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 have a few ‘coffee table’ art books on the subject of jazz record covers. And whilst all of them contain great stuff, none of them quite capture or distil the real magic of the best album covers as I wish they would.
This one’s actually an homage…
I think to do that they’d have to be bigger than LP-sized, and reproduce all the covers at full size. Ideally with room to spare. There’s naught worse than beautiful images that run into the gutter/spine of a book! Well, I admit, there’s a lot that’s worse. But you know what I’m saying.
How can you not love this?
This post isn’t meant to be in any way comprehensive. For starters I’m limiting it purely to one record label and one artist: Art Blakey on Blue Note. But isn’t it amazing how great these covers are? For my money they elevate the packaging to a plane very much akin to the music.
This one belongs to a weird sub-category!*
And when both music and art are sublime, that kind of sympathetic synergy is a wonderful thing, to be savoured, treasured, and just plain enjoyed/appreciated… so feast your eyes. And, ideally, put on some Blakey, and feast your ears as well!
Sublime! What a face.
In Art Blakey Reid Miles and Francis Wolff found someone who had the musical spirit they loved, plus seemingly unbounded energy and charisma, and really striking looks to boot. He’s a funny looking dude, in some ways. But he’s incredibly photogenic with it.
Fontastic.
Wolff would be busy, snapping away at recording sessions. And then later Miles would work his hyper-aesthetic design magic. The resulting package is on a par with the music, as art in its own right. And it helps lend the era/genre a hard to define but instantly recognisable vibe, both rootsy and yet sophisticated.
A typical Wolff studio portrait.
Above is the kind of raw material Wolff would provide Reid Miles with, a fantastic studio shot of the artist at work. Interestingly Wolf’s photographic estate is handled (at least in part?), by the specialist jazz label Mosaic, who might very well have taken their name – they certainly share it – from a Blakey track.
A lot of the covers use black and white photos with single colours as screening tints. And the use of typography is just phenomenal. But as the images directly above and below demonstrate. Miles could still weave his spells with full colour imagery, and more colourful font palettes.
Whether using a fuller range of colours, or going super stark and minimalist, as on Three Blind Mice (below), these covers have a tremendous power. I absolutely adore them!
Sweaty, intense and stark.
Pictured below is one of the books mentioned at the top of this post.
Also worth noting is how the Wolff/Miles house style lives on. The following images are all later non Wolff/Miles productions that clearly owe a debt to and seek to emulate (with varying degrees of fidelity/success) the classic Blue Note house style.
The above is, by normal standards, a great cover. But frankly it’s not in the same league as the real deal. The effort below is a lot better.
Another later ‘in the style of’ example.
I intend to get a body of these and similar record covers decently printed, and then frame and display them myself, both in my office/home studio, and around our home. To finish, a very early example, from back when Blue Note issued 10” discs. And this last one finds Blakey sharing the billing with another Blue Note legend, Horace Silver.
Wow! So g’damn groovy.
* I’ll prob do another separate post on the sub-category of Blue Note album covers that favour semi-abstract photos, often either out of focus, or treating imagery in almost purely textural terms.
I managed to get home early enough to catch the England Iran game yesterday. I missed the first ten minutes or so, and arrived back during what turned out to be a marathon time-out, due to the Iranian goal keeper bashing heads with one of his defenders.
This wound up adding 14 or 15 minutes of extra time to the first half. Is that a record?When I got home I knocked on our neighbour’s door, knowing he had the day off, and thinking watching the footy on the social might be fun. It was. Too much fun, in the end!
The match itself was goalless when I arrived. But, once play resumed, the goals started coming thick and fast. I think it was 3-0 by half time. Not the dull game I had worried it might be.
Saka – scored twice – celebrates.
In the end we wound up having dinner round there; I picked Teresa up at the station, and Regina very kindly fed us all. The only bum note was my excessive intake of alcohol (ah, the irony!*). I bought a couple of cases of Shipyard Ale, on a two-for-one (almost) promo’, at Sainsburys. And then drank way too many cans.
Now I’m paying for it. With a hangover, and a gassy bloated tummy. Aaargh…. How I hate being an idiot! Still, at least the football was fun.
* Qatar tried banning booze altogether, upsetting sponsor, Budweiser. I’m still not clear what the situation is! Here’s something on the subject.
Pickford and Kane celebrate.
Amazingly, with six goals, Kane – instrumental in a few of them (feeding Sterling the third goal, and Rashford, the fifth – on his third touch! – for example), and still key to our success – didn’t actually score any of them. He must have been both very chuffed at the result, and a bit gutted not to be on the scoresheet. Speaking of which:
England J. Bellingham 35' B. Saka 43', 62' R. Sterling 45+1' M. Rashford 71' J. Grealish 90'
Iran M. Taremi 65’,90+13' (P)
Taremi’s first goal for Iran was superb. His second – a penalty – prob’ shouldn’t have been given. But you can’t begrudge him or Iran their two goals, in the end. England’s emphatic dominance and victory were still more than adequately reflected in the final result.
How good was it to get off to such a good start!? Amazing.
And, amidst all the political controversy, it was lovely to note that Jack ‘Calves’ Grealish dedicated his goal (England’s sixth of the match!) to a young fan:
Grealish meets Finlay.A celebratory move is agreed upon…… and, very sweetly, a promise is kept.
BTW, the politics of the region once again made itself apparent: the Iranian players didn’t sing their own national anthem – which caused Gary Lineker to make the observation that it was ‘a powerful and very significant gesture’ – and there were protest placards in the crowd, with slogans such as ‘Iranian women’ (in ref’ to the death in custody of Mahsa Amini).
On a lighter note, I met Miklas’ pet rat (very cute!), and had a go on their Carlsbro e-kit. I was so drunk and the kit is set up for southpaw Chris… I could barely sit on the stool, never mind play!
Bubbles… what an ace track! I just acquired the rather excellent Butterflies Are Free set, which is the complete recordings of The Free Design, covering seven albums, plus a few oddments, over the period 1967-72.
I emailed Chris Dedrick – their de facto musical leader – years back, and got a lovely reply. I’d hoped to interview him for my putative music book, on music of the early ‘70s. Sadly, since then, he passed away. The ‘Big C’, alas.
Prior to getting Butterflies I had a couple of their albums on CD, and the most of the rest as digital only downloads. I also have a Chris Dedrick solo album, from ‘72, called Be Free. I don’t think I’d ever had their kid’s album, Plays For Very Important People, until now.
Initially a trio of siblings, they were augmented by a fourth family member, (?), becoming a vocal harmony quartet. They also played instruments, with Chris the most active that way (guitar, keys, trumpet, etc.). But in the studio for their recordings, they were backed by stellar sessionistas, such as (names!).
Enoch, avec le pipe!
One of the reasons they’ve remained a bit under the radar might be that they weren’t on a major label. Fearing that a major would be too constraining, they went with audiophile Enoch Light, on his Project 3 label. This ensured them total artistic freedom (and great sound!). But it also meant they didn’t have the publicity machinery of a major label promoting them.
The marks of the late ‘60s era are strong, their whole sound and vibe partaking of a groovy hipness that, ironically, dates the music a little, and is also in danger at times of coming across as a little naff. But, having said this, at the very same time they also have a beguiling mixture of naïveté and musical sophistication that has a timeless appeal. And, despite sharing certain qualities with other similar-ish ‘sunshine pop’ acts of the era, they’re pretty damn unique.
And, for me, Bubbles – posted at the head of this entry – captures this all extremely well. Bill LaVorgna’s drumming is particularly noteworthy, on this oddly funky nugget, negotiating the odd time signature with a lithely supple and elastic groove that makes the whole thing groove very nicely.
But right from the get go, the first and title track of their debut album, Kites Are Fun, sets out their stall; goofily child-like, lyrically, musically adult, and whilst outwardly joyful, there’s nearly always a wistful lonely teardrop in there somewhere. Lovely stuff, as Alan Partridge (or Shakin’ Stevens, if you credit Coogan’s alter-ego) might say.
And as a little additional bauble, the lyrics to Bubbles:
Blowin' bubbles outta the window Chewin' bubblegum and blowin' big bubbles Gettin' gettin' ridda ridda all my troubles, Watchin' the tadpoles glubba, glubba in the puddles Soap bubbles carry my dreams up high Bubble gum kinda keeps my heart from gettin' heavy and cryin'
Ma 'n' Pa are arguin' again, today I lost my best friend The kitty has a little cold, 'n ' grammama is getting older My tummy has a little pain, 'n' when does Jesus come again?
Blowin' bubbles outta the window Chewin' bubblegum and blowin' big bubbles Gettin' gettin' ridda ridda all my troubles, Watchin' the tadpoles glubba, glubba in the puddles Soap bubbles carry my dreams up high Bubble gum kinda keeps my heart from gettin' heavy and cryin'
Blowin' bubbles outta the window Chewin' bubblegum and blowin' big bubbles Gettin' gettin ridda ridda all my troubles, Watchin' the tadpoles glubba, glubba in the puddles Soap bubbles carry my dreams up high Bubble gum kinda keeps my heart from gettin' heavy and cryin'
I absolutely adore some of the Funkadelic/Parliament music. And it’s often very largely due to tremendous rhythmatics, from the drums, obviously, and bass, guitar, keys, etc.
One of the engine room crew responsible for some of this musical wizardry was Tiki Fulwood. As the years go by, and my appreciation for musicians like Fulwood grows, I want to know more about them.
This post will, I hope, grow into a little biog/tribute to this superb musician. First of all, I’ll link to a few things I found on the web about him, such as this, from George Clinton’s website.
Tiki, funky cowpoke, in wide-brimmed hat.
I was surprised to learn that Fulwood had played the drums not only on lots of fab Funkadelic stuff, but also on two stone cold soul pop classics, Tyrone Davis’ Can I Change My Mind and Turn Back The Hands of Time. Dude should be a legend for those alone!
Another more in depth piece can be found here, posted to the ‘rate your music’ website, by someone going by the tag soulmakossa. Whoever you are, thanks for this superb piece!
In my search for all things Tiki, I also found this, from another drummer (props to Ben Woollacott), giving his take on one of Fulwood’s opening fills, in this instance from the Funkadelic track Goold Old Music.
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.
For my students, a little video I found online, talking about and demonstrating the signature fill from Jr Walker & The All Stars Motown soul classic, Shotgun.
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.
In trying (and failing) to buy a ticket to see Ron Carter, playing his first UK gig in nearly a decade, I discovered Jas Kayser, a young female drummer.
I’ll definitely be checking her and her group out live, as and when I get the opportunity. In the meantime, here’s a rather sweet little interview with her – click here – conducted by her twin brother!
