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!