds/2013/jan/31/remembering-butch-morris-length/

  

Angelique Kidjo

I've always said that next to New York, the Bay Area has the most diverse and deep live music programming.  Cal Performances often rivals SF Jazz for improvised and world music performers.  The other week Angelique Kidjo came to Zellerbach.  I've seen her many times, and she is always inspirational.  Born in Benin, and forced into exile, like her mentor Miriam Makeba, she is a symbol of freedom and emancipation.  Influenced deeply by Benin culture, and pop, rock, Latin, and jazz, she is a cross cultural icon who overtly calls her audience to liberation, enlightenment, and unity.  I've often described her as an African Female James Brown, but that doesn't really do her justice.  With just Dominic James on guitar, Magatte Sow on percussion, the Brazilian Itaiguara Brandao on bass, and New Yorker Daniel Freedman on drums, she creates a huge, beautiful world music orchestra that is impossible not to dance to.  And dance the audience does, including the ritual packing of the stage for the last few numbers.  And as commanding a stage presence as she is, it is her voice that has made her world famous.  She has a huge range, and can sail over a band like Santana's guitar (with whom she has recorded and performed).  She is a UNICEF Goodwill Ambassador, and has founded the Batonga Foundation to provide African girls with secondary and higher education.  To see her in performance is to become, if only for an evening, a true citizen of the world.   

Marcus Miller at SF Jazz

I've been very busy lately, and haven't been posting about a lot of great music.  In mid October the great Marcus Miller played SF Jazz at Herbst Theater.  Playing songs from his latest recording, Renaissance, with the same band members: Alex Han on sax, Lee Hogan on trumpet, Adam Agati on guitar, Kris Bowers on keys, and Louis Kato on drums.  Marcus will always, and rightly, be best known for his work with Miles: Tutu, Amandla, and Siesta.  Probably the most recorded bass player of his generation, ala Ron Carter, another Miles alum, Marcus has also put out 16 recordings as a leader.  Milliseconds define a great bass player, and Marcus is amazing.  Han and Hogan, while young men, know the whole history of the music, and can slide from funk to bebop in a heartbeat.
Only Marcus can transition from the lovely ballad  "S'Wonderful" on bass clarinet to straight ahead, to slamming funk, in one seamless meditation on Afro American music.  (As Christian Scott says, "You can describe me as jazz, just don't define me."  More on that important point, next time.

Bob Dylan and Mark Knopfler at Berkeley

Bob Dylan and Mark Knopfler played the Greek Theater in Berkeley last Friday, and, as with every Dylan concert I've seen (and I've seen many) it was both memorable and revelatory.  Knopfler was perhaps the most worthy opening act for Bob since Paul Simon in 1999.  (On that tour they took turns opening, and covered one of each other's songs.  I somehow knew Dylan would cover Sounds of Sillence).  Knopfler is a guitarist's guitar player, and was marvelous.  Clear, precise, and courageously simple, he frails like a banjo player with angelic clear tone.  I was struck by the depth of Celtic music he has mastered, and the whole lexicon of Americana from blues to folk to spiritual to jazz to Tinpan Alley.  Rock is often majestic, (Henddrix, The Who, Led Zep, Crazy Horse) but Knopfler may be alone in producing chamber music.

Dylan, as always, is brilliant, exasperating, and galvanizing all at once.  While playing nothing from his excellent new recording, Tempest, there were many allusions to water and floods. I've never heard him play so many of the hits, and so recognizably.  Charlie Sexton, who normally plays fiery lead guitar, was relegated to background riffs, and Stu Kimball, who I usually think of as a fine second guitar, took the leads.  Bob's piano is primitive at best.  But this night he jabbed chords out of tempo, and often skipped or added beats ala the early country blues men.  A nod to the bassist Tony Garnier would be all the cue the band would receive if a 12 bar was about to be extended, or shortened.  His voice on Tempest appears to be in final decline, but live it was clear and strong, and the best I've heard him in the last 10 years.  The Grammy sits atop the keyboard, the stage persona moves slyly between river boat gambler, replete with hat, and finger snapping, harp playing  lounge daddy, channeling Leonard Cohen through Bobby Darin.  The great repository of American music, from Celt roots through Appalachia, work songs, spirituals, blues, jazz, rock and roll.  It's all there.  Now.    

Amazing Weekend of Music

The last weekend in September was an amazing series of concerts by SF Jazz.  Friday the 28th was the Brecker Brothers reunion (sadly of course without Michael).  Randy, his wife Ada Rovatti on tenor, George Whitty on keys, Neil Jason on bass, Dave Weckl on drums, AND Mike Stern on guitar.  Weckl and Mike soared up to heaven!  Fond memories of listening to the Brecker Brothers and many others at their club Seventh Avenue South in the late seventies and early eighties.

The next night was Miles Smiles with Wallace Roney, Bill Evans, Joey DeFrancesco, Omar Hakim, Victor Bailey fortuitously filling in for Daryl Jones, AND Robben Ford!  I always knew that the great electric period of Miles (and Ornette) would one day be recognized and celebrated.  And with the ascent of Christian Scott, incorporated into a new generation of improvisors.  As with the night before, the interplay between drums and guitar was amazing.  Omar was the premier drummer in the world in the early 80's, and he's just as spectacular.  And Robben, well , he's my favorite guitar player.  At the end of one solo he quoted Some Enchanted Evening. They say Miles cried when he left.  I had the privilege of seeing them quite a few times for the short time Robben was in the band.

And Sunday night was Sonny Rollins at Davies Hall.  A collosus, indeed.  In his eighties, white haired and his huge frame starting to hunch over, he is every bit as powerful and inventive as he was 40 years ago. My dear friend Baron Shul has said that Sonny's universal appeal is that he either plays standards (Once in a While) or blues, or calypso.  And about 80% of his soloing is inside, but about 20% is outside - 12 tone- so he always sounds fresh, and adventurous.  With:
Clifton Anderson trombone
Saul Rubin guitar
Bob Cranshaw bass
Kobie Watkins drums
Sammy Figueroa percussion

Amazing!

Esperanza Spaulding at The Paramount Oakland

A few weeks ago Esperanza Spaulding played with her big band Radio Music Society, a follow up to her hit album Chamber Music Society.  Esperanza is brilliant, and this is her most ambitious project yet.  A true big band, which incorporates everything from funk, to Ellington, to samba, to Tin Pan Alley and Rock and Roll.  The musician credits give a good hint at how diverse and yet cohesive the ensemble is:
 Esperanza Spalding double bass,
electric bass, lead vocals
Jeff Galindo Musical Director,
trombone
Tia Fuller alto saxophone
Daniel Blake tenor and
soprano saxophones
Aaron Burnett tenor saxophone
Igmar Thomas trumpet
Leala Cyr trumpet, backing vocals
Corey King trombone
Jef Lee Johnson electric guitar,
backing vocals
Leo Genovese piano,
Fender Rhodes, keyboards
Lyndon Rochelle drums, backing vocals
Chris Turner backing vocals

As I'm fond of saying, she plays bass like Ron Carter, and sings like Betty Carter.  And leads an orchestra like Ellington or Sun Ra!

Dead Can Dance

I haven't posted for a while, as we have been recording the new Emily Palen release Creation and my new release Cult of Beauty.  But I have been out to see some great music, and there is more coming up this fall.  In August Dead Can Dance played the Greek Theater.  It was their first tour in 7 years, backing their first studio recording in 15 years.  I first saw them in the '80s, and in many ways they are timeless.  Lisa Gerrard has one of the most fantastic voices in all of music.  A huge range, often dipping into eastern quarter tones, and singing in everything from old English to invented languages, she casts an hypnotic spell.  The fans lean toward Goth, which has always amused me, as Lisa is usually in a white gown more reminiscent of Amee Semple McPherson.  And now the fans are mature Goth.  (With quite a few very attractive mums with their teenage daughters, for some reason. Bonding?).  Ms. Gerrard is a great beauty, and her voice has remained pristine.  She did a wonderful solo tour a few years ago.  DCD have always been two bands for me; one when Lisa sings, and a less fortunate one when Brendan Perry sings.  He hasn't aged well, and has always sounded to me like Neil Diamond imitating Jim Morrison.  It should be hard to sound pompous when paraphrasing Humpty Dumpty, as he does in Children of the Sun, but he manages.  Still, to be in the presence of Ms. Gerrard's incredible voice, and gentle, enigmatic demeanor, one would endure far more.    

Mozart

Mozart's The Magic Flute is one of the most complete works of art I know.  Often underestimated, it has everything from comedy, to drama, to the profound nature of good and evil, light and dark.  SF Opera's recent production, with sets and costumes by Jun Kaneko, affirm that Mozart is always fresh and modern.  And Albina Shagimuratova's Queen of the Night was electric.  In a week of senseless world wide violence, works that affirm beauty and truth are essential.

Clipped from: artsbeat.blogs.nytimes.com (share this clip)

Live Aid Anniversary

On this day – 1985 Live Aid (via http://what-music.com)

On the 13th July 1985 the Live Aid concerts were staged, simultaneously, in Wembley Stadium, London and John F Kennedy Stadium, Philadelphia. The event, organised by Midge Ure and Bob Geldof, was watched by an estimated global audience of 1.9 Billion people. It was staged to raise money and awareness…

Pat Martino at Yoshi's SF

The legendary Pat Martino played Yoshi's SF last Saturday as an organ trio with Pat Bianchi on organ and Carmen Intorre on drums.  Bianchi and Intorre play with a musicality and fire that belies
their youth.  I've had the privilege of seeing Pat Martino for many, many years, and I don't think I've ever heard him in better form.  He started out playing in organ trios with Brother Jack McDuff,  (with whom I've also had the prvilege of playing) and has returned to this format occasionally in the last few years.  He started the set with the Charlie Christian tune Seven Come Eleven.  It's hard to imagine the influence Charlie had on bebop; he was the Jimi Hendrix of his day.  From stating the melody onward Pat dove deep into postbop upper extensions and polyrythmic lines.  In fact the entire set was an exercise in making jazz standards that are forty to seventy years old vibrant, modern and even edgey.  The set included Full House, by Wes Montgomery, All Blues by Miles, and Footprints by Wayne Shorter.  All are tunes I still love to play.

June 16, 2012 Jean Paul Gaultier Show

I've been working on a new recording the last few weeks, and haven't had a chance to post for a while.  The Gaultier show at The De Young Museum is a must see:  http://deyoung.famsf.org/deyoung/exhibitions/fashion-world-jean-paul-gaultier-sidewalk-catwalk
Like many musicians I'm influenced and inspired by many art forms.  Gaultier is simply a genius.  He re-defines fashion, eroticism, gender, and culture.  Co-incidentally MTV was playing Madonna's Truth or Dare documentary this morning.  I hadn't seen it in years.  Many of the costumes from that tour and the Blonde Ambition tour are at the De Young show.  I've always admired Madonna's message for young women:  Your body belongs to you, not your parents, not your church, not the state.  Bravo (and Brava) Gaultier and Madonna!   

April 28 2012

Paco de Lucia played the Paramount Theater last night as part of SF Jazz.  I have a pretty strict definition of genius:  an artist who changes the way practitioners think of the medium.  Picasso, Charlie Parker, Miles Davis, Jimi Hendrix.  You can work through them, but you ignore them at your peril.  Miles said "I changed the music five or six times", and indeed he did.  Birth of the Cool, Walking, Kind of Blue, ESP, Silent Way, Bitches Brew, changed the way we thought, and felt, about music.  Paco, from his astounding work with Camaron, to Entre Dos Aguas, to Siroco, Zyryab, and Luzia, continually changes the way flamencos view their art form.  Originally criticized by "purists", his command of traditional material and technique is without equal.  His genius is in continually evolving and renewing the art form.  He is one of a handful of the most accomplished musicians on earth; Ravi Shankar comes to mind. This concert featured the great vocalist Duquende, and the spectacular young dancer Farru.  Paco was greeted with a standing ovation.  As is his custom, the opening piece was solo, a beautiful rondena.  The encore segued from Guardian Angels by John McLaughlin (which they used to play together) into Entre Dos Aguas.  In between were two hours of seamless magic.  Bravo Paco! 

April 25 20012

The New Charles Lloyd Quartet featuring Maria Farantouri played Herbst Sunday as part of SF Jazz.  This was a true meeting of world music.  Maria was the voice of Mikis Theodorakis' compositions, and a symbol of the resistance to the Greek military junta.  Charles Lloyd is one of my biggest musical influences.  To this day my love of major and minor 9ths and 13ths stems from his great quartet with Jack DeJohnette, Cecil McBee and Keith Jarrett. (For a while, Gabor Szabo was in the band!)  His New Quartet of the last several years includes Jason Moran, Eric Harland, and Reuben Rogers.  Along with Wayne Shorter's Quartet, I believe it is among the most important music being made.  Charles has known Maria for many years, and has studied Greek music.  All ethnic music has modes, and pentatonic scales, with micro tones (from Indian classical, to the blues).  Charles and Maria blended, seemingly effortlessly, while Eric Harland wove an infinite pattern of rhythms that would have confounded lesser talents.  True Genius!

April 21 2012

SF Jazz Spring Season is in full bloom, so you will be reading a lot about the music I'm seeing.  A disc jockey on our own local KPOO said recently that we shouldn't call it African American Classical music, or jazz, anymore, because it really has become a world music.  The great young flamenco guitarist Vicente Amigo played SF Jazz for the second time last month.  Like Paco De Lucia before him, Vicente incorporates jazz harmonies, while keeping the traditional rhythms and palos of flamenco. ("One must respect the compas!")  Anouska Shankar performed with flamenco musicians Thursday night, to demonstrate the influence of the Rajasthani Gypsy diaspora (there were two major treks across Europe from India, in roughly 750AD and 1400AD) on flamenco.  It was a pity that Anoushka didn't have a guitarist worthy of her at the gig. Pepe Hebechuela plays on her new record.  Perhaps an Anouska and Vicente gig someday!

April 7 2012

Many thanks to all of you who made Emily Palen's cd release party such a success.  Two weeks ago Cal Performances presented Zakir Hussain & Masters of Percussion.  Zakir is one of the world's greatest musicians.  A classical tabla virtuoso of the highest caliber, his fame extends beyond India as one of the founders of the world music movement.  From co-founding Shakti with John McLaughlin and L. Shankar, to recordings with Mickey Hart and Bill Laswell, he is always broadening our musical landscapes while re-invigorating his native traditions.  The performance featured Antonia Minnecola, an American dancer who is recognized as a leading exponent of the North Indian dance style Kathak.  Just as jazz and flamenco now have first rate artists from around the world, Zakir has spread the beauty of North Indian classical music far and wide.

March 1, 2012

Last Friday the dave Holland Overtone Quartet played the palace of Fine Arts Theatre as part of SF Jazz Spring Season.  It is a marvelous example of mature and young musicians inspiring each other.  Holland roomed with John McLaughlin in London, and introduced Tony Williams to John via a tape.  Dave played on Bitches Brew with Miles, and is on the Miles dvd at The Isle of Wight concert.  He has been at the forefront of new music all his professional life.  His 1972 recording, Conference of the Birds, with Sam Rivers, Anthony Braxton, and Barry Altschul, set new directions for acoustic explorations.  Last year he recorded Hands, with Pepe Habechuela, among the most soulful of flamenco guitarists.  Joining Dave for this concert were Chris Potter, one of the leading tenor players of his generation, Jason Moran, and the brilliant Eric Harland.  They each compose for the quartet, and while Dave is the leader and senior artist, it is a truly a collaborative effort. 

February 1 2012

The new Sony release "Miles Davis Quintet - Live in Europe 1967: The Bootleg Series Volume 1" is a must have.  The second great Miles quintet, with Tony Williams, Ron Carter, Herbie Hancock, and Wayne Shorter is documented live on two cds and one extraordinary dvd.  The set list is virtually identical each performance, with radically different interpretations of each tune.  Miles would lead into each tune before the end of the last, creating seamless concertos.  Herbie has described what they did as controlled freedom; they would play within the form of the tune, and then go outside.  A look, or a motif, would signal when it was time to return to the form.  Weather Report would later incorporate this technique, as does The Kai Eckhardt Band, with whom I'm recording my latest cd.

December 27, 2011

I often write about influnces and lineage in music.  The last two concerts I saw a couple of weeks ago were marvelous examples.  Friday December 9 at Yoshi's Oakland was Mike Stern, with Richard Bono, Dave Weckl, and Bob Franceschini.  Mike of course played with Miles Davis, Weckl with Chick Corea, and Richard Bono with Joe Zawinul.  So the Miles influence looms beautiful and large.  The next night at Herbst in San Francisco, was Ahmad Jamal, who influenced Miles!  With him was Manolo Badrena, who played with Weather Report.  Like all great artists, Ahmad, who is 81, now incorporates musicians who were influenced by musicians he influenced!  Happy Holidays!

The Tremendous Contribution of the Gypsies

 I haven't posted in over a month, and have been very busy playing and attending concerts.  I realized that there was a coincidental theme to the shows I've seen this month:  the tremendous contribution of the Gypsies to world music.  Everyone from Beethoven to Chopin to Miles Davis has been influenced.  There were probably two great migrations from the east across Europe; around 700 AD and again around 1200.  Early last month I saw the SF Opera production of Bizet's Carmen, a wonderfully balanced cast with a fabulous performance by Kendall Gladen.  Then the Compania Flamenca of Jose Porcel, in a tribute titled Gypsy Fire.  Last night my beloved Caminos Flamencos played a 10th anniversary show titled Solo Flamenco with Juan Ogalla, Yaelisa, Fanny Ara, Melissa Cruz, and Jason McGuire AND Chusco on guitars.  Chusco was raised in the caves of Granada.  Jason is from Texas, and one of the dancers was Japanese.  All first rate performers of the music.  So it has become universal, even as the Gypsies struggle for freedom and basic human rights to this day.  This afternoon I saw the Takacs Quartet, playing Janacek and Ravel,  both highly influenced by Gypsy themes.  And one of the founders, Karoly Schranz, says his earliest musical experiences were listening to Gypsy bands in Budapest restaurants.     

November 2, 2011

The weekend before last was another wonderful SF Jazz weekend.  Saturday night at Herbst the duo of Joshua Redman and Brad Mehldau played.  Duets are one of the most challenging formats in jazz, and Redman and Mehldau were marvelous.  From 'Trane-like explorations to chamber music to standards, they are both at the forefront of their generation.  And without pretention.  The next night at Herbst the great Jim Hall celebrated his 80th birthday.  While frail and using a cane, his music is as concentrated and wry as ever.  A classicist who also has always been in touch with the forefront of the music, he had Greg Osby on sax, Steve LaSpina on bass, and Clark Terry, who achieved fame with the John Handy Quintet Live at Monterey recording, on drums.  May we all stay so vibrant! 

October 17 2011

Genius is a word used too often.  But the SF Jazz Festival the last two weeks has indeed presented genius.  By my definition, a genius changes the way we perceive a discipline.  Einstein, Picasso, Charlie Parker.  October 1 at the Paramount the young genius Esperanza Spaulding and her Chamber Music Society played. The next night Wayne Shorter and his quartet were at Herbst.  Then Ravi Shankar on October 7 at Davies.  Now 91, I've had the privilge of seeing Ravi for over 40 years.  With his daughter Anoushka a recent mom and not on this tour, I was afraid age might finally catch up with him.  It hasn't; he's still the finest musician in the world, of any genre.  And last night, McCoy Tyner, who I've also had the privilege of seeing since my teens, played Herbst with the fabulous Chris Potter on tenor.

September 26, 2011

My dear friend Benny Rietveld gave me tickets to see him play with Santana this last weekend at Shoreline.  With Cindy Blackman AND Dennis Chambers on drums (not to mention Karl Perazzo on timbales - Raul Rekow unfortunately had a family illness to attend to) I realized that this is simply the best rhythm section in the world.  Benny has evolved into the informal music director, cuing the band from time to time.  It must be quite a thrill to play with such amazing musicians.  In all the years I've seen Carlos, this was perhaps the most enjoyable.  Benny produced my recording Come to Me, and invited many of his Santana band mates to play on it. 

September 23, 2011

Courage.  I wanted to wait a while after September 11 to write about courage.  We cannot be reminded enough of the courage of the first responders on 9/11, and especially of the courage of the passengers and crew of Flight 93, who with no prior knowledge, or training, or psychological support, gave their lives to save others with only minutes of warning.  And it is the duty of the true artist to be courageous, and to inspire.  Puccini , Picasso, all the great artists inspire the noble.  Wednesday I saw the opera Heart of a Soldier, which tells the true story of Rick Rescorla, a British born Vietnam vet, who as head of security for Morgan Stanley saved 2,700 lives in the South Tower on 9/11.  It is also the story of his lifelong friendship with fellow soldier Dan Hill, who converted to Islam and fought with the Mujahadeen in Afghanistan.  And it is the story of Rick's late life romance with his second wife, Susan.  A beautiful opera, the best in this new century so far.

August 19, 2011

Artists are often inspired by other disciplines.  For me it is painting.  I literally hear music when I look at a great painting.  The Gertrude Stein Collection at SF MOMA, and the Picasso Museum show at the De Young, are two of the most inspiring shows I've ever seen.  As Picasso liked to boast, he had the best Picasso collection on the planet.  And with the Stein show, there is also a lot of Matisse, who Picasso adored.  In fact, each thought the other was the best.  (As Frank used to declare Tony the one.  I used to think that was false modesty, but now I know it wasn't).  "Art is the lie that tells the truth".  Picasso. 

August 10, 2011

As the glass blower Mark Peiser says, technique is not cheap.  As an improvising acoustic and electric guitarist, I grew up learning many different techniques; left hand classical and jazz fingerings, right hand plectrum and classical and finger picking techniques.  And then, when I started to formally study flamenco, a whole world of right hand techniques that are unique to the genre.  Unlike any other guitar form, in flamenco the right hand leads. I've always thought my picado technique left a lot to be desired.  A few weeks ago, I decided to simply give up, and accept the fact that while my various thumb techniques were great, I was just never going to have great picado.  And shortly thereafter, for the first time in my life, it's great!  The magic of letting go...

Amy Winehouse July 23, 2011

Amy has, to paraphrase Kurt Cobain's mother, gone and joined that stupid club.  And a Norwegian right wing christian fundamentalist whack job kills almost a hundred people, most of them innocent children, instead of turning a gun on himself.  One is reminded of Camus' response to the horrors of existence, referencing "the benign indifference of the universe".  There are lots of great singers and songwriters.  But there are very few artists for me, that, from the first note you hear, you know you will care about what they do for the rest of your life, and theirs.  Billie, Ella, Frank, Tony, Miles, Trane.  Phoebe Snow, for me.  And Amy Winehouse.  I didn't think she would be with us for very long.  Driving downtown today I couldn't find her on any radio channel.  Times change.  I'll put Frank (her cd) and Back to Black on my car cd player tonight.  There was a Portuguese radio station playing Amalia Rodriguez, and Nirvana on another station.  Fitting tributes, I think.  More than most tragic artists (and I think it is important not to over-sentimentalize medical problems) I don't think Ms. Winehouse realized how much she meant to others.

Craftsmanship July 2, 2011

Craftsmanship is a lifetime journey.  In an age where instant fame is celebrated, content is often secondary.  Visiting my luthier of 30 years or so, Al Milburn, yesterday, I am once again reminded how rare and precious true craftsmanship is.  Al was working on the intonation and action of my latest guitar, a Danelectro DC 59 12 string.  Made of masonite and with lipstick tube pickups, they are a true expression of American genius.  Inexpensive, easy to mass produce, with a distinctive tone.  But with some challenging intonation and action issues.  Very few musicians have the privilege of knowing a craftsman like Al, who can take an off the shelf guitar, and turn it into something special: as good an instrument as it can be.  He can do it with an inexpensive instrument such as the Dano, or my Gibson Byrdland, or 00028 Martin.  My produver Cookie Marenco remarked that the 00028 had the sustain of a 30 year old guitar.  Al's magic in shaving the braces turned a new instrument into a classic.

Number 72 June 15, 2011

All musicians are singers, and hopefully, dancers.  Billie Holiday, Frank Sinatra, and Tony Bennett have influenced generations of instrumentalists.  I've had the privilege of seeing Tony many times over the years, but last month at Davies Symphony Hall, sitting in the second row, was probably the most amazing.  All artists try to take the fire of youth into old age, and hopefully marry it with wisdom.  At 83, Tony is the best interpreter of American song.  Period.  And I realize that his appreciation for the great American song book won't be duplicated - they are the songs of his youth.  This week Cal Performances is hosting the Ojai North Music Festival, with this year's director the fabulous Dawn Upshaw.  Performing with the Australian Chamber Orchestra, she sang Bartok last night, and will sing a George Crumb piece Thursday.  Friday, as part of SF Jazz, Yousoo N'Dour is at the Paramount, and Roy Hargrove is at Herbst Sunday.  A busy, and inspirational week, even by my standards!  Oh, and my guru Eddie Duran and Mad are at Cafe Claude Saturday!

Number 71 May 30, 2011

I mentioned in my last blog that I've seen  several revelatory concerts this year.  Last week it was Four Generations of Miles at Yoshi's Oakland, with Mike Stern, Sonny Fortune, Buster Williams, and Jimmy Cobb.  Each of them played during very important and innovative stages of Miles' career.  Playing standards associated with Miles, from Stella by Starlight to Green Dolphin Street to Straight No Chaser, they were at once celebratory and fresh.  Music is one of the few disciplines where the elderly can (if they are brilliant) push a younger and equally talented musician.  Roy Haynes does this regularly.  And Jimmy Cobb, who is probably the only person still alive who was in the studio for the Kind of Blue sessions, pushed Mike Stern rhythmically as if he were still 20 years old.

Number 70 May 21, 2011

I've mentioned that I was so busy with The Valence Project debut gig at Yoshi's that I haven't had time to write about some great shows of the last few weeks.  Jeff Beck's tribute to Les Paul at The Fillmore, with the Imelda May Band as his backup was just stunning.  Rock, jazz, rockabilly, it's all there at his fingertips.  And Imelday May, and her husband Darell Higham, are the real deal.  Born in Dublin, she has that Celtic connection to American roots music that runs very deep.  Which brings me to seeing Robert Plant at The Greek Theater with Band of Joy.  Yes, the first tune was Black Dog.  And there was a cover of the Airplane's She Has Funy Cars.  ("Thank you San Francisco!")  Twirling the mic stand constantly, there is a certain confidence that comes from being a rock star for 40 years.  And Patty Griffin and Buddy Miller were mind blowing.  One of the best concerts I've ever seen.

Number 69 May 1, 2011

I haven't posted in a while, because we've been so busy with The Valence Project and our first gig at Yoshi's SF.  All agreed it was a huge success.  With band members Brain, Kai Eckhardt, Emily Palen, Melissa Reese, Baron Shul and yours truly, everyone in the band had a blast.  It also gave us lots of ideas for the future.  We did video the performance, and also recorded it on a Korg DSD 1 bit machine, so there will be youtube footage and downloads for theose who missed the gig.  I'll be writing about a couple of great shows I saw last month in the next few days.

Number 68 March 23, 2011

It's very human, and proper, that the passing of one person can distract us from the tragedy in Japan, and the tumult in North Africa.  My grandparents used to take me to Carmel and Palm Springs for vacations when I was a child.  We were in Palm Springs at The Racquet Club, I believe it was November of 1957, and I was just 5.  It was late afternoon, and I was in the bar (in those days it was quite acceptable to be in a bar, and even on a bar stool, with one's parents.  I had a rude awakening in my early teens, when it was no longer deemed cute.)  The bar looked out on Court 1.  150 feet away, through the plate glass, Elizabeth Taylor and Mike Todd were finishing their tennis lesson.  They shook hands with the pro, and then kissed in the fading light, black clouds against the red sky above them.  I felt a pulsating wave force I've always described as a 60 cycle hum.  "No wonder everyone is looking at her!" I thought.  Hers was an other-worldly beauty, but there was a a glow of energy that only a few mystics possess.  Perhaps that glow was the great spirit that will be known for all her charity, generosity, and courage.  Sleep well, brave one.    

Number 67 March 18, 2011

Check out some of Jimmy Page's session work.  No wonder these recordings sound great!
Page was the favoured session guitarist of producer Shel Talmy, and therefore he ended up doing session work on songs for The Who and The Kinks as a direct result of the Talmy connection.^[19] Page's studio output in 1964 included Marianne Faithfull's "As Tears Go By", The Nashville Teens' "Tobacco Road", The Rolling Stones' "Heart of Stone" (released on Metamorphosis), Van Morrison & Them's "Baby Please Don't Go" and "Here Comes the Night", Dave Berry's "The Crying Game" and "My Baby Left Me", Brenda Lee's "Is It True," & and Petula Clark's "Downtown." Under the auspices of producer Talmy, Page contributed to The Kinks' 1964 debut album and he played six-string rhythm guitar on the sessions for The Who's first single "I Can't Explain"^[18] (although Pete Townshend was reluctant to allow Page's contribution on the final recording, Page also played lead guitar on the B-side "Bald Headed Woman").^[20]
In 1965 Page was hired by Rolling Stones manager Andrew Loog Oldham to act as house producer and A&R man for the newly-formed Immediate Records label, which also allowed him to play on and/or produce tracks by John Mayall, Nico, Chris Farlowe, Twice as Much and Eric Clapton. Page also formed a brief songwriting partnership with then romantic interest, Jackie DeShannon. He also composed and recorded songs for the John Williams (not the classical guitarist) album The Maureeny Wishful Album with Big Jim Sullivan. Page worked as session musician on Donovan Leitch's Sunshine Superman 1966 & the Johnny Hallyday albums "Jeune Homme" (1968) and "Je Suis Né Dans La Rue" (1969), the Al Stewart album Love Chronicles in 1969, and played guitar on five tracks of Joe Cocker's debut album, With a Little Help from My Friends.

Number 66 March 10, 2011

I've had the privilege of seeing some of the greatest performers for many years over their careers.  I've been going to see Ravi Shankar and B.B. King for over 40 years, and Eric Clapton for over 30 years.  B.B. played the Fox in Oakland February 24, and Eric was at the HP Pavillion March 2.  I was struck by the realization that although B.B. is in advanced years, and plays sitting down now, his act has been consistant throughout his career.  There is banter with the audience, a song for thre ladies, a song for the guys, an excellent band with a jazzy back up guitar player, and of course B.B.'s wonderful playing.  It's a style of entertainment that goes back to vaudeville. In the old days, B.B. would put his hands on his hips, wag his fingers at the audience, and mime both sides of a boy/girl argument.  And of course, there is that tone, identifiable with one note.  Just as B.B. acknowledges Charlie Christian and Django Reinhardt as influences, B.B. has influenced everyone who has come after him.  Which brings me to Eric. His singing is probably at its most relaxed  now, and without the wonderful Doyle Bramhall and Derek Trucks, who have been with him the last few years, there is more room just to hear Eric's fluid, beautiful playing.  And my, Willie Weeks and Steve Gadd are marvelous.  Gadd has played with everyone from Steely Dan to Jim Hall and all the CTI artists.  With Eric, he is simply the best drummer in the world - simple, and perfect.  I'll get to see Ravi, and Anoushka, in May

Number 65 February 17, 2011

I've written about Esperanza Spaulding (blog number 24) in the past.  I was so delighted that she won a Grammy for Best New Artist.  Her web site has a gracious and generous thank you note.  She points out that there are many new and wonderful things going on in this music called jazz.  Christian Scott is another brilliant young artist who was nominated for best performance.  Jazz goes in and out of fashion, which is why I believe it is always vital; it gets a chance to mutate and evolve when it is under the radar.  Christian would be much more famous if jazz were in a higher profile in the media.  Wynton Marsalis fit the Reagan years perfectly, and became very famous, with far less talent.  Miles Davis, The Beatles, and until last Sunday, Neil Young, never received a Grammy.
Congratulations Esperasnza!  Go Girl!

http://blogs.laweekly.com/westcoastsound/2011/02/esperanza_spaulding_1.php

Number 64 February 3, 2011

Cindy Blackman Santana led the Tribute To Tony Williams Lifetime at Yoshi's in Oakland last night.  John Medeski and Vernon Reid were competent, if not inspired.  But Jack Bruce, who played in the Lifetime, was a revelation.  Every note was perfect, his sense of time majestic.  Amazingly, his voice is still very much intact.  He was wearing a black cowboy shirt with Hopi designs, fitting for a true shaman.  Cindy is capable of Tony's polyrythmic explosions, but was most compelling on the rare moments when she grooved ala Al Foster.  Speaking of shamans, Carlos Santana sat in with his new wife ast the end of the set.  Yes, they played "Sunshine of Your Love", which Carlos covers on his new cd.  To hear two 60's icons who literally changed the music jam together like teenagers is one of the high points of my life in music.  Carlos had a beautiful new blonde Paul Reed Smith, and played through a reissue blackface Fender Deluxe with a fuzz pedal.  His tone was fantastic, as always, proving it's in the fingers and heart, not the gear.

Number 63 January 24, 2011

Joshua Redman at Zellerbach last Saturday was a delight.  Influenced, perhaps in equal amounts, by his father Dewey Redman , and John Coltrane, he was supported, and inspired by Aaron Goldberg on piano, Reginald Veal on bass, and Gregory Hutchinson on drums.  Along with Ravi Coltrane, he has grown and matured into a leader of his generation.  It was very interesting, and inspiring to me, that while the appraoch was very classic (almost all of the notes could have been played in the late 1950's or early 60's) the emotion and projection was very fresh and modern.  Summertime and Body and Soul were in the 90 minute set.  An original funk tune with a catchy melodic minor hook was the sole contemporary groove.  But Hutchinson can make anything sound fresh and forward.  Berkeley is Joshua's hometown, and he played to a loving and sold out audience.

Number 62 January 16, 2011

Patti Smith was on Charlie Rose speaking about her new book about her relationship with Robert
Maplethorpe.  She mentioned that fame used to be different; more enjoyable, a little club where enthusuiasts would know you, but you could walk the streets without being hassled.  She mentioned once being in a diner, and not having quite enough change for her sandwhich at the counter.  The man behind her paid for her; he was Allen Ginsberg!  She was amazed, and he went on to become one of her most profound mentors.  In the late 70's, when my first record Alicia was about to be released, I ran into Allen Ginsberg and Gregory Corso at the Cafe Roma in North Beach.  I introduced myself and asked him if he would consider writing the liner notes if he liked the music.  He said sure!  I had also called Herbie Hancock  (he was in the phone book in LA!) to ask if he would play on the recording.  He said that he would.  Unfortunately, my record label wouldn't pay for either.  (We are talking hundreds, not thousands, of dollars that many years ago).  I think that was when I decided to have my own label some day.

Number 61 January 5, 2011

We just spent the day on a photo shoot  with Emily Palen at Grace Cathedral.  It was wonderful to hear her play again in that sacred space.  Our photographer David Papas is brilliant, and all the crew were wonderful.  Visitors to the church would stop and listen as Emily played, and sometimes take pictures of our photo shoot.  One dear woman asked me if Emily was improvising, as she had never heard the music before.  I responded that it was indeed improvised, and that the two nights of recordings would be released presently on our Valence Records.  When I mentioned that Butch Morris is also on the label, she said that her brother-in-law is a friend of Butch's, and a big fan.  What a small world!

Number 60 December 25, 2010

A couple of weeks ago I saw the great John McLaughlin & the 4th Dimension at Zellerbach.  With Gary Husband  on keyboards and drums, Etienne M'Bappe on bass, and Mark Mondesir on drums, the group is one of the more fully realized electric bands John has had in recent years.  They play with a high degree of empathy and energy.  Like his idol, John Coltrane, John has always had an overtly spiritual aspect to his playing.  He is trying to take you somewhere.  My label, Valence Records had an ad in John's tour book, which was a thrill.  Kai Eckhardt , who has recorded The Search and Reincarnation with me, is also on The Valence Project.  And of course Kai played with John on the legendary Live at The Royal Festival Hall and Que Alegria recordings.

Number 59 December 8, 2010

Mike Stern brought a true super group to Yoshi's SF last weekend:  Dennis Chambers on drums, Anthony Jackson, on bass, and Randy Brecker on trumpet.  They have all played together in various permutations many times over the years.  And in keeping with my ideas of direct transmission, Mike played with Miles in his comeback band in the early 80's.  Dennis has played with John McLaughlin, and now plays with Santana.
Benny Rietveld, who is a dear freind and produced my record Come To Me, played with Miles for about 10 years, and has been with Carlos since Miles' passing.  The music was fresh and wild and inspirational!

Number 58 November 19,2010

Last Sunday I saw the amazing Roseanne Cash at The Palace of Fine Arts as part of SF Jazz & Beyond.  Her father Johnny Cash will of course always be one of the most important figures in American music.   When she was 14, Johnny recorded "Girl of the North Country" with Dylan, making her "the coolest girl in the world!".  When she was 18, Johnny gave her a list of what he felt were the indispensable 100 country songs, some of which are on her 2009 release, The List.  Her performance was astounding; I'd always meant to check her out, and this was the first time I heard her live.  "I wonder what the 101st song would be?" and then she did a fabulously spooky version of "Ode to Billy Joe".  It's hard to beat Bobbie Gentry's version, but she did.  Her band, especially guitarists Richard Hinman and John Leaventhal, her husband, were perfect.

Number 57 November 13, 2010

Last night I saw the legendary Placido Domingo in Cyrano De Bergerac.  Written by Franco Alfano , most famous for finishing the last act of Turandot, it was first performed in Rome in 1936, and fell into obscurity.  Placido is largely responsible for reviving it, notably in a 2005 production at The Met.  Cyrano has marvelous melodies, and it is said Puccini admired Alfano's orchestrations.  Placido is not only one of the most important opera singers in its 400 year history, he is one of the most important artists in any genre.  True to life itself, he can move from comedy to tragedy in the course of a single musical line.  The general director of  both Los Angeles Opera and Washington National Opera, he has also conducted over 450 performances.  The cast of Cyrano was perfectly balanced, and Placido's protege  Ainhoa Arteta          was breathtaking as Roxane. 

Number 56 November 8, 2010

Friday I saw Buika at Zellerbach as part of Cal Performances.  She was born on the island of Mallorca to immigrants from Equatorial Guinea, and grew up in the Gypsy flamenco barrio on Mallorca.  Her family was virtually the only black family in town.  I have written many times that all indigenous musics have many influences, and that a new world music is being formed and evolved constantly.  Buika is influenced by flamenco, fado, African pop, Afro-Cuban and salsa, jazz, and R&B.    And she sings in Spanish, Portuguese, and English.  At times her vocalese channels Miles Davis, and even Weather Report. Her backing trio were all born in Cuba, and now live in Spain.  Fernando Favier , Ivan Lewis , and Dany Noel were perfect support.  As with Mariza, with whom she has recorded, I believe she is a "must see".  Her latest recording, "El Ultimo Trago" is a tribute to Chavela Vargas.

Number 55 November 11, 2010

Last Friday I saw Bitches Brew Revisited at the Palace of Fine Arts, as part of SF Jazz.  There has been a renewed interest in electric period Miles Davis in recent years.  Yo Miles  , which dates from 1999, was probably the first revival.  Miles From India  and Marcus Miller and Christian Scott's Tutu Revisited both have musicians who actually played with Miles, to better effect.  After the successful  marginalization by Wynton Marsalis and Ken Burns of late 60's and 70's Afro-American music, including electric Miles, Sun Ra, Cecil Taylor, and Butch Morris, among many others, I knew it would take a generation for a new appreciation for this music to arise.  Bitches Brew Revisited has two musicians that Miles would have used, Cindy Blackman and the great Blood Ulmer (whose compatriot, Sonny Sharrock did play with Miles).  The rest of the band, I'm afraid, would not have been up to Miles' high standards.  In truth, none of the revival bands have the emotion or taste of the original music, because they lack the genius himself, Miles Davis.  Better to try and make some new music, as Christian Scott has set out to do.  Asked why he wasn't interested in re-creating earlier periods of his music (Kind of Blue in particular) Miles deadpanned "Ain't that why there's records?"

Number 54 October 24, 2010

Last night I saw Taj Mahal, Foday Musa Suso, and Vieux Farka Toure` play the Paramount Theater in a "Blues Meets Africa" concert as part ot the SF Jazz fall series.  All three musicians have played in the past with Vieux's legendary father, Ali Farka Toure`.  Of course African and African American musics have been cross-polinating for many years.  And music is truly color blind.  Vieux's band, with a deep beautiful African groove,  had two very young white American players:  Tim Keiper    on drums, and Eric Herman on bass, in full African garb.  Taj was very moved to be playing the Paramount with such gifted musicians. 

Number 53 October 11, 2010

Every musical instrument has its own story.  I've written about some of my guitars in the past.  I've always thought the Gibson Byrdland, with a Venetian, or soft cutaway, is one of the prettiest electric guitars.  A thin arch top, it is voluptuous and has a wide tonal range.  It has been played by guitarists as diverse as Roy Clark , Blood Ulmer, and John McLaughlin .  In August 2007 I finally decided I had to have one.  I didn't want to patronize a supermarket music store, so I contacted my friend James Casella, who owns Blue Note Music, in Berkeley.  Being a responsible retailer, he tried to talk me out of it:  "You do realize it's a 3/4 neck?" (I have fairly small hands, albeit with a very wide stretch).  I insisted, ordered a blonde with Venetian cutaway, and prepared to wait for what I was assured would be a year or more. Much to my delight James called me in October to tell me the guitar was ready.  (Gibson waits until they have several orders to do a production run.  I got lucky).  It was stunningly beautiful.  When I got it home and looked inside the f hole at the label, it read "The top, back, tone bars, and air chamber of this instrument were assembled, tuned, and the assembled instrument tried and approved October 11, 2007(signed) James W. Hutchins."  My Byrdland was finished on my birthday!  I don't know what the odds of that are, but they must be much greater than 1 in 365.

Number 52 October 4, 2010

The SF Jazz Fall season is starting, so I'll be writing a lot about music over the next weeks.  Last night the legendary Henry Threadgill played the Herbst theater with his group Zooid.  Very free and and beautiful music, not unlike Ornette Coleman in its polytonal and polyrhythmic textures.  Drums, acoustic bass guitar, tuba, cello, and Liberty Ellman on guitar.  A lot of lower register information, with the guitar on top, and Henry's alto sax, flute, and bass flute in the middle, commenting and leading.  Liberty used to live in the Bay Area, and we would play a lot of the same clubs.  He's been with Henry for 10 years or so.  For this gig he was playing an acoustic steel string guitar; it looked like an old Kay or Corina.  The last time I heard Liberty he was sounding like a modern George Benson.  This was much more "out".  Just as I play in many different formats and styles, I realize that even I tend to catagorize musicians and assume that what I hear on a given night is the way they always play.  The genius of musicians like Threadgill, Ornette, and Butch Morris is that they continually challenge and re-orient our expectations.

Number 51 September 14, 2010

History is not linear.  One step forward, two steps back, as  Lenin wrote.  From the first sound recordings to the phonograph record (some have argued that 78s and 45s sound better than 33 rpm) recordings generally sounded better and better.  With the advent of digital cds and compression, sound quality declined, albeit without the annoying hisses and cracks of phono records.  The MP3 was most likely the nadir of sound quality, and a generation or two don't really know what good sound quality is.  No less a critic of digital sound than Neil Young   has said that sound quality will improve when the sampling rate goes way up. (He's been saying this for over a decade!)  I believe we are finally turning the corner.  The Sonoma System, developed by Gus Skinas and a team of Sony engineers a few years ago, samples at 2.8MHz.  2.8 million bits a second, in contrast to the 44.1kHz of a cd.  Called Direct Stream Digital, it has the warmth and clarity of analogue tape.  Gus graciously brought out a Sonoma System for the solo violin recording of Emily Palen we did at Grace Cathedral. The DSD files can be read by several consumer level products.  Along with the 96kHz downloads that are available from most of the artists that Cookie Marenco records, high resolution music is a revolution long overdue.

Number 50 August 19, 2010

Tibetan Buddhism has a concept of direct transmission.  If you studied under a master, you have his wisdom directly transmitted to you.  If you studied under one of his disciples, you have an indirect transmission, which still can be just as valuable.  The American Dzogchen teacher, Surya Das , studied with the great Dilgo Khyentse Rinpoche.  I've had the privilege of sitting with Surya.  It has often amazed me how close the direct transmissions can be in music.  For example, I've had the privilege of playing with Ray Charles, (one night as a sub in England in the early 70's), jamming with Van Morrison and Jean Luc Ponty, and playing with Chico Hamilton.  Also with the organists Brother Jack McDuff and Jimmy McCracklin, who between them have hired just about every important guiarist you can imagine.  But what amazes me even more is how close the indirect, or just one step removed, transmisssions can be.  My dear friend Benny Rietveld, who produced my recording Come to Me, has played with Santana for twenty years, and before that with Miles Davis!  (There is a very short list of whom Benny has not played with).  Kai Eckhardt, who plays with me on The Search and Reincarnation, has played with John McLaughlin and Wayne Shorter (both of whom played famously with Miles).  And my dear Eddie Duran, who I call my root guru, played with Charlie Parker! 

Number 49 August 4, 2010

I attended the California Audio Show as a guest of my producer Cookie Marenco, and her label Blue Coast Records.  Gus Skinas brought out his Sonoma Systems recorder from Denver.  This is the same system we used to record Emily Palen on solo violin at Grace Cathedral.  I performed for a live recording session on Friday afternoon, and Emily and Jason McGuire and Keith Greeninger and many other friends of Cookie performed throughout the weekend.  It was gratifying to see how appreciative the audiophiles were of live, improvised performances.  I got the impression most of them don't go out to hear live music very often. You can listen to our performances, and download them, by going to the Blue Coast web site and registering for free.

Number 48 July 21, 2010

Today is the official launch of The Valence Project! http://www.prweb.com/releases/2010/07/prweb4274354.htm

As you can see from the press release, the recording was conceived, written, and executed in a very innovative and unique way.  I've always loved the Duke Ellington quote, that "Success is doing the right thing, at the right time, with the right people."  With Brain, Kai Eckhardt , Melissa Reese , Emily Palen,  Jon Herrera, Deborah Charles, Eamonn Flynn and many other great musicians, the vibe was fantastic.  The cover art is by Krisztina Lazar. There was such mutual respect and admiration, and enthusiasm!  Engineered and produced by my dear friend and collaborator Cookie Marenco , I think you'll agree it has an awesome vibe.

Number 47 July 6, 2010

Collaborations are a wonderful, and unpredictable thing.  Consider the new recording by Pepe Habichuela featuring Dave Holland.  Both are legends, from completely different backgrounds.  Pepe, a leader in flamenco guitar for 40 years, and Holland at the forefront of jazz since the '60s, including Silent Way    and Conference of the Birds.  Both artists are fantastic listeners, the most important thing for a musician. I had forgotten that Pepe had collaborated with Don Cherry many years ago, and has experimented with Indian music and the Bollywood Strings.  The recording is named Hands, and is highly recommended.

Number 46 June 13, 2010

Friday we saw the great Marcus Miller in a tribute to 80's period Miles, highlighting the music from Tutu.  With him were the heir to the throne, Christian Scott on trumpet, the 22 year old Alex Han on alto and soprano, Louis Cato on drums, and Frederico Gonzales Pena on keyboards.  It was a magic night.  Marcus, of course, was the producer, arranger, and composer of much of the music on three Miles recordings: Tutu, Amandla, and Siesta.  He invented a backdrop for Miles's playing as profound and complimentary as Gil Evans   did 30 years before.  I've always believed that Wynton Marsalis's attempt to marginalize the generation of great Afro American avant garde artsists who came before him, from Cecil Taylor to Ornette Coleman to my friend Butch Morris and of course Miles Davis from Silent Way on, would eventually fail.  A new generation of musicians would come along who would recognize that Bitches Brew is every bit as valid and beautiful as Kind of Blue.  (As Ralph J. Gleason's liner notes stated at the time). Wynton has already tried to mariginalize Christian Scott, but he can't.  Christian is young, black, charismatic, angry, from New Orleans, and infintely more talented than Wynton ever dreamed of being.  When first approached to do the tribute, Marcus hesitated, wondering how Miles would have felt.  He decided to use young musicians who were not born when these recordings were made, a brilliant descision.  Like all great players, Christian knows the entire history of the music, and in addition to channeling Miles, one can hear Freddie Hubbard , Dizzy, and even Louis.  And, he's rolled that into a very unique and compelling voice that I believe is the new leader of the music.  (Good night, Wynton). Alex Han, at such a young age, is completely commanding, and again has not only fully absorbed the music of Kenny Garrett , but also Charlie Parker and even Johnny Hodges, as was apparent on a beautiful duet with Marcus, who played bass clarinet, on Prelude to a Kiss.

Number 45 June 4, 2010

Tuesday I saw the great Pat Martino at Yohi's SF. Pat is a living master of the music; one of the musicians like McCoy Tyner , Jeff Beck, Ravi Shankar, Ornette Coleman, and a few others that I see whenever I can.  This gig featured Tony Monaco on Hammond B3, and Jason Brown on drums.  Pat's website is a wonderful resource for guitarists.  Like all great musicians, I believe Pat can touch people who don't normally listen to this kind of music.  From the stage he told an anecdote about introducing Les Paul (at whose house he was boarding) to Wes Montgomery between his sets when Pat was 17 or so.  Wes told Les that he was one of his two biggest heroes, along with Charlie Christian.  After his gig, he went back to Wes's club, and Pat, Wes, Les, and George Benson and Grant Green all went out to breakfast at 4 AM!

Number 44 May 28, 2010

Last Sunday I went to a memorial benefit at the Spreckles Center in Rohnert Park for the great luthier Taku Sakashta, who was tragically murdered a couple of months ago.  Many of my luthier friends were there, including Al Milburn and John Mello.  I had approached Taku through mutual friends, Al and Yukimasa Kasuya about ordering a guitar last year, but Taku was very booked up.  The benefit had performances by The Black Market Blues Band, which featured my friend Joe Mloganoski, who co-owns Two-Rock Amplification, and Eric Gales, not to be confused with the late, great Eric Gale.  Tuck and Patti, who live in the area, and who I haven't seen in years, moved my friend Krisztina Lazar to tears.  The headliner was Robben Ford, with special guest Boz Skaggs, both of whom were playing Taku's guitars.  It was a very beautiful and fitting tribute.  Our time on this planet is very short, and I realized some years ago that whether we live to be very old, or die young, it is how we live, and that we live, that is important.

Number 43 May 17, 2010

Sonny Rollins last Thursday at Zellerbach as part of Cal Performances was fantastic, as always.  His first solo was a monumental 10 or 15 minute sermon that is tied for the most amazing display of energy and emotion I've ever heard in person from a sax player.  The other solo was just last year by Kenny Garret with The Five Peace Band and Kenny is half Sonny's age.  A living master, a genius, and one of the last living links to be-bop and hard-bop (musicians rightly never like labels, but Sonny invented the post be-bop sensibility) every show is nothing but the truth.   Kobie Watkins on drums was one of the most dynamic and manaically driving drummers I've ever seen, and reminded my of Al Foster's work with Miles and Sonny.  He had the entire auditorium pulsing.  With the ever steady and groovey Bob Cranshaw on bass, and the percussionist Victor See-Yuen, each tune had a perfect groove that made the 90 minute set seem like one short tune.  One of the secrets of Sonny's artistry, (and Miles') is that at heart the tunes are simple, even though the virtuosity is high.  A modal tune, a blues, a calypso, a standard.  Quotes from nursery rhymes.  I once heard him play a version of "How Are Things In Glocca Morra?" that I sing in my mind almost every day.  See Sonny Rollins while you can! 

Number 42 May 14, 2010

Another week of great and varied music performances.  Last Saturday night I saw Laurie Anderson at Zellerbach Auditorium.  I've seen Laurie many times, and she is always witty, thought provoking, and profound.  This piece, Homeland, was partially commissioned for the Vancouver Olympics and also by Cal Performances and BAM.  As with most of Laurie's pieces, it was multi-media, with computer and video driven projected images, an electronic score, and two jazz sax players wailing away behind back-lit screens.
Laurie made use of her by now familiar electronically altered voice.  Often used as a wry voice of mail authority, she stated that in this piece she wanted more of a dialogue between that voice and her own.  It's often easy to overlook what a wonderful violinist she is.  The piece was partially inspired by the recent death of her mother.  Very few artists can range from pathos to humor to political outrage in 90 minutes, and have it all somehow work.

Number 41 May 11, 2010

Last Friday I saw George Winston at Grace Cathedral    Emily Palen, who we recorded At Grace in January, attended the concert with me, and was very inspired.  After the concert our friend Brian Martin introduced us to George.  During the show George spoke of his influences; Vince Guaraldi, all the great stride pianists, and The Doors.  He played pieces by Vince, and ended the concert, before the encore, with Riders on the Storm.  He also played a solo harmonica piece, and a slack key Hawaiin piece on acoustic guitar.  His demeanor is very warm and humble. He invites a local action group to each of his events to raise money, for San Francisco it was St. Anthony's.  While my tastes lean toward the more adventurous, he is very inspiring in that he has followed his bliss, to paraphrase Joeseph Campbell, and plays from the heart. 

Number 40 April 29, 2010

Charles Lloyd at The Palace of Fine Arts as part of SF Jazz this last Sunday was magical.  He is one of my biggest musical influences.  I realized years ago that many of the open voiced major ninth chords I love to play, and which are unusual voicings for a guitarist, come from Keith Jarrett's work with Charles' early quartet.  The current quartet, with Reuben Rogers on bass, Jason Moran on piano, and Eric Harland on drums is perhaps his best since that fine group.  I just redicovered his first recording, "Of Course, Of Course",  with Ron Carter ,Tony Williams  , and Gabor Szabo.  Charles Lloyd was the music director for Chico Hamilton when Gabor was in the band.  I had the priviledge of being in Chico's band in 1979 and 1980, and I was flattered that I reminded him of Gabor.  It amazes me what a direct link there is between musicians.  Along with Wayne Shorter and Cecil Taylor, Charles Lloyd remains at the forefront of pushing the music forward, something very few artists can do at an advanced age.

Number 39 April 21, 2010

I saw Pharoah Saunders at Grace Cathedral Friday.  It was interesting having recorded Emily Palen solo there in January to listen to a completely different instrument and approach.  I've seen many beautiful concerts there over the years; Don Cherry and Cecil Taylor being perhaps among the most memorable.  I've seen Pharoah many times over the years, and have always been struck by how profoundly African his sound is.  Lat night I saw Baba Maal at Zellerbach, and again am reminded of the debt we owe Mother Africa.  A wonderful feedback loop of cultures, as Baba is influenced not only by Senegale traditions but also Afo-American and Afro-Cuban music.  And the contribution of salsa and Puerto Rican rhythms are there also. On the latest Valence Project song, "I Am Shiva" I was wondering what to do for a guitar part.  And the music of Tanariwen    came to mind for the rhythm guitar part, and I was on my way.

Number 38 April 14, 2010

We are mixing a new song for The Valence Project.  It was written and recorded the way we have been working so far.  Kai Eckhardt  laid down eleven bass tracks.  Then Brain recorded a drum track, also to 2 inch tape.  While he was looping the tracks in Logic, Melissa Reese and I were writing lyrics.  We often like to incorporate several themes and even points of view.  I had been speaking with her about the origin of the words thugee and hashishin.  Also, a freind had mentioned to me that men looked at her as if they wanted to put her in a cage and own her.  We spoke of some people's need to feel betrayed. All of these ideas somehow wound up in the song, "I Am Shiva".  Our producer Cookie Marenco has been invited to be an Artist In Residence at Indaba  and will be writing a weekly blog for 2 months on how The Valence Project collaborates in the studio.  The blog will be entitled "The Art of Collaboration".

Number 37 April 6 2010

This speech was forwarded to me by my good friend Mark Baillie.  It is Greg Bennett addressing the NAMM SHOW attendees.  I think it is one of the most wonderful expositions on why we create music.

Enjoy!

Number 36 March 29,2010

Another wonderful week of art events.  Last Thursday we went to a performance piece by Krisztina Lazar at the Swell Gallery, an extension site of the Art Institute  , the REAL art school in town.  Krisztina, as you may know, did the cover painting for The Valence Project.  She was body painting and throwing herself against the canvas tacked to the wall.  Very edgey, and beautiful.  Saturday was The Merce Cunnham Dance Company at Zellerbach.  The piece was Cunningham's last, "Nearly 90" with music by John Paul Jones  and
Takehisa Kosugi.  One is reminded of the quote that "Talent does what it can, genius does what it must."
And then last night a benefit performance in a private home at the top of Belvedere for the Marin Symphony by my dear friends Caminos Flamencos.   Yaelisa, Jason, Felix and Fanny were brilliant, and stunning set against the bay and San Francisco skyline.  My only regret was missing Ralph Towner Saturday, but I guess even I can't be two places at once.

Number 35 March 20, 2010

Last night we saw Keith Jarrett at Davies Hall in a rare solo performance. I first saw Keith Jarrett in the 60's with the Charles Lloyd Quartet at the Avalon Ballroom opening for Albert King, the headliner being B.B. King. Forest Flower was a very important recording for me as a young musician, and much of my chord voicings on guitar, with widely spaced major 9/13s for example, come from Jarrett. Of course his marvelous work with Miles, and then the many ECM recordings, have been inspirational. But especially during his solo concerts the last few years, he will berate the audience for coughing, eliciting boos and jeers. His sarcastic timing is better than most professional stand-up comics (he did a diatribe in 2000 at a concert on hanging chads and the rigged election that was worthy of Lenny Bruce) but it is very disconcerting to me. At one point I thought he was about to leave the stage. Then, by way of winning the audience back, he asked for requests, and played a lovely "What Is This Thing Called Love". At the end he played five or six encores to standing ovations, an audience member shouting out that "the riff raff are gone". People do cough; at Keith Jarrett concerts and Rubenstein concerts and Horrowitz concerts. Equally as distracting are Jarrett's vocalese and foot tapping, and body contortions. I can get past those easily enough; he's done them to a lesser degree all through his career. But the insulting the audience routine has become schtick; John McEnroe screaming at the umpire, a parody of a parody, and for me it has finally come to cheapen the experience.

Number 34 March 14, 2010

Last Thursday SF Jazz hosted an event at Amnesia they call Hot Plate. It features local musicians performing tribute concerts to jazz greats. This night Peter Horvath and friends performed the 70's funk music of Herbie Hancock. Ray Obiedo, an old friend, was on guitar. Ray played in Herbie's band in the late 70's. It was a great night of music by players who have all known and played with each other for many years. I realized that many of them have recorded with me: Marc Van Wageningen (with his brother Paul on Ananda) Karl Perazzo (on Come to Me) and Peter Horvath (on Reincarnation). I suddenly realized how blessed I am to know so many wonderful musicians.

Number 33 February 26, 2010

In my last blog I mentioned the great performer Angelique Kidjo.  Another amazing artist who I always try to see is the fado singer Mariza.  I first saw her several years ago, as part of the SF Jazz Festival.  Portuguese and African, tall and so commandingly beautiful, I found myself weeping at her first notes.  To my right a couple of seats over, no less a cynic than Tom Waites, was also weeping.  The ability to convey profound and complex emotions to an audience is such a gift.  Carlie Parker, Eric Clapton, Ella Fitzgerald, all have that quality.

Number 32 February 22, 2010

I had a wonderful musical weekend. Friday we played at Café Claude, and Emily Palen joined us for two sets. She always adds a wonderful energy. Saturday I saw Angelique Kidjo at Zellerbach. I’ve seen her many times, and this was perhaps the best. Originally from Benin, she employs musicians from all over Africa; and has been influenced by almost all the major African music styles from high life to soukous, and also by American blues and rock and roll artists. A consummate showperson, she not only dances around the entire auditorium, she has the audience on stage and dancing for the final songs.

Sunday was Tinariwen at The Palace of Fine Arts as part of SF Jazz spring season. I was struck by how diverse and huge the African continent is. Nomadic Touareg tribesmen from Mali, their biography will amaze you. Guitars and bass and dumbek, with no trap set. Closer culturally and geographically to Egyptian music. I played their cd for Cookie and Brain for inspiration when we started The Valence Project. Now that I’ve seen them live, I’m an even bigger fan.

Number 31 February 18, 2010

Fear as a motivator.

Jeff Bridges was being interviewed by Charlie Rose a few weeks ago, promoting Crazy Heart. Asked if he was ever nervous while filming, he told the story of shooting a scene with Robert Ryan many years ago at the end of Ryan’s career. It was a western, and Bridges and Ryan were seated at a table for the scene. The crew had to wipe Ryan’s sweat off the table. “Still nervous after all these years Bobby?” asked Bridges. “I’d be really scared if I wasn’t scared” was the reply. “Of course I’m nervous”, Bridges told Rose. “You want to get it right”.

The great guitarist Pat Martino describes writing original tunes a few years ago. Having played standards for many years, he was afraid to write his own songs, and so he forced himself to do it. Humans maybe the only creatures capable of doing that which they fear, intentionally.

Emily Palen confided in me a week or so before we recorded her at Grace Cathedral: “I’m getting pretty scared”. Which I took as a good thing. When I mentioned the idea of a solo recital there as a cd release celebration, she said “That’s pretty scary. Let’s do it!”

The Valence Project recording was scary for me, working in a completely new, and experimental way. I think it has a great energy to it, in large part because the musicians were all in uncharted territory.

Emily Palen at Grace Cathedral

I first met Emily a couple of years ago busking in front of Niman Marcus. Her playing was extraordinary, and it seemed very brave to me for a beautiful young woman to be playing in the middle of Union Square with all the traffic and bustle. We exchanged cds, and I mentioned that I would like to work with her some time. As she was classically trained, and then moved into rock, her improvisations are very fresh to me. I saw some of her gigs with her band Dolorata, and in duo with Katie Colpitts, also of Dolorata. Emily played with my band at Yoshi’s, and was spectacular. I thought my rhythm section might intimidate her, but she was fearless, and was a big hit. And then I heard her play a solo gig at a wine bar, and was stunned. I realized that in playing in all these different settings, each song she played was a complete composition in and of itself, that could stand alone, even if the other musicians were removed. I realized it would make a beautiful recording. When I mentioned it to my producer and engineer Cookie Marenco, she was immediately enthusiastic, and suggested Grace Cathedral for a live recording.

I live about ten blocks from Grace, and walked up there several times. I wasn’t sure it would be quiet enough with the cable cars and road noise, but when we finally checked it out after hours with the doors closed, Emily sounded wonderful, and there was no discernable street noise. We booked two nights, Monday January 11, and Wednesday January 13. (There was another event on the 12th). We had to set up before 5:15 service, and could only record from six to nine PM each night. We were using the Sonoma DSD Recorder, which has phenomenal sound, and a great array of microphones.

I knew from the moment Emily starting warming up that we would get great performances. It was a very emotional first night for Emily, but she played beautifully. The second night was more relaxed, as we knew we already had a great recording, and Emily’s violin and the Cathedral became one instrument. We were using the vestry as a control room, and on the second night we were shocked to hear a piano and choir practicing above us. Fortunately the sound didn’t bleed into the Cathedral, and Emily couldn’t hear it. When we finally tracked the choir master down, he offered to not use the piano. (It occurred to me he’s probably paid by the rehearsal). It remained an irritant to those of us in the control room, but fortunately didn’t interfere with the recording, or Emily’s brilliant playing.

It was so lovely to walk from my house in the afternoon to Grace, take the crew to dinner, and then hear Emily play for a few hours, that for days afterward I wanted to walk up the hill and repeat the experience. It could be the coolest thing I’ve ever been involved in.