Looking after Hannah’s daughters, my nieces, Ali and Sofi, is a regular and very welcome routine that we have going on at present. It may not last long, as I know Hannah needs to change her work situation. So we’re enjoying it whilst it lasts.
Ali’s a great drum student.
I’m lending Ali a drum kit. It’s an old Premier, in pretty poor nick. it used to be my busking kit, when I did that, in days of yore! I think I need to upgrade the cymbals I’m loaning, as the ones on this kit are awful!
It’s nice teaching Ali. She’s a great kid, and a good drum student. Both Ali and Sofi are musical. Ali favours guitar and drums; Sofi, clarinet, piano, and now sax as well!
Quality time with the utterly adorable Lobster.
It’s pleasant to get out of our own environment. And it’s not too demanding. In fact it’s fun. I slept superbly last night, as well. Which is, at present, rather unusual.
We do breakfast lunch and dinner for everyone. Or rather Teresa does. I help out a bit sometimes (I even cooked a whole meal on the first visit!). But it’s mostly my terrific mrs.
This is typical scene, in Northstowe.
Today I’ve been tinkering with a guitar. I used to do that quite a lot. But I’ve lost touch with ye olde axe in the last year or two. So much so, it’s initially frustrating, discovering how much I’ve forgotten!
But it comes back relatively quickly. Not that I’m great, on guitar. I was pretty competent at one point. But that was when I played daily, which I haven’t done now for aeons. Well, whatever, as folk say nowadays. I’d just like to get back into it a bit, and hopefully enjoy doing so!
Iron Maiden didn’t trouble my recent top five post. But back in my mid-teens I was listening to them a lot. And I still do, occasionally. Power Slave was my favourite album back then, with Piece of Mind coming next. I’m not so keen on their pre Nicko/Dickinson stuff, and I haven’t followed their later releases. By which I mean everything after Live After Death!
Still, though I’m not their biggest fan, it’s nice to see them being honoured by the Royal Mail. They have their beers as well. So they’ve really gotten into the bloodstream of the nation, and now the postal service as well!
Well done fellas! You’ve earned it. Read more about this here.
PS – Not that I give a sh*t for anything to do with royalty/monarchy. Butt… shouldn’t it be Charles’ head in profile on stamps now?
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)
With the recent passing of Dino Danelli, and the icy frosted fingers of winter gripping us in their cold embrace, Death is in the air!
That made me think of the amazing talent of Michael Hedges. The above-linked YouTube video is a 1998 docu-bio, featuring interview footage, and music from a 1996 concert.
Right between this concert performance, and the release of the Artist Profile doc’ dedicated to him, Hedges died in an auto accident. It was 1997, and Hedges was only 43. What a loss to the world of art and music! Thank goodness for his recorded legacy.
I nearly called him ‘the incomparable’, but was then going to follow that up be saying ‘like a collision between Joni Mitchell, Jimi Hendrix and, er… Well, anyway, comparisons, or at least influences, can be heard. But his remains a now widely imitated style, that is, at its core, his unique extension of guitar-based music.
Hearing his soulful rendition of Bob Dylan’s All Along The Watchtower, channelled through Hendrix’s reading, and played in a Joni-esque wide and deep tuning, is really something. And then there’s all his original instrumental stuff.
I’m out doing some Amazon deliveries for a few hours later today, to top up my meagre teaching earnings. I shall be digging Aerial Boundaries and Breakfast In The Field. Even the album titles (and cover art, etc) are fab. And then there’s the music!
I have been digging the fantastic drumming of Takashi Sasaki for a while now. He was, strictly speaking, Casiopea’s second drummer. Their first drummer, Tohru ‘Rika’ Suzuki, didn’t record with the group (at least not on an officially released album). Hence Sasaki is commonly thought of and referred to as their first, as he’s the first to be heard in the chronology of their official recorded discography.
His style is light, tight, intricate and highly musical. His chops are extraordinary. With a mastery of dynamics – the range between his ghosted notes, standard hits, and accents, make his playing very hard to accurately emulate – and a penchant for a style Weather Report infamously described as ‘soloing all the time without ever soloing’.
Looks like an album cover or sleeve montage?
He can and does get busy at times, but he always grooves like a mother! Some of his fills are truly ballistic. And, occasionally, they’re almost impossible to decipher. This is particularly true of a few fills (and possibly even grooves?) on the super tasty Midnight Rendezvous.
Even using Moises to isolate the drums, and ASD to slow them down, there’s a fill at around the 3.00 mark that is doing my noggin in. I initially thought perhaps it was in fives, or something like that. But repeated listening leaves me stumped. I need to have it running as a slowed-down and visual (wave-form) loop, methinks. I’ve not tried that as yet.
My score for this is a work still in progress.
It’s taken me a good few hours to get down the first two pages of what will, I think, be a four page score. And even the fifty or so per-cent I’ve done so far will, undoubtedly, be subject to some revision.
I’ve got as far as the end of the (very tasty) guitar solo. Next up is the keys solo, under which Sasaki does some very light and intricate stuff. I’ve blocked in some of this latter section. But I’ve yet to get in there and tweak it.
Sketched out, and still needing fine tuning…
All the cats in this band are just utterly phenomenal. They play in that deliriously groovy sweet-spot, where instrumental prowess and sheer good taste, when it comes to musical choices, collide.
Once I’ve finished the transcription, I intend to learn to play the whole piece as best I can. I’d like to do a YouTube video cover of it, and share it online.
It’s funny for me, as a primarily self-taught drummer, who’s only learned to read drum music ‘on the job’. Stuff that ‘classically trained’ musos might find obvious and easy can sometimes fox me. Transcribing stuff is proving a great way to teach myself written music. Albeit I’m still dealing in timing only, and not pitch/harmony, etc.
A master at work. What became of him?
Here’s a specific example of how I’m learning on the job: there are some quick ‘crushed bounce’ style left hand-doubles – sometimes such stuff is played as a buzz; but oft-times you can clearly hear these as a double – and I initially thought, ok, just turn a single 1/16th into two 1/32nd’s.
But that just sounded so wrong! So instead I turned the ‘&-a’-notes from two 1/16ths (or more [in]accurately one 1/16th and two 1/32nd notes) to a group of three 1/16 note triples. The resultant ‘4-e-&-trip-let’ subdivision sounds and feels sooo much better. And that’s how he plays it. Learning on the job!
* Those tom angles!? They look awful… like a school-kid’s drum set up. Still, the sounds he gets, the feel he achieves, that’s the proof o’th’ puddin’. Just goes to show there’s no single right way. Each to their own!
Great near 40 minutes of Herbie and co on Danish TV, from 1976.
Personnel Herbie - Keys Bennie Maupin - Sax, etc ‘Wah Wah’ Watson - Guitar Paul Jackson - Bass James Levi - Drums
What terrific music. Such a great combination of funky groove, and jazz, with the perfect balance of instrumental prowess and structure, creating instrumental sounds that absorb and uplift. Truly music that is both high art and tasty home-cooking.
Setlist (taken from the YouTube post)
Herbie Hancock and his band perform cuts from the albums “Man-Child” and “Secrets”:
1. Hang Up Your Hang Ups (from Man-Child, 1975) 2. Gentle Thoughts (from Secrets, 1976) 3. Spider (from Secrets, 1976)
When I was running my own jazz funk group, I had all three of these tunes on my setlist wish-list. We did occasionally play some of the usual suspects: Watermelon Man, Canteloupe Island, Chameleon. And one or two less frequently covered numbers, such as Wiggle Waggle, and that one Dee-Lite sampled (I forget the title!).
Others that I really wanted to do include Actual Proof and Tell Me A Bedtime Story. Oh, Herbie! What a talent. And surrounding himself with folk like Paul Jackson, Bennie Maupin, Bill Summers, and a parade of drummers and guitarists that include the likes of Harvey Mason, Mike Clark, and of course Watson and Levi.
Wah Wah Watson’s Gentle Thoughts epitomises an era for me. I may have ‘golden age syndrome’* when it comes to stuff like this? And who knows, perhaps actually now is the golden age? Inasmuch as I can enjoy this Danish TV show that, at the time, I had no idea about.
Ah, the sheer bliss, of watching and hearing the joyous melodic grooving of Gentle Thoughts, in an expanded live version. These righteous dudes both recreate the magic of the album version, and transcend it, with the live improv’ aspects of the performance.
So, I’d like to thank Herbie and co for the music, Tim Berners-Lee for the internet, and YouTube and ‘Phazers’ for hosting/posting this. Thanks for making an everyday Saturdsy magical.
* I get this phrase from Woody Allen’s Midnight In Paris.
I grew up with J. J. Cale’s Naturally. It was in my parents’ record collection. And I always loved it. One of the first covers I ever attempted, in my early teens, was the song Magnolia, from this superb album.
We also had a few Clapton discs, including both Slowhand and 461 Ocean Boulevard. Fantastic albums! Slowhand is interesting because it features two covers by other artist that are both superb in their original versions, by their composers – J. J. Cale’s Cocaine, and John Martyn’s May You Never – and none too shabby in Clapton’s readings. And in both cases Clapton’s versions helped make the original songwriters a little better known.
J. J. Cale… gone but not forgotten.
If you want to hang out, You've got to take her out, cocaine If you want to get down, Get down on the ground, cocaine She don't lie, She don't lie, She don't lie, cocaine
If you got bad news, You want to kick them blues, cocaine When your day is done And you want to run, cocaine She don't lie, She don't lie, She don't lie, cocaine
If your thing is gone And you want to ride on, cocaine Don't forget this fact, You can't get it back, cocaine She don't lie, She don't lie, She don't lie, cocaine
She don't lie, She don't lie, She don't lie, cocaine
What do I want to say about this song? Well, first off, I love both versions. Cale’s is more personal, with his unique ‘home studio’ vibe. Clapton’s benefits from the sublime drumming of Jamie Oldaker, whose buttery smooth press rolls lend the song a whole new feel.
Jamie Oldaker performing with Clapton and co.
Also, and perhaps more controversially, I love the ambivalence of the lyrics, and their stance re the titular drug. On the Wiki page on the song Clapton says it’s a clever anti drug song. I think he’s being a bit disingenuous!
The line ‘Don’t forget this fact, you can’t get it back’ is the only cautionary caveat to what is otherwise a fairly clearly pro-cocaine line, so to speak. But it has to be admitted, as the last statement before the recurring refrain ‘she don’t lie, she don’t lie, she don’t lie’, it does subtly and cleverfully skew the up until then positive perspective.
Of all the drugs I tried in my, um… what shall we call them… wasted years? It was the only one I have no bad memories of. All the others turned from happy highs to depressing downers. But cocaine was, for me, always pure fun.*
I never got this deep into it!
Maybe it was just that I didn’t take it in the quantities rock stars and Tony Montana types did? I did that instead with weed. And that soured the experience. But, whatever, as they say these days, for some reason this song is resonating with me right now.
I think it’s high time – sorry, can’t he’p maself – I both transcribe and learn the Oldaker drum part. It’d be a great tune to teach in my drum lessons.
Clapton’s version popularised Cale’s song.
* I’m not advocating it’s use, by the way. Merely relating past experience. One of the strongest objections to its use – quite apart from the well documented hazards for users – is that it inevitably supports the brutally exploitative international narcotics trade.
I can’t believe I haven’t already posted this album!? Or have I!?
Utterly sublime! Pure unalloyed musical joy.
The YouTube video above was my introduction to Casiopea. And it was love at first sight/sound. Sadly only two or three tracks from this splendid performance are to be found online.
Like Led Zeppelin’s fabulous debut of a decade earlier, it’s the group’s brilliant drummer who kicks things off on 1979’s eponymous debut.
Bassist and co-founder Tetsuo Sakurai is clearly indebted to Antony Jackson and Headhunters era Hancock for the main spinal groove of opening number Time Limit. Horns are courtesy of Yankee-doodle fusionistas Dave Sanborn and the Brecker Bros.
After the taught and energised slap around the chops that is Time Limit, things shift down a few gears for the silky smooth boudoir vibes of Tears Of The Star. Founder member and guitarist Issei Noro plays a beautiful acoustic guitar solo, after which bassist Tetsua Sakurai shows his tastefully restrained chops, deploying a wonderful classical guitar style (fingered tremolo?) on his bass. And then the song builds to a climactic keys segment, before returning to the opening mellow vibe, to shimmer out with a smattering of sexy sax. Fantastic!
Track three Space Road starts with a more upbeat version of the groove that Tears finished with, before launching into a very energised slightly Latin-esque groove, over which the chords progress in a manner that suggest a constant rising of pitch and energy. These guys really are incredibly tight and sympathetic. Midway through Noro goes into his solo, starting with a kind of crying seagull sound that reminds me of another Jap-Fusion guitar monster, (what’s his name? The Rainbow Goblins dude… is it Masayoshi Takanaka?). For the keys solo, Sasaki goes to his cowbell. More cowbell!!! The energy is off the charts, but it’s all so controlled, and clean. Really incredible.
I think on this debut disc all compositions are by guitarist, Issei Noro. They really capture or represent a certain very bright very positive era of fusion. And on that note, we get to Midnight Rendezvous. Definitely a Desert Island Discs choice pour moi! I’m going to have to teach myself the drum parts to this sublime recording.
The groove is a masterfully balanced combo’ of simplicity and subtly challengingly nuanced feel. One of those rare and beautiful moments where everything is in perfect balance. You wouldn’t want to add or take anything way. It’s perfect! Noro’s guitar solo exemplifies this: structured, and yet excitingly on the edge, as if perfectly poised between composed and improvised. No wonder they play it more or less note for note live. Why mess with perfection?
Sasaki gets a kind of outro solo, in which he really just grooves, rather than out and out soloing. And again, it’s perfect for the song. His chops are, frankly, staggering. Once again attaining that perfect sweet spot between composition and improvisation.
Sooo ‘80s, in the best of all possible ways.
What was side two kicks off – or on CD continues – with the majestic Far Away. Strings are added to the mix here, as indeed they are on numerous tracks. The strings are credited to ‘Tomato Strings’! Whoever that was, they’re once again pitch perfect. Noro’s signature riff on Far Away is the perfect bedrock for the band to groove and solo on. And like the entire album, it’s suffused with a joyfulness characteristic of the fusion these guys make.
Swallow sees the tempo raised again, Sasaki’s drumming simultaneously ballistic and yet tightly focussed, restrained even. Astonishing! And like every instrument on these recordings, his kit – drums and cymbals – sounds utterly perfect. I’d love to know exactly what cymbals he plays. They have a sound I want to be able to emulate/recreate.
They reach a pitch of ballistic bombast in this track, just before Sasaki’s brief but powerful drum solo, that captures the intensity of their live performances. What an incredible band! Awesome is a much overused and abused term these days. But it’s just right for these dudes.
The penultimate track is the only number to feature vocals. And, like everything else here, they’re absolutely terrific! Kind of makes you wonder why they didn’t have more vocals in their music? But really they are an instrumental jazz fusion outfit. So their instruments do the singing, by and large. But it’s interesting to note that they could sing, and beautifully. Noro even goes a bit Benson, delivering a tasty scat’n’axe solo.
The album finishes, all too briefly, clocking in at under 40 minutes, on another atomic fusion bomb, Black Joke, the other track from the 1979 live performance viewable – see video above (warning: humongous bass solo alert!) – on YouTube. Phew!!! What a magical excursion to a land of musical waves, mountains and exquisite cherry blossoms!
What a band! Minoru, Sasaki, Tetsuo and Noro.
Although I’m primarily a drummer, and totally dig the brilliance of Takashi Sasaki’s jaw-dropping performances throughout this album, props have to to every single person playing on this utterly magnificent album. And Black Joke signs off just as they started, all cylinders firing in beautiful concert.
Minoru Mukaiya’s keys are note perfect, the selection of sounds, from mellifluous Rhodes to funky synths capturing a period vibe that to me is pure heaven. Tetsuo’s bass playing is muscular and lithe, light or heavy, and – like everything else here – pitched to sublime perfection. Band founder/leader and chief composer Issei Noro is on blinding form. Whether he’s shredding, or laying down the greasiest fonkiest riffs, he’s always bang on the money.
And Takashi Sasaki? Well, as I’ve already said numerous times above… words fail me. Drumming attains musical perfection sometimes. And this is a case in point. There are a few albums – LeRoy Hutson’s mid ‘70s stuff – or tracks (Herbie’s Actual Proof, Jackie Wilson’s Higher and Higher, Toto’s Georgy Porgy) – and this, which attain a peak of perfection I can only be dazzled by and forlornly dream of aspiring to.
If you dig the first Casiopea album, as I do, you’ll want their second, Super Flight (pictured above) as well. It’s the last to feature the sublime drumming talents of Takashi Sasaki. Or would that actually be Mint Jams? The latter sees the arrival of the very talented Akira Jimbo. But it may also feature Sasaki on some tracks.
This disc sees the arrival of new drummer, Akira Jimbo.
Footnotes
Fans of the line up that recorded Casiopea’s first two albums, with the astonishingly crisp, precise and lightly deft drumming of Takashi Sasaki, might enjoy this recording, by keys player Tatsuya Kohima, which features the Casiopea lads as session backing band.
Wow! An absolute monstrosity. Led Zeppeloid, at their Titanic swaggering best. With a fuzzed out riff that is pure Valhalla. The power trio of Page, Jones and Bonham, with Plant as hoodoo shaman, stride across continents in shining iron bellbottoms, their sloshing wake a tsunami that drowns entire nations in 100% proof rock’n’roll.
And what amazes me. Nay, astounds me. Is that despite all the trappings that might make for a very dated sound, the energy is so massively ‘in the present’, it sounds as fresh today as it ever did.
People often think of Whole Lotta Love as The Zep’s totemic riff Leviathan. And of course, that’s a fabulous track as well. But there’s something about the joyous elastic bounce of the How Many More Times riff that transcends almost all ostensibly similar rock music.
A stone cold soul classic. Could this be what’s sometimes known as a ‘banger’? A one riff wonder: eight chugging bars of solid uplifting soulful grooving. Jackie Wilson sings his heart out. Just as he did his whole life, literally singing himself to death, onstage…
Some versions, such as the one YouTube offered up in ‘first place’ when I searched for the song itself, sound like they’ve had parts replaced with synthesised parts… Sacrilege!!!
The rather silly ‘fly guy n gal’ video, at the top of this blog posts, at least preserves the original sound. With the slightly out of tune guitar, in all its effervescent glory.
The guitar part.
The bass riffs.
I plan to record a version of this number myself, at some point. With me playing all the parts. Or at least all the parts I can. The lead vocal is a very scary prospect ! And do I do ye horns a capella? Or do I get some real horns recorded?
All such shenanigans will have to wait on getting a new computer and up to date DAW software, as my poor ol’ Mac is ailing, and can no longer even run Logic! A terrible state of affairs.
LYRICS
Your love, lifting me higher Than I've ever been lifted before So keep it it up Quench my desire And I'll be at your side, forever more
You know your love (your love keeps lifting me) Keep on lifting (love keeps lifting me) Higher (lifting me) Higher and higher (higher) I said your love (your love keeps lifting me) Keep on (love keeps lifting me) Lifting me (lifting me) Higher and higher (higher)
Listen… Now once, I was down-hearted Disappointment, was my closest friend But then you, came and it soon departed And you know he never Showed his face again
That's why your love (your love keeps lifting me) Keep on lifting (love keeps lifting me) Higher (lifting me) Higher and higher (higher) I said your love (your love keeps lifting me) Keep on (love keeps lifting me) Lifting me (lifting me) Higher and higher (higher)
Alright… I'm so glad, I've finally found you Yes that one, in a million girls And now with my loving arms around you, honey I can stand up, and face the world
Let me tell ya, your love (your love keeps lifting me) Keep on lifting (love keeps lifting me) Higher (lifting me) Higher and higher (higher) I said your love (your love keeps lifting me) Keep on (love keeps lifting me) Lifting me (lifting me) Higher and higher (higher)
Now sock it to me Hold me, you're my woman Keep my love going Higher and higher I said keep on lifting Lift me up mama
Yesterday I finally ‘finished’ transcribing the drums. It’s currently very hard to do that, currently, as I don’t have any software in which I can easily loop and/or slow down stuff. Or, rather, what software I do have I’m not so au fait with it. Net upshot, I’m not able to easily loop sections.
Finished is in inverted commas above, because under the circ’s, it’s as finished as I could make it after a few hours of cabin fever screen-burn-out! I may have to tweak it a bit,* as I both learn to play it myself, and teach with it.
To remedy these transcription issues, I just shelled out (poss for a second time?) for the full version of Amazing Slow Downer, an app by Roni Music. Poss’ one of the best most accurately named apps ever!? £12.99, at the time of my purchase.
Combined with Moises, which I will probably also wind up buying the full version of, I can isolate the drum tracks (or other elements), and slow them down, etc.
These are two great apps that I thoroughly recommend to all budding and long in the tooth musicians alike.
* For starters, there’s a very subtle and tasty little drum fill, rather buried in the mix, at about 1:36-7, which I really must cop! And it’s only really possible to hear it once everything but drums are removed, using Moises.
