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?"