ART: Some Old Designs

1st Spread.

Whilst doing the initial sketches for this recent commission from Abbie and Dan, yesterday, I came across some black and white ink drawings, or sketches, that are, rather shockingly, now a decade old. That’s what this post is comprised of.

The first spread is two images that I think are actually derived from the same source. The left hand one is, I think, better/stronger, compositionally. And I’ll come back to it later in the series. The right hand one is further explored in the next spread.

2nd Spread.

I’m not sure what’s going on with the left hand image, in this second spread I think it’s still derived from the same source, but possibly, flipped or rotated? Either way, it takes the whole thing in another direction.

Both of these belong to the more diffuse all over abstraction I’ve struggled with for years now. I somehow feel they have something. Something I like and don’t want to lose. But something I can’t quite put my finger on, and that’s all too easily lost amidst ‘too much information’.

3rd Spread.

Spread three sees two ‘new’ things: the left is inspired by the drawings of Tove ‘Moomin’ Jansson, whose work I love. And it’s much more obviously representational. The right hand image, on the udder hand, sees me successfully distilling some of the preceding stuff into a stronger more succinct image/composition.

I love the sixth image of this series, and intend to do a series of prints, using it as a starting point. It’s the most reductive and simplified image to have come out of a number of related series of ideas, some of which are black and white, others (to feature in another post soon) are full colour ‘miniature’ paintings.

4th Spread.

The fourth and final spread in this series is an exploration of a different source image. This one comes from the painting below, which belongs to but is also separate from the series alluded to above, that I’ll be posting about next.

These two share an imagery antecedent that is part head and shoulders ‘portrait’, part tree, part mountains, and simultaneously wholly abstract (pictured below). Once again, I think there might be grounds for or mileage in a print series coming out of this?

This one’s up on a wall at home.

For absolutely yonks – about ten years! – I’ve thought all this stuff was ok as ‘research’, but not good enough to share. Teresa has consistently said I ought to share it. I’m finally coming around to her way of thinking. So here it is!

Some of this stuff would up framed and on display, albeit only in our home(s). As of right now, only the image above is currently adorning our walls. Though I do plant I put up more original art around the house.

MUSiC: Closing Time 50!

Very tempting!

Closing Time, 50th Anniversary limited edition double vinyl release, 2 June, 2023.

Oh how I love this album! It captures Tom in a uniquely youthful and innocent mood, less gravelly, a bit more country, and utterly wonderful.

The closing title track would, on its own, make this album essential. But there are plenty of other great tunes; from the cosy bar-room sentimentality of I Hope That I Don’t Fall In Love With You, via the Tin Pan Alley balladry of Grapefruit Moon, to the ol’ timey vibes of Ol’ 55 and Rosie.

It’s an astonishingly mature and assured debut recording. And the musical team that made it help evoke a timeless beauty drawing on a whole smorgasbord of American popular music, to craft a classic recording that’s both gently obscure and disarmingly immediate and charming.

A contemporary advert for Waits’ debut.

An essential album, reissued for über fans (like me!), in a couple of deluxe twin disc vinyl formats. I can’t justify the extravagance (although it’s not actually out for a bit!), but I’m very sorely tempted.

Overall I prefer the Tom of the ‘first phase’, ie the boho-beatnik barfly romantic and philosopher, of Closing Time through to Swordfishtrombones (and maybe even Frank’s Wild Years?) to the art house carnival freak he evolved into after that.

On Closing Time, whose moody cover art is be Zappa’s buddy Cal Schenkel, we have a sweeter, softer and smoother sounding Tom. He’s already the folksy troubadour, with a big dose of jazz and blues in the pockets of his rumpled yet earnest thrift store suit.

Waits, circa ‘72.

This album is unique in that after this awaits would produce a run of amazing recordings working with Bones Howe, a former jazz drummer turned producer, who helped craft the classic early Tom sound-world I so adore, by surrounding Waits with stellar jazz sidemen (like Jacky Sheldon, Jim Hughart and the incomparable Shelly Manne).

On Closing Time Jerry Yester produced, and the band – who are brilliantly sympathetic to awaits’ material – are less familiar names, gathered together from Yester’s musical orbit. Yester also did some superb string arrangements for Tom, on this and a few of his subsequent albums.

MUSiC: Ginger vs Bonzo

The above thumb (also a link on the FB ‘feed’) cropped up in my FB account today. I didn’t click on the link. And I’m not going to.

My immediate thought/riposte, to ‘Why Ginger Baker HATED John Bonham’? Because he (Ginger) was a dick.

Baker fancied himself as a jazzer, and held that Bonham didn’t or couldn’t swing. Complete and utter bollocks. In terms of technique and smooth execution Bonham is way better than Baker (or Moon The Loon, for that matter).

Why figures like Baker get, or got, so catty about it all is, if not a mystery, at least a shame. Why not just admit that they’re different, but both great, in their own ways?

MUSiC: CD Review – It’s The Great Pumpkin, Charlie Brown, Vince Guaraldi, 1966/2022

I’ve been digging my other Vince Guaraldi Charlie Brown recordings so much I wanted more. A bit of rooting about online revealed this as a potential next acquisition. So I pulled the trigger!

It’s an odd album compared to the other two CB Guaraldi albums (A Boy Named CB, and A CB Christmas), in that they are both quite conventional musical albums. This, on the other hand, is a collection of shorter ‘musical cues’.

So rather than an album of longer recorded pieces derived from the shorter cues used on the TV animations, these are those short musical cues. And not only that, there are many repeated iterations of the same or very similar short musical themes.

This means this disc largely comprises many renderings of a rather limited number of compositions, plus a few more singular oddments. So, for example, take that old favourite, Linus and Lucy… there are seven, yes, seven versions here! Similarly, there are five Great Pumpkin Waltzes and five Graveyard Themes, and so on.

This makes listening to the entire CD in the way you would most normal albums a bit odd. I love the music contained herein. But I’m not sure how often I’d want to sit through such a repetitive program of music.

But let’s backtrack momentarily. How did this music come down the years to us in this form? Well, the love for Guaraldi’s Peanuts/Charlie Brown themed music endures, and a kind of ‘quest in to the archives’ brought to light what had long been assumed to be lost; master tapes of the Guaraldi sessions for this Halloween themed TV special.

And it’s clear from the liner notes that this has been a passion project for lovers of Guaraldi’s great jazzy extension of the whole Schulz Peanutsiverse, so to speak. So from the perspective of musical and artistic cultural archaeology this is pure gold. Five star fare!

And really it is musically, as well. Admittedly modern mastering does reveal some of the limitations of the source material, in terms of hi-fi or sonic clarity. For those in love with Guaraldi’s CB work, this is a great treasure trove. And I’d count myself in that demographic. But nonetheless, I’ll probably cherry pick my favourite tracks/takes, and make a more succinct less repetitive playlist, rather than frequently listening to the album entirely as it is.

For these 1966 dates Guaraldi was once again in trio with Monty Budwig (bass) and Colin Bailey (drums), who had recorded CB sessions with Vince before. But that core group was further augmented by guitarist John Gray, Emmanuel Klein (trumpet), and Ronald Lang (woodwinds). Also in the studio, in a new development, was a John Scott Trotter, credited with orchestration (waving a baton while the tape rolled, apparently!).

Back to the tunes: it’s interesting hearing the oh so familiar Linus & Lucy getting reworked, and with horns. And there are a few lovely themes or pieces unique to this special, such as the achingly gorgeous Great Pumpkin Waltz, and the spooky Graveyard Theme.

Then there are some slightly odder less oft repeated things, like Snoopy and the Leaf, Frieda, Fanfare/Breathless, and a little suite of solo piano ‘oldies’: It’s A Long Way to Tipperary/There’s a Long-Long Trail a-Winding/Pack Up Your Troubles In Your Old Kit Bag/Roses of Picardy.

I’m pretty sure I read online that this stuff was released a while back in straight-off-the-soundtrack form, with sounds from the cartoon show included/intruding. Alas, I can’t recall where I read that? But mention was made that there was much grumbling about this, and a cleaned up version was in the works. I guess this must be that?

It’s an oddball CD, I guess, and probably likely to appeal most strongly to Guaraldi and/or Charlie Brown über-buffs. Whatever, as folk say these days, I’m glad I got it!

MUSiC: A Charlie Brown Christmas, Vince Guaraldi

Utterly gorgeous!

I had wanted to get this in time for the 2022 Yuletide season. But I didn’t. But, with gift voucher funds from Teresa and Patrick, I did finally get it after Xmas.

Speaking frankly, and especially as I’ve loved Guaraldi’s A Boy Named Charlie Brown for years now, I can’t believe it’s taken me over a half a century to get around to buying this. A truly terrific recording, this gets my occasional – and reserved for only the berry vest – six stars. It’s just utterly wonderful.

It’s one of those instances where less is more. Much, much more, in this case. Jazz is a musical style in which sometimes the tempos can be high, the vibe intense, and the notes hyper-abundant. This collection, however, belongs to a mellower more Chet Baker-esque jazz world. A musical universe of pretty melodies, and spare pared down playing. I love it!

And it’s not just Guaraldi’s own playing and composing that benefits from this approach. The sidemen here* are, for the most part (a little less so on one or two of the added bonus tracks at the end; we’ll get to them later), the essence of tastefully restrained.

‘Linus and Lucy’ is revisited on this recording, and is a case in point: the main theme is just piano – a beautifully rumbling train like piano – against very minimalist drumming, with the bass dropping out altogether. But the keys and drums duo sound is remarkably full. The bass appears when they go into the B-section, sometimes bossa, sometimes swing; but the vibe remains resolutely Spartan. Fantastic!

Apparently Guaraldi’s ’earthy’ style garnered him the nickname Dr Funk, on the local music scene of his native San Francisco, where he came to fame playing with Cal Tjader. And, whilst talking about learning more about this dude and his music, I’m definitely keen to find out if more of Guaraldi’s work, Schulz related or otherwise, is as good as the two Charlie Brown themed albums I now have. And to that end I intend to check out this NPR show on him:

Looks interesting!

One of Guaraldi’s drummers, Jerry Granelli, is either still going, or only recently passed. I remember watching him not long ago, online (YouTube, no doubt), including in a trio performing Guaraldi’s Peanuts stuff. It struck me that Granelli’s kit looked like an Ayotte, a Canadian drum brand of which I have a beautiful example.

Guaraldi himself passed away quite young, aged just 47. He was busy musically till the end, working on further Peanuts stuff, gigging, skiiing, and then boom… killed by a massive heart attack! Sad, really.

Back to the CD, and happier thoughts! The material is a mixture of trad Christmas stuff, from O Tannenbaum to Mel Tormé’s evergreen classic, The Christmas Song, with some Greensleeves, and a brief but beautiful Fur Elise, by Beethoven, as well as a good fistful of superb Guaraldi originals.

The liner notes to the CD are good, and talk about Guaraldi’s modest self-appraisal, and his desire to make pretty music, and be loved for it. Well, I agree with the liner notes author; you did it Vince, and we love ya!

A few pieces have vocals from a children’s choir, which just adds to the festive charm. The Choir of St Paul’s Episcopal Church do themselves and the music proud.

If you’re interested, you can read more on the Peanut’s Yuletide special here. Rather like the two page comic strip ad for the special itself, that Schulz produced (which finds Charlie Brown lamenting the commercialisation of the season), all this stuff, the music included, had a beautifully gentle and lightly wistful edge to it.

Utterly lovely! Can’t recommend it highly enough.

* Apparently Guaraldi wasn’t the best at keeping accurate records of who performed on his dates. Which has lead to some confusion over personnel credits.

MUSiC: My All Time Top 5 Albums?

For sheer innocent sentimental sweet beauty, this is a corker!

Wow!? How hard is this!? It might be easier to pick my top few artists? Joni Mitchell and Tom Waits are no brainers. After that it gets tricky.

This one is etched into my being; melancholy beauty, at its most powerfully maudlin.
But I love For The Roses as well!

This all came about when I wanted to pick a ‘top five albums’ list, to illustrate a private posting on cataloguing my CD collection. it rapidly became clear that it was not going to be easy! Perhaps not even possible?

J-Fusion at its slick funky glossy and melodic best.

If it were my current top five that’d be different. My most listened to CD right now, for example, is Casiopea’s debut(pictured above). But I’m also listening to a lot of Sons of Champlin, right now, and I’m not as sold on them as the other artists that I’m featuring in this post.

Intense, colourful, surreal, poetic, earthy. Amazing!

I know it might seem weird, but as a historic top five disc, Trout Mask Replica is definitely up there (with Lick My Decals Off in hot pursuit!). Not music I’d listen to all the time. And my honeymoons with these discs were many, many moons ago. But I have an abiding love for them.

Slabs of sound, wafting through space and time, all floating atop Leibezeit’s incredible grooves.

Can’s Future Days also has a special place in my musical heart, closely pursued by Tago Mago!).

Memories of this on constant rotation are bittersweet.

And whilst I’m thinking in the longer term, like this, then I suppose Steely Dan and Donald Fagen figure very large. Aja, Katy Lied and The Nightfly all being rave faves.

Ah, The Don. An almost perfect record!
Mad cover! Great album.

Apart from the Casiopea one, so far these are all song-based albums, of a broadly speaking Pop nature. If I were to pick some Rock albums, Thin Lizzy, Zep and Van Halen would be right up there (poss’ even Slayer’s Reign in Blood, perhaps?).

It’s close with Lizzy, ‘twixt this…
… and this. Still In Love With You is Divine!!!

Takes me back to my childhood. After Status Quo, and with far more earnest interest, Lizzy were the first group I really got into.

Likewise with Zep, is it this one…

And, thanks to both my dad, and my first drum teacher, Bernie ‘Boogie Man’ Pritchard, Zeppelin soon followed Lizzy on to my dad’s ol’ (then new!) Technics Stereo.

… or this one?

With Zep I was equally taken with all of I, II and III. I only got into IV later, and – as brilliant as it is – (Stairway alone is priceless), it didn’t have the same visceral impact the first three had.

And then there’s Jaaazz…

This was massive for me in my mid-teens. Still love it.

I could go on like this. Should I go with Caravanserai, or Welcome, for Santana? With Herbie, is it Fat Albert, Headhunters or… Coltrane’s Love Supreme is up there, as is Davis’ Kind Of Blue (or back in my late teens, ESP).

And what about Brazil? Jobim, Joyce, Marcos Valle… and on it goes!

I got lost in the deserts with this one!
This ought to be a guilty pleasure. But I have no shame!

I’m finishing with one that really isn’t anywhere near the top. But to be fair to Slayer and the album, I’ve listened to it tons. Rather like true crime and serial killers – the kind of dark subjects with which Slayer themselves were obsessed – I find it hypnotically compelling. If Van Halen’s 1984 is a ‘guilty pleasure’, this is a ‘dirty secret’!

A dirty little secret…

Anyway, I can only conclude that picking my top five favourite albums is pretty near impossible! I mean, The Beatles Rubber Soul, a biggie for me around 16-18, didn’t even get a mention ‘til right here, at the very end!

Conclusion? I can’t pick just five albums. Just too limiting!

ArT: More Gene Deitch…

The Cat… Gene’s buff, a speccy nerd obsessed with jazz!

How I feel sometimes when transcribing drum parts!
The neighbours disapprove of The Cat’s listening habits.

Non Jazz stuff…

Not sure what he’s up to here. But look at all that fab gear!

Myeah… back to his primary love, good ol’ Jazz Music!

I love this pic; bassist looks after his bull fiddle in the rain.
Ok, so I’m featuring this one again… but I just love it!
Ditto this one!

If anyone’s interested, I found this, a page with an interesting selection of record changer magazines for sale, featuring the cover art of Deitch and others.

This is one from the above linked page.
The man!

MEDiA: Gene Deitch, RIP

Gene, with sons Kim and Simon.
Fantastic!
We’ve all been here, right?
What has come to be known more recently as ‘crate digging’.

Oh no! I just posted about cataloguing my CD collection on FB. I thought I’d illustrate that post with an image by Gene Deitch, whose character The Cat was an avid record collecting jazz buff.

Deitch did some amusingly prophetic cartoons.
Haha… love this!

In finding an apt image, I discovered that Gene passed, aged 95, in 2020. I have a nice book, Cat On A Hot Thin Groove, about his illustrations for Record Changer magazine.

I bought this book about him years ago.

He also created characters like Nudnik, as well as animating such famous cartoons as Tom and Jerry and Popeye, and doing all sorts of other artistic/illustrative work. I’ve peppered this post with a few images by him I either love for their visual artistry, or their comic wit, or, frequently, both.

I got the image at the top of this post from an excellent obit’ from the NY Times, which you can read in full here.

Deitch in his Prague home/studio, in later life.
I pinched this for an Xmas card one year.
Bold abstraction meets jazzy figuration.
His Record Changer covers alone would be a great legacy.

I’ve not watched Munro (1960) – see below – yet, but as soon as time allows, I’ll be doing so (tomorrow, perhaps?*) * aka later today!

I find Deitch’s art, by which I’m mainly referring to his Record Changer and jazz related cartoons, design and illustration work, really inspiring. His mainstream animation stuff I’m much less familiar with or aware of.

But, rather madly, I’ve discovered that Deitch was also involved with one of the earliest screen adaptations of Tolkien’s writings. I love Tolkien, and I was really quite surprised to find yet another point of connection here with Gene Deitch!

As with Munro, I’ve yet to watch this Hobbit based animation. I glanced at a minute or so of it, whilst drafting this post. It seems quite a loose adaptation! But I look forward to watching it in full.

MUSiC: Nirvana, Herbie Mann & Bill Evans, 1962

I love this album!

It’s on my Xmas/birthday wish list (here, if anyone’s interested*). I think I discovered it during a brief stint when, in my mid to late teens, I worked briefly at the Cambridge Central Library, in what was then (pre Grand Arcade) Lion Yard

Around that time I was using the library’s music collection – CDs were starting to replace vinyl (I even had a back room job at the library, helping facilitate this change-over) – to edumacate myself further, particularly re jazz.

Thanks to their esoteric selection I discovered this and numerous other great recordings, such as as Alice and John Coltrane’s Infinity.

Another fabulous recording.

The only reason this is four and a half and not five stars is the poor audio quality. I’m amazed that all this time later, nobody’s done a decent remaster. This is top drawer music, totally meriting a good sympathetic sonic clean-up!

* Password protected, to keep it private! I can email the password to anyone wanting to see it…

MUSiC: Waka/Wazoo, Zappa, 50th Anniv. Set

Interesting, but…

I do love Zappa: iconoclast, relentless hard worker, experimenter, ribald irreverent wit, obsessive archivalist. I also love the breadth and depth, dependent upon that last facet of his work, of his recorded legacy.

But sometimes, and this might be a case in point, what’s happening with his bequest to history starts to seem like nothing so much as barrel scraping for financial gain.

Let’s take the video above, which gives a taster of this recent multi-disc set, celebrating the 50th anniversary of the Waka/Wazoo mini electric big band era/experiment.

It basically sounds like the rhythm section backing track, sans horns, or big band brass overdubs. I actually really like hearing the music like this. But at the same time, if lots of the tracks here are simply rhythm section run throughs or alt takes, without the ‘topping’, it’s hardly a celebration of the big band idea!

I’ve read quite a few reviews of this set that express dissatisfaction or disappointment due to the original album tracks – which most buying this set (me included, should I buy it) will already own – only being on the fifth disc, which is Blu-Ray. Many, once again myself included, won’t have a Blu-Ray player, potentially making this crucial portion of the set redundant.

The group on tour…

Here’s a complete rundown of the contents of the discs:

CD1 - Paramount Studios Recording Session Alternates and Outtakes

1. Your Mouth (Take 1)
2. Big Swifty (Alternate Take)
3. Minimal Art (Eat That Question – Version 1, Take 2)
4. Blessed Relief (Outtake Version)
5. Think It Over (The Grand Wazoo) (Outtake Version)
6. For Calvin (And His Next Two Hitch-Hikers) (Outtake Version)
7. Waka/Jawaka (Outtake Version)

CD2 - Paramount Studios Recording Session Alternates and Outtakes, continued

1. Cletus Awreetus-Awrightus (Alternate Take)
2. Eat That Question (Version 2, Alternate Take)
3. Big Swifty (Alternate Mix)
4. For Calvin (And His Next Two Hitch-Hikers) (Alternate Mix)
5. It Just Might Be A One-Shot Deal (Alternate Mix)
6. Waka/Jawaka (Alternate Mix)
7. Cletus Awreetus-Awrightus (Alternate Mix)
8. Eat That Question (Alternate Mix)

CD3 - George Duke Demos – The Master Versions

1. For Love (I Come Your Friend)
2. Psychosomatic Dung
3. Uncle Remus (Instrumental)
4. Love

George Duke Session Outtakes

5. For Love (I Come Your Friend) (Basic Track, Take 1)
6. Psychosomatic Dung (Basic Track, Take 2)
7. Love (Basic Track, Take 1)

The Grand Wazoo – Live

8. Approximate (Live – FZ Record Plant Mix)
10-Piece/Petite Wazoo – Live / Winterland Ballroom, San Francisco, CA
9. Winterland ’72 Opening And Band Introductions
10. Little Dots

CD4 - 10-Piece/Petite Wazoo – Live, continued (Winterland Ballroom, San Francisco)

1. America Drinks
2. Montana
3. Farther O’Blivion
4. Cosmik Debris
5. Chunga’s Revenge

Disc5

Waka/Jawaka Blue-ray Audio
1. Big Swifty
2. Your Mouth
3. It Just Might Be A One-Shot Deal
4. Waka / Jawaka

The Grand Wazoo
1. The Grand Wazoo
2. For Calvin (And His Next Two Hitch-Hikers)
3. Cletus Awreetus-Awrightus
4. Eat That Question
5. Blessed Relief
A fan’s archival compilation of this era.