Friday, February 26, 2010
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.
Monday, February 22, 2010
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.
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.
Thursday, February 18, 2010
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.
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.
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