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.

Number 29 December 23, 2009

Sunday the 13th I saw The Kronos Quartet at Hertz Hall with a special appearance by Joan Jeanrenaud, who left the quartet ten years ago. She played with them on the Vladimir Martynow piece Scubert-Quintet (Unfinished). Commissioned by Joan, the piece is essentially Martynow’s “take” on Schubert’s long flowing lines. It was lovely to hear Joan with the Kronos again. After the intermission, the new Kronos, with Jeffrey Zeigler on cello, performed Transylvanian Horn Courtship, by Terry Riley, who was in attendance.

The piece was performed by the Kronos on Stroh instruments which have horns attached as resonators. Stroh violins were invented before microphones to amplify the acoustic violin, and have a midrangey almost sitar-like buzz to them. These instruments were designed to sound a fifth lower than concert at Riley’s request. He has written 25 pieces for Kronos. Whether one likes his music or not (and I do) Riley is a consummate writer for string quartet. I’ve always admired the Kronos for building their own audience and careers from the ground up.

Gregory James

Number 28 December 7, 2009

Why I’m changing the name Rogue Records to Valence Records

I started my own label, Rogue Records, in 1981, after having been on the Inner City label out of New York. To me Rogue represented rebellion, and also possibly the Rogue River. From time to time, other Rogue Records have surfaced. (One, an LA punk label with an elephant logo, sent me nasty letters 10 or 15 years ago for a few months, until they went out of business). Recently I’ve noticed a few Rogue Records around the world. They must not do very thorough internet searches. Because I’ve been in international commerce with the name for over 25 years, my attorneys are confident I would prevail in any legal proceedings. But the name seems tired to me. The eighties to me were about rebellion; I see the 21st century as about collaboration and co-operation. But the final straw for me is the title of Sarah Palin’s book, “Going Rogue”. I will not have my record label name associated with a woman who shoots wolves from helicopters for sport. Hopefully the former governor and her husband the first stud will take their royalties and retire.

Gregory James

Number 27 December 1, 2009

“Steal from everyone but yourself” Igor Stravinsky

How ideas travel. A couple of years ago Paco de Lucia released Cositas Buenas. Like Miles, Paco has changed the way players think about the music several times, and I always buy his recordings the minute they come out. It’s a marvelous record, as his records always are. Imagine my delighted shock, when the last track, Casita Bernardo, has a trumpet line that repeats the melody of my tune Jeanetta (from my Ananda recording) note for note throughout the tune as the main hook. I like to think I have a pretty healthy ego, but I don’t have a picture of Paco buying 15 year old Gregory James cds for inspiration. Then I noticed that the trumpet player (with the exception of some orchestral recordings, I don’t believe Paco has used a trumpet in a small group setting) is Jerry Gonzalez. Jerry is a New York avant-garde jazz player. The trumpet player on my recording Jeanetta, is Ron Miles, also a modern player who has recorded with Bill Frisell and has several recordings under his own name. My thinking is Jerry probably heard Jeanetta (which has overtones of the flamenco toque taranta) years ago, and somehow the melody stuck in the back of his mind. Many years later when asked to play over a similar harmonic structure (albeit a rumba), the melody came back to him. Again, I was delighted. I probably picked up the melody from somewhere myself.

Gregory James

Number 26 November 30, 2009

“Success is doing the right thing, at the right time, with the right people” Duke Ellington

I’ve spoken before of my dear friend, the brilliant composer/conductor Butch Morris. http://www.conduction.us/ Butch comes from the jazz tradition, and played with Steve Lacey in Paris, among many other legendary improvisers. For 25 years he has been performing what he calls conductions. Working with symphonies (largely in Europe) improvising musicians, even spoken word ensembles, Butch directs various members of the group to play, to repeat passages, to lay out, etc. using hand signs, as a conductor. The result is a fresh, spontaneous, performance that builds and follows its own internal logic. (These are my descriptions, Butch has a very developed methodology, and is writing a book on his conduction methods.)

While Butch is the foremost practitioner of this, it is not without precedent. Count Basie (especially in the early days in Kansas City, before the pieces became codified in recordings and countless gigs) would signal a horn section to improvise a riff, and would then signal other sections of the band to comment on, or repeat, variations of the riff. In the Count’s band, he would usually start with piano, then bass and drums, and the tunes would build in volume and density (think One O’clock Jump). My record label (I will be changing the name from Rogue Records to Valence Records, more on that shortly) will be releasing some very important work of Butch’s in the new year.

Gregory James

Number 25 November 27, 2009

More reflections on the great fall SF Jazz Festival this year. I had the privilege of taking Butch Morris to see Ornette Coleman at Davies Symphony Hall. A legend himself, Butch holds Ornette in such high regard that he told me a standing room ticket would be OK if that was all I could find. Fortunately there were still good tickets available. Ornette of course is one of our living masters, and I’ve had the good fortune to see him many, many times, in many settings. The last few years has been with two acoustic bass payers, and his son Denardo on drums. Like all true masters, Ornette craves change, and this group had an electric bass, acoustic bass, and Denardo. The electric bass player was in the higher register; almost guitar-like, which gave the group a little more open sound.

Perhaps because I’ve entered a new level of understanding, but a few years ago Ornette started to sound “inside” to me. Still fresh, and strange and beautiful (to paraphrase Jimi) but very much like “home”. (In truth, the Prime Time band of the early eighties, with Blood Ulmer, Berne Nix, Jamaldeen Tacuma, another bass player and drummer, plus Denardo, was SERIOUSLY harmolodic).

“The Shape of Jazz to Come” and “Out to Lunch” and “Conference of the Birds” all seem rooted in the blues to me, if not overtly. It’s been said that Charlie Parker played the blues over ballads, and ballads over the blues. This night Ornette would occasionally start a melodic line on alto, and finish it on trumpet or violin. It was a triumphant concert in Ornette’s 80th year.

Gregory James

Number 24 November 16, 2009

I’ve mentioned that there is a tremendous crop of very talented young artists and performers. The SF Jazz Festival had Esperanza Spalding a couple of weeks ago. I knew she was very talented, but as is often the case, didn’t realize how extraordinary she was until I saw her live. Her acoustic bass technique is fantastic, and she simultaneously sings very imaginative and daring vocal lines. I’ve been saying it’s like hearing Betty Carter and Ron Carter at the same time. It’s as if no one ever told these young people what was impossible.

The next night we saw Pat Martino. Rightfully a legend (I’m very proud that I also played with Jimmie McCracklin and Brother Jack McDuff) he’s always fresh and inspirational too me. He has a very unique philosophy on the fret board, which he explains in The Nature of The Guitar. His website is well worth visiting. I like to get instructional dvds of my favorite players, just to see how differently they see the instrument. Pat is very geometric, McLaughlin is of course modal, and Robben Ford is very vertical, with wonderful whole tone and diminished seasonings. Sophisticated blues, as Robben says. Miles was certainly happy with him.

Gregory James

Number 23 November 11, 2009

This has been an extraordinary SF Jazz Fall Festival. John Handy was presented with the Beacon Lifetime Achievement Award and gave a concert. “John Handy recorded live at The Monterey Jazz Festival” in 1965 was a very important record for me, as was “Forest Flower” the Charles Lloyd Quartet live at Monterey in 1967. In those days the new artists were showcased on Sunday afternoon, and if you made a splash, you had a career. John had the original rhythm section of Don Thompson and Terry Clarke with him for the SF Jazz concert, along with a drummer I’ve been very privileged to play and record with, Deszon Claiborne. It was marvelous to hear Deszon play with Thompson and Clarke on Spanish Lady. Again, the connections through musicians, what Buddhists call direct transmission, always amazes me. There is my dear friend Deszon, a few feet away from me on stage, playing with one of my major heroes.



Gregory James

Number 22 November 7, 2009

My engineer/producer Cookie Marenco mentioned to Butch Morris the other week that I go to more concerts than anyone she knows. I have been blessed with seeing all kinds of amazing performances since childhood. From musicals to opera to jazz to blues at The Fillmore West. I subscribe to SF Jazz Festival, The SF Opera, and Cal Performances, among others. The Bay Area is an amazingly rich place for performance art; rivaling New York. This year’s SF Jazz Fall season is exceptional. Thursday the 29th was Ravi and Anushka Shankar. I’ve been going to Ravi concerts for over 40 years, and have seen him many times. He is the ultimate musician to me, and Anushka is well on the way. At age 89, his energy and speed have been in a bit of a decline, but this was the best I have seen him in many years. It was one of the top 3 performances I’ve ever seen, and one of the other two was also Ravi. Later that evening I got to see the paintings of Krisztina Lazar. I think she is brilliant, and I realized one of her paintings would make a great cover for The Valence Project. You can check out her art and design projects at www.transcendentbird.com

Gregory James

Number 21 October 25, 2009

I left off the last blog with the notion of going to see the percussionist Rachael Bouch’s band Locura. I saw them last night and was absolutely blown away. They are influenced by Lila Downs and the trip hop flamenco jam band Ojos de Brujo. Just wonderful high energy music with a great rhythm section, and great tunes and vocals in Spanish. They’ve been together 5 years, and have their own tour bus. Which brings me to the subject of this blog: mentoring is a two-way street. The American Masters series on Joan Baez has a wonderful conversation with Dar Williams. Joan mentions that mentoring has to work both ways; you should learn from the person you are mentoring. This last week I worked with Rachael and the young alto player David Bullers. I don’t know if they learned anything from me (the art of non-rehearsal) but I certainly learned from them. I learn from the young violinist Emily Palen. And now that many, if not most, of the musicians I’ll be playing with are younger, I’ll have a lot of learning to do!

“Ah but I was so much older then, I’m younger then that now”
- Dylan, My Back Pages

Gregory James

Number 20 October 24, 2009

A lifetime in music

Those of us who play, or listen to live music a lot, live for the magic moments. When Anoushka Shankar at the age of fifteen came out on stage with her father, how could I have guessed she would already be his equal as a performer. The critic Leonard Feather was asked what his most memorable night of music was. He said that after a Charlie Parker/Dizzy Gillespie gig on 52nd Street, they hopped in cabs and jammed at some joint in Brooklyn until daylight.

Years ago I walked out of a smooth jazz show at The Great American Music Hall, desperate to hear something real. There was a club called Milestones (before the 89 quake) south of Market. It was John Handy’s gig, and sitting in with him, just out of prison, was Hank Morgan. I have never, before or since, heard bebop so alive. They were playing the music of their youth.

In Paris in July 1994 (the French were celebrating D Day – it was amazing to be treated with reverence just for being an American) I decided to catch the last night of Antonio Hart, who was playing a small, but air-conditioned club just next to my hotel. There were a few Japanese businessmen. And Betty carter sipping cognac at the bar. Around midnight Antonio asked Ravi Coltrane, who was just getting started in the music business, to sit in. Then they asked Betty up, and she in turn asked her young pianist, Jackie Terrason to the stand. They played for hours, for the shear love of the music.

Greg James

Number 19 October 24, 2009

Discovering the New

The greatest joy to me in music is discovering the new, and discovering new artists. Friends took me to see Rob Rhodes the drummer this week, and playing with him was the brilliant young guitarist Terrence Brewer, who I had been meaning to check out for some time. After their sets a reggae funk band set up in the other room, named NIAYH. It stands for “Now is all you have”. They were fabulous, and I bought cds for myself and my friends. Completely different music than the jazz trio, but wonderful. In my last blog I mentioned the violinist Emily Palen. She plays in the band Dolorata, in a duo called The Royals, in a country blues band The Goldenhearts. She also improvises as a solo violinist. As she comes from a classical, and then blues and rock background, it sounds very fresh to me. I believe she may bring something very special to the music world, and I admire and learn from her fearlessness.

Last night I played a gig with my dear friend Alex Popovics on bass, whom I’ve played with for 30 years. The alto player, David Bullers, I discovered jamming in a club near my house, and the percussionist, Rachael B, I heard recently with my friends Caminos Flamencos. Only Alex and I had played together before. No rehearsal (why rehearse when you can gig, I like to say). I knew it would sound good, as the players are all excellent and listen, but I didn’t know how good it would be. By the second set it felt to me as if we had been a band for years. Tonight I’m going to hear Rachael B’s band Locura.

Gregory James

Number 18 October 20, 2009

“I’d prefer not to think so.” Richard S. Fuld, Former CEO of bankrupt Lehman Brothers, in congressional testimony, when asked if he thought Secretary of the Treasury Paulson, a former CEO of Goldman Sachs, had intentionally allowed Lehman to fail because of the rivalry between the two firms.

OK, Cookie, this blog is for you. I should mention that for some years Goldman was my investment banker. I’ve mentioned the Shock Doctrine earlier as a must read. The reason that booms, and busts, and bubbles and scams and cowardice and bravery are enacted cyclically in markets lies in the fact that human nature hasn’t changed. The two great motivators in markets are fear and greed, with fear being an even stronger force. Which is why markets crash faster than they go up. The Crash of ’29, by John Kenneth Galbraith is also indispensible reading. (Goldman played a major role in the crash). The head of the NYSE displayed great bravery the week of the crash, openly buying for his own account on the floor, only to be convicted of embezzlement some years later to support his lavish lifestyle.

Fast forward 75 years, and Stan O’Neil walks from Merrill with a $160 million severance after having ruined the entire company with the aid of little more than a dozen derivative traders. (I can’t remember what Thain walked with, probably only $50 million). Ken Lewis will forfeit this year’s pay, and leave B of A with $60 million (and I imagine he feels victimized). And yes, a year after being saved by TARP dollars, Goldman is in the black and the bonus pool is looking good. It wasn’t until this year that I fully understood why the Federal Reserve was created in 1913. To protect the banks, not the depositors. History will record this as one of the largest wealth transfers of all time. And it’s from the tax payer, and little guy, to people who were already fabulously wealthy. (Andrew Carnegie actually thought the wealthy should have all the money, as they spent it more wisely). Joseph Cassano, head of financial products for AIG in London, was formerly with Drexel Lambert, and walked with millions just before Drexel was shut down. 20 years later, after having made hundreds of millions at AIG selling what would become worthless CDO and CDS’s to greedy regional European bankers, he’s actually paid a few million dollars a month in his final days at AIG to try to help unravel the mess he made. If you’d like one villain for the world-wide credit crisis, he’ll do nicely. He should have gone to jail for the Drexel crimes. (More on those, perhaps later). On a brighter note, The Ascent of Money by Niall Ferguson, is brilliant, entertaining, and somehow even uplifting, in its portrayal of the rise of civilization.

I’m going to re-read Das Kapital this year; the preamble on the value of commodities is almost mystic, and a favorite of hedge fund managers (those presumably still out of jail).

Gregory James

Number 17 October 19, 2009

“A lot of musicians worry about protecting what I call their musical foundation. They want to be on their Ps and Qs on stage, put their best foot forward, play their best runs, their best and try to impress people. But I’m at a point where I’m just going to say “To hell with the rules” That’s all I’m doing with the music now. I’m 76, I’ve got nothing to lose now. I’m going for the unknown”. Wayne Shorter

It’s no coincidence that Wayne Shorter played with Miles. Miles, who once fired a sax player he heard through a hotel room door practicing hard bop lines he intended to play that night. Miles, who could change what a band was playing by what he was NOT playing; just by listening. “I pay you to practice on stage” as Miles said to Coltrane.

I saw Dylan at The Greek Theater last week, and Wayne Shorter at Zellerbach Saturday night. There are some artists I see whenever I can. I’ve been going to Ravi Shankar concerts since I was 15. McCoy Tyner, Dylan, Eric Clapton, Shorter, Mariza. I saw Miles many, many times. Benny’s first show with Miles, he was shaking on stage. Miles had him take the first solo. It was a little rough, but the groove was fine after that. Bobby Scott (A Taste of Honey, One Is the Loneliest Number) once told me he’d rather listen to 5 minutes of Clapton than an hour of most other music. “Because at my age, I don’t have time for anything but the truth”. I saw Miles’ second to last show. A completely new band, very dark and moody. He was getting ready to do something new, that would doubtless frustrate his recent fans. My newest musical discovery, Emily Palin, busks on the street in front of Niman Marcus. She plays in a lot of different bands and contexts. I realize what I find so inspiring about her playing is that she is fearless. I think Mr. Shorter would appreciate her.


Gregory James

Number 16 October 19, 2009

“We never change the arrangements. Now we might change the tempo…” Bob Dylan

“You know why I never play ballads anymore? Cause I love to play ballads” Miles Davis to Keith Jarrett, after a disastrous attempt at Stella By Starlight with one of his late 60’s groups.

What separates good artists, even ones we love, from great artists (even those we don’t) is an almost insatiable desire for change. In an interview a couple of years ago, Dylan gave that hint as to perhaps how he is able to disguise some of his best known tunes until he’s halfway into them. And I thought, I should try that! But do I have the nerve to play one of my tunes at half tempo, or double time, so that my audience won’t recognize them?

Keith Jarrett hated electric piano, but he played it for Miles, because that’s what Miles wanted, and Keith loved to play for Miles. The fact that Miles would consciously give up playing something he loved, to make sure he changed, seemed an act of great bravery to Jarrett. When asked why he didn’t play All Blues, and other gems from the 50’s, Miles replied, “That’s why there are records”.

I’ve frustrated some friends in that I often don’t play pieces from the last record. In truth, as there is usually about a year lag between the recording and it’s release, even on my own label, I’ve often moved on to other things.

Gregory James

Number 15 October 15, 2009

“May you live in interesting times”
Old Chinese Curse

President Obama does not seem like a man easily surprised (except perhaps by his daughters). But the Nobel Peace Prize certainly must have surprised him, as he admitted. What a perfect passive/aggressive way for the Nobel Peace Committee to both praise America’s return to diplomacy, and remind us that much remains to be done. President Obama’s challenges are staggering, and simultaneous. (Roosevelt was in his second term at Pearl Harbor, and had seen the war coming for years. He came to his first term over two years after the crash of ’29, and had watched the Hoover administration’s errors). Obama faces two wars (albeit one we have decided to end) an official unemployment rate of 17% (which doesn’t include all the people I know who haven’t worked since the dot com bubble burst), a banking and credit crisis on a par with the 1907 panic, a worldwide if somewhat less enthusiastic jihad, and the possibility of instability in the nuclear armed Pakistan. Throw in Iran, North Korea, and a desperate and economically brutalized Russia. China and our economic, political, and military challengers there, must seem like a pleasant diversion. I realize I just forgot about Palestine, Israel, and Africa, particularly Sub-Sahara. His refusal to simply ignore problems (which Bush did with virtually everything ) is laudable. Even some of his biggest supporters (of which I am one) feel he should prioritize. I don’t believe he really can. They are all critical to our welfare, and survival. Oh, climate change…

Roosevelt made many mistakes, but we wisely kept re-electing him. As Bush (both of them) made me long for one term limits, I hope we will give this man the eight years he’ll need.

Gregory James

Number 14 October 4, 2009

Growing up in San Francisco, I was exposed to different cultures at a very early age. In addition to Anglo, Hispanic, and Black friends, I also had Chinese, Japanese, Korean and Philippine friends, and was very aware of their different cultures. The Persians I’ve known in the US are all uniformly intelligent, sophisticated, well educated, and polite – most of them having fled the revolution. Ahmadinejad is not the kind of guy I’m familiar with. I’m reading “The Ayatollah Begs to Differ” by Hooman Majd. He was born in Tehran, but raised and educated in the US. He has acted as a volunteer translator for Ahmadinejad, and has great insights into Persian culture and current politics. He goes to great lengths to explain ta’arouf: a Persian concept of manners that requires self-deprecation, and can become very competitive. That combined with the concept of haq, or unalienable rights, goes a ways toward explaining Ahmadinejad’s disconcerting lurches from being obsequies to arrogant.

(I used to encounter a form of ta’arouf from gypsy flamencos when I would ask them for lessons: “Oh Gregory, I couldn’t teach you anything. You are a MARVELOUS guitarist. By the way, show me The Shadow of your Smile…”

It is encouraging that in Obama we now have a president who believes in the concept of dialogue and negotiation. I read in the New York Times today that we are even approaching the Burmese regime.

I did finally find a flamenco teacher, the incredible Jason McGuire, who performs with Caminos Flamencos. Along with my friend Chuscales he is one of the best accompanists for dance and cante in the world, and is a great teacher. As Jason says, they never show you all the little rest strokes and ghost notes, that keep the playing in time. Respect the compas, as they say.

Gregory James

Number 13 September 27, 2009

“A writer is a person for whom writing is more difficult than it is for other people”. Thomas Mann.


I’m very fortunate in that I’ve very rarely experienced writer’s block in music. (In fact the only time I recall was when my friend the producer David Kahne needed a song immediately – I think it was for Jorma Kaukonen. I came up with something dreadful, I think I called it “ Not Quite Magdalena (But You’ll Do) that we both agreed wasn’t usable. I rarely have entire songs come to me out of the blue, though. Usually I’ll have a phrase, and I’ll play it for a few days or weeks or months until the next phrase comes along. I write things that are easy for good players to improvise over; often a fairly complex head with a simple modal section for solos. Although I’m facile with words and am the product of a Jesuit education complete with Latin and Greek, I’ve always felt that I was not a good writer of song lyrics. Idolizing Jimmy Van Heusen and Cole Porter (as sung by Frank) and then Dylan and The Beatles, the bar was a little too high.

But on a new band I’m involved with called The Valence Project, I’m really enjoying writing lyrics. The players are wonderful. We have Brain on drums, Jon Herrera and Kai Eckhardt on bass, and Melissa Reese and Deborah Charles on vocals. We are recording in a very unique way. Brain will record a drum pattern to 2” analogue tape (I’ll suggest rhythms; a samba, something African, something in 6/8) and Brain will then download the drum tracks to his computer and start making loops. Borrowing an idea from Dylan’s last three recordings, I’ll suggest an old blues lyric married to a modern phrase to Melissa, and we massage the words around until we have something new. Some of the songs may be about two or more completely different things. The end result is something very fresh, and yet vaguely, or eerily familiar. It’s probably the most positive creative environment I’ve been in. Everyone is excited about being involved, and there are no pre-conceived notions.

Gregory James

Number 12 September 25, 2009

I never listen to music as “background music”. I prefer to be doing nothing but listening. But, life being what it is, 95% of my listening is while driving. I still haven’t made the leap to ipod, and if I tough it out a couple of more years I probably won’t have to. I’m still an album guy, I want to hear 45 minutes or an hour of what an artist wants to say, where the artist wants to take me. I know the world has gone back to singles. My car dealer was amazed I wanted a cd changer installed in the trunk. “Let me see if we still do that”. I miss LPs; there was room for great art and liner notes. I bought my first Kenny Burrell records as an 11 year old because of the art (racy Any Warhol nudes!) and the liner notes. I figured this guy had to be serious.

I love the physicality of ordering cds from Amazon, getting the package, opening it up. They are not LPs, but they are as close as I’m probably going to get. Recent purchases have been Robben Ford Live at The Independent (I was there!) Moby’s Play, from 1999, the latest Vicente Amigo recording, Paseo de Gracia. And today, Herbie Hancock’s debut solo recording, Empyrean Isles, from 1964, and the two Boz Scaggs standards recordings, But Beautiful, and Speak Low. Of all the pop stars who have done the American Songbook (Rod Stewart being the most dismal) no one comes close to Boz. A true bluesman, he understands the music. “I improvise very little on the melody; rather, I try to coax nuance and expression out of timing and tone”. “It is the stillness we tried to preserve, a transcendent feeling of stopping time – doing nothing – and letting these great songs carry us along.” It’s taken me 40 years to learn what not to play.

Gregory James

Number 11 September 20, 2009

The Byrdland

I’ve written about instruments having their unique stories. I’ve always wanted a Gibson Byrdland (named after and designed for Billy Byrd and Hank Garland, two top Nashville guitarists in the 1950’s).

I think they are the prettiest arch top guitars ever made. They are not everyone’s cup of tea; the neck is short scale to facilitate speed and unusual chord voicing’s. A wide range of guitarists have played them over the years: Eric Clapton (Concert for Bangladesh) Blood Ulmer, Ted Nugent, John McLaughlin.

So, in the summer of 2007 (before the financial meltdown) I finally decided to order one. (They have only been available as a custom shop special order for some years). I prefer to deal with small, independent stores, so I went to Blue Note Music in Berkeley. The owner, James, is a guitarist. Bless him, he tried to talk me out of it, as many people do find the neck challenging. I ordered a blonde (of course) with a Venetian (soft) cutaway. James told me it would be 6 months to a year; they wait until they have several orders to do a run. I was delighted when he called me in December, after just 5 months, to tell me that it had arrived. It was beautiful! When I got home I looked inside the body with my reading glasses. The label stated that it had been assembled, tap tuned and inspected by James W. Hutchins, on October 11, 2007. My Birthday!

There is a good Wikipedia article on The Byrdland.

Gregory James

Number 10 September 17, 2009

Mary Travers dies at 72. David Crosby is 68. Dylan is up there. My generation started to lose icons in childhood; JFK when I was 11, MLK and RFK when I was 16, Jimi and Janice when I was 18. We are the elders now, as Surya Das says. Listening to Kind of Blue last night, it’s hard to believe it’s 50 years old, it sounds so fresh. And that just 10 years later, Miles would record In A Silent Way, and Bitches Brew. That’s like going from painting like Vermeer to Picasso in ten years. (Or like going from Picasso’s Blue Period to Abstraction in ten years, which Picasso did!). Art tells the big lie, that tells the truth, as Picasso said.

For someone who aspires to Buddhist thought, I’ve always been intrigued and horrified by the idea of impermanence. How many shared experiences; picnics, hikes, sails, are gone forever, because my friends are gone. Good times that I was sure would be repeated more than once, were in fact a once-in-a-lifetime experience.

There is apparently a section of the brain that exists solely to give us the illusion that we are in complete control (it was discovered by researchers working with head injuries). Samsara is often defined as the pain, or suffering of this earthly plane. A more accurate definition would be unsatisfactoriness. On the most beautiful day, driving down the coast with the most beautiful girl, there is always the dim, nagging thought that this can’t last. And, in fact, the only certainty is that it CAN”T last. We all die. And yet, in the realm of art, Mary Travers still shakes her long blonde hair out of her eyes in rhythm as she sings at The March on Washington, The Beatles are still witty and young as they chain-smoke their way through Hard Day’s Night, Jimi still reinvents The Star Spangled Banner. And with one note from Miles, it’s April 1959, and September 16, 2009, at the same time.

Gregory James

Number 9 September 16, 2009

We are mixing our new band recording, The Valence Project. Duke Ellington defined success as “Doing the right thing, at the right time, with the right people”. All the musicians are world class. They are excited about working together. There were no pre-conceived notions of what it should sound like, and a very refreshing willingness to do new things. And they are lovely people, one and all. In life, in art, in love, the effortless is also often the most magical. (Although there were plenty of technical and musical challenges, it was emotionally always very positive and smooth). I have an almost superstitious idea that the order in which tunes are written (if they are written in the studio, which these were) and recorded is often the best order sequence for the finished recording. We recorded to 2” tape, and are mastering to ½” tape, so the sound is huge, and warm. We feel the tunes will lend themselves to multiple remixes; there are so many good performances on each take that one would be happy with five or more versions of each tune.

Among the players are Brain (Primus/Tom Waites/Guns N’ Roses) Kai Eckhardt (John McLaughlin/Wayne Shorter/Clarence Clemmons/Garage Mahal) Jonathan Herrera (Zigaboo Modeliste/Miguel Megs)

Deborah Charles, Melissa Reese, Enrique Padilla, Baron Shul (Indigo Swing ) and the mysterious Blu Cube.

Gregory James

Number 8 September 11, 2009

September 11. The financial news networks are paying more attention to the anniversary of last year’s financial meltdown than to September 11, 2001. And, eight years later, the S&P index is exactly where it was on September 10, 2001. Wall St. (and London) nearly accomplished what Bin Laden set out to do; destroy world trade. Karl Marx himself would have been optimistic about the demise of capitalism last fall. But here we are, still functioning, albeit with probably 9 or 10 years of deleveraging and slow growth ahead. Capitalism’s ability to arise phoenix-like out of the ashes (which cost Nikolai Kondratieff his freedom and life when he came to this conclusion) is miraculous.

After 9/11 my love of Arabic culture and music was a great consolation to me. I have a saz and a beautiful Najarian oud. I play a little saz on Reincarnation. “The Ornament of the World” is a great scholarly book about Cordoba from the 700’s to 1492 (when Ferdinand and Isabella exiled the Jews). It also has the best analysis I’ve ever read of the Sunni/Shia schism. It is good to remember that there have been hundreds of years (also in Jerusalem) when Arabs, Jews, and Christians lived together in relative harmony.

Last year many of my friends were insisting I read “The Shock Doctrine”. I found it a little strident and conspiratorial. After the financial meltdown, I find it accurate and profound. One of the few things I like about myself is my ability to change my mind, and admit that I was wrong.

Gregory James

Number 7 September 9, 2009

Amps are of course as important, if not more, than electric guitars, for tone. My first amp, to go with my brand new 1966 Fender Mustang, was a Fender Princeton. (I probably should have stopped right there!) Then a Kustom 60 watt stack (loud and brittle, BUT black tuck and roll!) A 50 watt Marshall 2x12 combo in England and back in the US. And from the late 70’s, Fender Twins. A Mesa Boogie MKII in the early eighties, and then the Roland 120 Chorus for many years . I now have 62 and 63 Fender Champs. They are amazing! The 62 is in better cosmetic shape, but the 63 sounds better. I also have a Mesa Boogie MKI reissue. A few years ago Benny Rietveld told me Carlos was fond of Two Rock amps. I phoned them up in Cotati; the founder’s voice sounded familiar to me, it turned out he had been an acquaintance of mine, I didn’t know he made amplifiers. I believe they are the best sounding in the world by far and away. I have a 50 watt Custom Reverb (with 60’s Celestions in a 2x12 cabinet) and their 30 watt Jet Signature combo. I use my EC Strat with the Two Rock 50 Watt Custom Reverb exclusively on The Valence Project recording. For small jazz gigs I sometimes use an Acoustic Images amp, or an AER amp. The Acoustic Image amp is 400 watts, and weighs about 5 pounds. I’ve seen Pat Martino power two Boogie 4x12 cabinets at Yoshi’s with one. For a clean, well defined jazz sound, they are good.

Gregory James

Number 6 September 9, 2009

My first guitar was a $29 Japanese steel string Westbrook when I was 11. Virtually unplayable, but it did give me strong fingers and tough calluses. Then about a year later I got a nylon string for about $60 (I had a paper route by then) that was quite playable and pretty. A couple of years after that I got a student model Yairi for about $200, and I played that for years. After that I played Takamine nylon string guitars for about 30 years, until I started commissioning custom guitars. I went through 3 or 4 of the Takamines over the years. My first electric, when I was about 14, was a Fender Mustang. (Later to be made famous by Kurt Cobain). What I really wanted was a jazz guitar, and a couple of years later I got a Howard Roberts Epiphone. (Later to be made famous by Robbie Robertson. It actually was a better rock n’ roll guitar, but I met Howard Roberts once, and he was a very nice man). I think I traded in the Howard Roberts for cash and a Strat when I was 21 to go to London. In London I eventually got a 50 watt Marshall 2x12 combo, which I brought back to the States. In the late 70’s I had a blonde Gibson Super 400, with soundposts installed at the factory. It supposedly had belonged to Larry Coryell. I traded in the Super 4 for cash and a cheap Guild when I left NYC to go back to SF in 1980. Then a Les Paul (I forgot to mention the Rickenbacher 12 I had for a while in high school.) Then it was pretty much Les Pauls until the early 80’s, when I started using a midi-rigged Steinberger transtrem. A few years ago I got a Baker Robben Ford prototype, dubbed the RF. It’s Les Paul- like, with hollow chambers. A very beautiful instrument. I also have and Eric Clapton autograph Strat, and a Martin 00028EC. Clapton endorsed guitars are very well made.

Gregory James

Number 5 September 4, 2009

Studying flamenco under Jason McGuire, who also is a recording engineer and produces everything from flamenco to metal, the gear head in me was further encouraged. I played a Lester de Voe negra of Jason’s, and was blown away. Lester was perhaps the first American builder to be played by Paco. Lester is a lovely, gentle, humorous soul, and one of the most important luthiers of our time. I ordered a negra from him, and it is played on my recordings Come to Me and Reincarnation. By this time I was feeling pretty well stocked with flamenco guitars, when Lester mentioned he had a few pieces of the finest Spanish cypress he’s ever seen. So, I commissioned a blanca (blancas are my extra favorites) and it is featured on Samsara. Jason was fond of vintage Ramirez guitars for a while, and he found me a mint 1969 Ramirez 1A flamenco blanca. It had basically never been played, and it’s been opening up beautifully the last few years. (That is a guitar of my youth. I used to borrow a 60’s Ramirez from one of my high school Jesuit teachers for special gigs; he was always so nervous about it I stopped asking).

By this time I was determined to stop buying more guitars (I’ll mention the electrics and amps next time). Jason introduced me to Glenn Canin, who I started studying Alexander Technique with. (Guitar players have notoriously poor posture. McLaughlin, perhaps because of yoga, being a notable exception). Glenn is also perhaps the most gifted young guitar builder today. I’ve just taken delivery of a Brazilian rosewood negra with a cedar top. It is so loud, and has so much tone, it’s amazing. There is a youtube video of Jason playing Glenn’s guitars that has gone viral, for good reason. Then a few months ago, Glenn stopped a gardener hauling a cypress stump to the wood chipper. He pleaded with the guy, who finally let him haul it away. So, as a fourth generation San Franciscan, I figured I had to have a San Francisco blanca. It should be finished in a few months, and I’m sure it will have many songs to sing.

Gregory James

Number 4 September 4, 2009

Each instrument does have a story. I used to pride myself on having very few guitars, usually one electric and a nylon string classical. I’d borrow or rent a guitar if I needed a 12 string or something different. But over the last few years I have acquired quite a few, and they all have their stories. Flamenco players tend to have quite a few guitars, as the technique is quite aggressive, and flamenco guitars are built to be very light, and are usually battle scarred at an early age. So perhaps it was when I fell in love with flamenco guitars that my austerity relaxed and I started buying more guitars. The first guitar that I commissioned was actually an Abe Wechter nylon string cutaway with rosewood body and cypress top. Abe was the head luthier at Gibson, and made many famous guitars for McLaughlin, including the Shakti drone guitar, and the nylons that John played in the 90’s. I gave that guitar to Celia Malheiros a couple of years ago; it’s now been all around the world.

The first flamenco guitars I commissioned were from Keith Vizcarra in Santa Fe. Keith builds for Chuscales and Otmar Liebert, among others. The first was a blanca, delivered in 1994, and then a Brazillian rosewood negra, a couple of years later. (Flamenco guitars were almost always blancas – cypress – until Paco De Lucia introduced the darker sounding rosewood negras in the 1970’s) Paco, like Miles, and Picasso, is one of the very few artists to have changed the way other artists are forced to look at their art several times in his career. Just as Paco says he is a flamenco player who is influenced by jazz, and sometimes plays with jazz musicians, so I am a jazz guitarist, who has studied and loves flamenco. Flamenco guitars are wonderful for jazz, and many of the great modern flamenco guitarists, Tomatito, Paco, Geraldo Nunez, and the great Vicente Amigo, are heavily influenced by jazz and rock, while still retaining their flamenco tradition.

Gregory James