Monday, December 31, 2018

Codona - September 1978

There's been a handful of ECM-formed groups, and for my money, Codona represents what the label did at it's best: mixing influences and pairing musicians with sympathetic interests. With Codona, the label got trumpeter Don Cherry to play alongside sitarist Collin Walcott and percussionist Nana Vasconcelos; all three had interests in mixing jazz with Eastern influences, and together they created a unique style of music.

Over the course of three records, Codona (the first two letters of everyone's name, get it?) created jazz that would go into long drones,  stuff that was percussion-heavy and didn't exactly swing, but was never too far from it's jazz roots. Or, one could argue, from "world music" or some of the more interesting new age stuff from about the same time (ie: Laraaji).

I think Walcott was arguably the driving force here: the music doesn't sound too far removed from his work either as a solo artist (Cloud Dance is my fave) or with Oregon (stick to Jade Muse). It's groovy stuff - definitely not for the faint of heart, but if you're into stuff that will challenge you, or are into stuff that Alice Coltrane, Laraaji or the Windham Hill was releasing in the late 70s, do check this out. You won't regret it, and maybe it'll inspire you to do some deep meditation for 2019!

1978-09-01 - Willisau, Switzerland
  1.  New Light
  2. Mumakata Intro
  3. Mumakata
  4. Colemanwonder > Race face > Sir Duke
  5. Let Thy Wish Become My Desire
  6. Que Faser
  7. Like That of the Sky > Togo

1978-09-08 - Trevano, Italy
  1. Like That of the Sky
  2. Improv
  3. Improv
  4. Mumakata
  5. Vocalese 
1978-09-13, Funkhaus, Hamburg, Germany
  1. Like That of the Sky
  2. Codona Moon Dog
  3. Relativity Suite 
  4. Onipapa > Africadeus
  5. Race Face
  6. Onipapa

Thursday, November 22, 2018

Weather Report - 1973-05-__, The Quiet Knight, Chicago,

Hey! Its Thanksgiving weekend, unless you're like me,and don't live in the US. In which case, I hope you're not too cold, or too warm, as the case may be.

Today's share is an interesting Weather Report show from 1973, at a club in Chicago called the Quiet Knight, which hosted a variety of styles: I also have tapes of Bob Marley and Bruce Cockburn playing this club. But since I've yet to share any Weather Report here, I figured this was as good a place as any to start!

The material is heavy on early Weather Report - and there's couple tunes Zawinul wrote for Miles Davis - but it's got a nice, funky groove as it goes on. This was near the end of the run for Miroslav Vitous, too, which makes it interesting in that sense: as I understand it, he didn't like the funk/fusion direction they were going in. Didn't stop him from releasing an album where he's welding a double-neck guitar, tho. He's joined by Zawinul on keys, Eric Gravatt on drums, Dom Um Romao on percussion, and Wayne Shorter on sax.
  1. Intro
  2. Vertical Invador
  3. 125th Street Congress
  4. In A Silent Way
  5. It's About That Time
  6. Unknown Soldier
  7. It's About That Time
  8. Boogie Woogie Waltz

Saturday, November 10, 2018

Dramarama - 10-10-1990, Max's On Broadway, Baltimore, MA (FM)

I'd be lying if I said I was a huge Dramarama fan. But I came across this tape many years ago at the old Infinite Foolishness blog (if you're out there, my guy, leave me a comment!) and was blown away by how red-hot this performance was.

You can practically see Dramarama frontman John Easdale pacing the stage, bantering with the audience ("oh it's great to be here in Baltimore," he drawls, "it really is'), before launching into a high-powered version of "Last Cigarette."

Indeed, if you're unsure about this boot, then try just that track and see how it gets you. For me, it's as good as anything the Faces did live, and when they were on, they were really on. So, I guess, was this lineup of Dramarama.

Oh, and if you're really tempted by this show, Rhino has a one-disc Best Of that you can snag over at Discogs.

  1. Questions
  2. No Regrets
  3. Scenario
  4. In Quiet Rooms
  5. Haven't Got A Clue
  6. 70's TV
  7. Until the Next Time
  8. On the Streets
  9. Wonderamaland
  10. Seven Minutes (Or Less)
  11. Tiny Candles
  12. Lullabye
  13. Would You Like
  14. Ain't It the Truth
  15. Last Cigarette
  16. talk
  17. Some Crazy Dame
  18. I'll Give You Anything

Sunday, October 28, 2018

Tony Joe White - 1970-08-28, Isle of Wight

White at Wight...

On the poster advertising the 1970 Isle of Wight festival is a litany of famous rockers: Jethro Tull, Jimi Hendrix, The Doors, and tucked away at the bottom is Sly and the Family Stone. Absent: Miles Davis (really?) and one Tony Joe White.

White died the other day, not long after releasing his latest - and probably final - album Bad Mouthin'. It's a good record, but not one that made many waves, which suggests that over the years, he never really lost it, just that tastes changed. Too bad, because he was a heck of performer. For me, his music hits a sweet spot right between CCR's swampy rock and the 70s outlaw vibes of Waylon Jennings.

This share came to me buried deep on a limited-edition, out of print box set The Complete Monument Recordings (find it here at Discogs) and I think the music's too good not to sit on, and with White's passing, it's worth a listen. It's short, to the point, and White's accompanied only by Cozy Powell, who he allegedly only met a few hours before the gig. You'd never know it from the way they mesh.

Friday, October 5, 2018

Tony Williams - 1989-12-15, New York City

I've been listening to a lot of Tony Williams lately, mostly thanks to this video. During his run at Blue Note in the late 80s/early 90s, Williams released a tremendous string of albums and to help promote them, a video was shot in New York.

On the evening (I assume it was nighttime, anyway) of December 15, Tony Williams and his band - Ira Coleman on bass, Wallace Roney on trumpet, Bill Pierce on sax, and Mulgrew Miller on piano - played a set at Chelsea Studios in New York, and it was taped and released on laserdisc the next year. Like anything I've heard of him live, it blazes: the band is in good shape (Miller is especially fun to listen to), but it's Williams' drumming that takes the cake.

He'd taken some classes on composition and harmony earlier in the decade, and I think they'd shaped his drumming. His solos are more varied and exciting than anything he did with Lifetime in the 70s and honestly, sets like this help make the case he's one of the most exciting jazz drummers of his generation. He's certainly more interesting than DeJohnette's playing at the time, and while Cobham can blast the roof off any time he wants, I don't think his playing has the same nuances and subtlety.

Anyway, no download, just a one-hour video I've watched like four times this week and I hope you get as much enjoyment out of, too!

Sunday, September 23, 2018

John Coltrane - 1965-03-19, The Half Note, NYC

Today would've been John Coltrane's 92nd birthday. Instead of writing about his influence, or whatever, I'll just suggest you download this boot of him and his classic group live at the Half Note in early 1965.

1. Chim Chim Cheree
2.  Impressions

John Coltrane ts, Elvin Jones, dr, Jimmy Garrison b, McCoy Tyner p

Tuesday, September 11, 2018

Procol Harum - 1971-04-12 - A&R Studios, NYC

AKA: Trower's last stand...
 Fall is in the air up here, and that means it's time to listen to some Procol Harum, a band I always associate with cool breezes, changing leaves and driving around aimlessly on my days off.

This share comes from late in Robin Trower's stint in the band, and in fact may represent his final gig with the band? I'm not sure about that, but it's gotten the bootleggy title of Robin's Last Stand which is too fun not to share. I am sure that it's a solid gig, performed live-to-air from New York's A&R Studios (where Pharoah Sanders would record Black Unity only a few months later!) and was broadcast on WPLJ, which sources tell me was in this case a radio station and not a song about mixing wine with lemon juice.

It opens with a rockin' "Memorial Drive," featuring Trower's chunky guitar and Gary Brooker busting out some boogie piano. From there, they launch into slower material: "Nothing That I Did," the driving blues of "Simple Sister," and the lengthy "Whaling Stories," which builds up like a storm and has a ton of energy. "A Salty Dog" has some of the same vibes, although at a slower tempo.

As noted, this was pretty close to the end of one phase of the band. From here, it wasn't far until they were playing with symphony orchestras and dabbling with roots-rock (roots prog?) on Exotic Birds and Fruit. Which Esoteric Records just released in a deluxe, 3CD set, and I reviewed it a while back for Live in Limbo. So do check that out, it's got the Replacement Programming seal of approval.

  1. Memorial Drive
  2. Still There'll Be More
  3. Nothing That I Didn't Know
  4. Simple Sister
  5. Luskus Delph
  6. Shine On Brightly
  7. Whaling Stories
  8. Broken Barricades
  9. Juicy John Pink
  10. A Salty Dog
  11. Whiskey Train
  12. Power Failure

Wednesday, August 29, 2018

Steve Lacy - 1977-04-09 - Jazzbehne, East Berlin, GDR

Things have been a little busy with me lately - work stuff, transition stuff, etc etc - so I've been slacking in sharing, But not in listening, because god help me, I listen to way too much stuff. Lately, it's been Steve Lacy.
Straight horn, mostly straight posture

I don't know why, but I had this idea that Lacy was a free jazz type, a sort of peer to Anthony Braxton, and I avoided him for that reason. But after listening to Jane Bunnett's New York Duets, I went to Lacy, her main influence on the soprano, and found I was completely wrong about Lacy. Since then, I've been going hard on the records he made with Mal Waldron (indeed, Duets owes a debt to Waldron/Lacy's Sempre Amore), and the early stuff he did on Prestige records.

This share, however, comes from a different part of Lacy's career: the late 70s, when he was gigging around with a lineup including: Steve Potts on reeds, Irene Aebi on cello, violin and vocals, Kent Carter on bass and  Oliver Johnson on drums. This share came to me as one long file, but one site has the tracklisting as follows: "The Crust," "Papa's Midnight Hop," "The New Duck," and "Revolutionary Suicide." So, I suppose, no Monk staples like "Epistrophy," this time around. Still, I like this one a lot, hope you do, too! 

Thursday, August 16, 2018

Richard and Linda Thompson - 05-01-1977, Theatre Royal, Drury Lane, London

Oh it's the madness of love...

I've been on a Richard Thompson kick lately, and thought I'd dig this tape out and give 'er another listen. What is it exactly? Well, it's a rough-yet-ready audience tape from May 1977, catching Richard and Linda Thompson working out some songs on the road, and has Richard's playing in fine form and both of them strong in voice.

But it's more than that, too: a lot of these songs never saw release. To the best of my knowledge, "The Madness of Love" is the only "new" one they released, and even then it was on the limited-edition Doom and Gloom From the Tomb cassette that went to fan club members, or something. It's too bad: the songs here are sharp, and I love the slow groove of "Madness..." and how RT turns in a slow, twisting solo. But there's more: the call and response chorus of "Rescue Me," and how it whips into the verses (there's an inspired RT solo, too), or the jazzy vibes of "Bird in God's Garden."

A few older songs are given a nice polish, too: "Night Comes In" builds in a slow burn, while "When I Get to the Border" has a ramshackle groove; sorta makes me wonder how Crazy Horse would cover it.

The sound's a little rough, but nothing a good pair of headphones (or just playing it really loud) won't fix. The music's great, however, and maybe someday Thompson will see fit to release these tunes. Until then, tho...

Sunday, August 12, 2018

Charles Mingus - 1974-04-22 - Mackenzie Corner House, Toronto, ON

The 70s were not the strongest decade for Charles Mingus, but the peaks are quite good. For me, Changes One and Two are two very strong, overlooked records that feature a crack band of George Adams, Don Pullen, Dannie Richmond and Jack Walrath.

A few months before the Changes session, Mingus and his band - which also included Hamiet Bluiett on baritone sax for this date - rolled into Toronto. The gig was taped (by whom?), and part of it was broadcast on the radio. I don't have details, but I suspect Mingus' soundman taped the gig and it was broadcast over a NYC radio station. I can't imagine any station in Toronto playing this, except maybe the CBC, and this broadcast doesn't match their style (compare it to the Arthur Blythe or Bill Evans gigs they broadcast). 

 The set list? "Opus 3," which appeared on Mingus Moves. Yep. just one song, but it's a good one and a lengthy performance. It shows Pullen, Adams and everyone taking solos and stretching out; Mingus has a solo where he goofs around, drawing a few laughs from the crowd. It's a pretty compelling performance, and makes me wonder if there's more kicking around someplace. Hopefully! Maybe Sue Mingus has them in an archive, somewhere.

Tuesday, August 7, 2018

Jerry Garcia - 1982-11-09, E.M. Lowe's Theater, Worceste, MA (Early Show)

Jerry and Lisa

I'll be the first to admit it: I'm a lousy Deadhead. I like their shorter, more rockin' tunes than the lengthy, spaced-out jams. I liked those Road Trip releases where they'd have the best moments from a handful of shows. And when it comes to solo Jerry, I have a soft spot for the 80s.

These were not exactly great years for Garcia. Hooked on heroin and in poor health, he'd wind up in a diabetic coma before the decade was out. His marriage to Mountain Girl was in shambles and they didn't live together. And John Kahn was providing a notably bad influence on him when he was away from the band.

That said, when he was on in the 80s, he was really on. This show in Massachusetts is a great example, featuring him in prime form. I especially like this version of "Dear Prudence," which has his reedy voice full of emotion and some choice soloing: slow, deliberate and downright bluesy. There's more, of course: a jaunty "Tangled Up In Blue," and rockin' "Deal," and two sweet Motown covers. But if I'm being honest, I like to go back to this version of Prudence. Something about Melvin Seals' organ and the way Garcia's guitar licks mesh always does it for me. FWIW, the sound's great too: it's a soundboard, but not one where his guitar is buried in the mix. 

Tuesday, July 31, 2018

Herbie Hancock - 1973-10-01 - Ultrasonic Studios, Hempstead, NY

From the Ultrasonic Archives....

"A concert that will certainly amaze you," says the DJ by way of introducing Herbie Hancock and the Headhunters band, and it's hard not to disagree. Indeed, by late 1973, Hancock had moved on from the Mwandishi band - although it'd still pop up on records now and then - for the slimmed down, harder-edged funk of the Headhunters lineup: Hancock on keyboards, Bennie Maupin on reeds, Paul Jackson on bass and Mike Clark on drums.

As I understand it, this is the first circulating Headhunters show. Which makes it interesting, especially since even right from the get-go, this was a tight, funky band who knew how to work a groove. Indeed, Clark's something of the MVP here, creating a pocket deep enough for everyone to groove into, while still working a few nice fills in here and there. It's also cool for featuring two tracks that would wind up on 1974's Thrust, and not leaning too heavily on either older material or stuff from Headhunters.

And finally, if that's not enough, it's a live broadcast from a predominately rock-focused FM station, too. I don't think it's too much of a stretch to say a broadcast like this probably introduced Hancock to a wider audience than he'd been getting with any of his Mwandishi lineups. Which means, I think, it's as good as any place to start with this era of his band. Enjoy!

1. Actual Proof
2. Butterfly
3. Sly
4. Chameleon

Sunday, July 29, 2018

Thomas Bangalter - Spinal Scratch

Here's something a little different. In 1996, with Daft Punk breaking into the dance charts and people from around the world tuning into French house music, the boys at Daft Music started their own record label: Roulé Music. Essentially, it was a place for them to sneak out ideas and experiments, not to mention records from their friends and myriad side projects. Altogether, the label's output was something like 30 releases, almost all of them 12" singles.

Today's share is probably my favourite of them all, or at least in the top five. On "Spinal Scratch," Bangalter works a slight sample, thumb on the turntable style. He slows it down, scratches, breaks the music down to it's components and demonstrates a masterclass in how to stretch a drum machine, a sequencer and a turntable for over seven minutes, barely repeating an idea. It reminds me a little of minimalist classical, in how it's changing textures are the point, not the musical figure itself. But it's also got a hell of a groove.

The B-side, "Spinal Beats," is no slouch either, although with just a drum sample it's arguably even minimaler. More minimal? You know what I mean.

Anyway here's a free idea for Numero, Light in the Attic or whatever reissue label you love the most: release a Roule box set. All these singles had pretty minimal runs, I imagine, and they've been out of print for well over a decade. I do see Stardust's lone single Music Sounds Better With You occasionally, but have yet to run across one of their other releases in the flesh. So please, someone get the rights to this, even if it's just on Bandcamp! Until then, your best bet is Discogs where you can get a copy for about $10

Friday, July 27, 2018

Herbie Hancock - 1973-02-20, Strata Art Gallery, Detroit, MI

Here's a weird one. At some point in February 1973 - this came to me with the date of Feb. 20, 1973, which I'll go with - Herbie Hancock and his Mwandishi band played the Strata Art Gallery in Detroit. That's at least what You'll Know When You Get There by Bob Gluck says. Elsewhere, I can find references to something called the Strate Concert Gallery, which Herbie mentions playing in 1973.

What he also mentions is their soundman, Fundi, made tapes of every gig. Which would explain this concert here: it's a long, nearly three hour set, and has a roomy sound, like an audience tape. But it's hard to imagine a taper having enough space for something of this length! Indeed, the band stretches out on "Hidden Shadows," which was about to be released (but recorded something like a year previous), Bennie Maupin's tune "Quasar," and "Revelation," which would end up on an Eddie Henderson record. So a stage tape sounds about right, and thanks again, Fundi! Did I mention there's some lengthy improvisation, too. It's interesting, heady stuff: a lengthy look at this band in full flight, challenging both themselves and their audience.

1-1 - Hidden Shadows
1-2 - Firewater
2-1 - Revelation
2-2 - You'll Know When You Get There
3-1 - Quasar
3-2 - Improv

Tuesday, July 24, 2018

Herbie Hancock - 1972-10-08, Baker's Keyboard Lounge, Detroit, MI

Picking up where I left off...
Baker's Keyboard Lounge advertises itself as the world's oldest jazz club, and hey maybe it is! I don't know. I do know that in 1972, they hosted Herbie Hancock and his Mwandishi band for a gig and part of it's come down to me in today's share.

This one sort of picks up where the last one faded out: with "Sleeping Giant," and lots of hand percussion. From there, they work up a nice groove and Herbie has a nice solo on Pt. 2, and the rest of the band gets some time to shine. Things fade out with some spacy synth playing, which I assume is Hancock (did Patrick Gleeson tour with them?).

Someone left me a comment (thanks again!) comparing it the Art Ensemble of Chicago and that's a very good insight. I hadn't thought of it like that, but yeah, I totally see the connection now. In terms of out-there-ness, parts are not super far removed from some of the Grateful Dead's more weird jams, either. All in all, it's a pretty fascinating show. I assume they played more (although at about an hour, maybe not), and maybe it'll turn up some day!

Saturday, July 21, 2018

Herbie Hancock - 1972-03-25, De Doelen, Rotterdam, Netherlands

Herbie demonstrates a CBS-era Rhodes... while signed to Warner Bros

Here's another nice recording from my collection of Herbie Hancock bootlegs. This one's a radio broadcast from March 1972, and I don't really know too much about this one, especially since Sugarmegs is down at the moment. The announcer introduces them as the Herbie Hancock sextet, which is interesting: I guess they weren't going by Mwandishi quite yet. And the broadcast joins the performance in progress, and I think catches the end of one song most of "Sleeping Giant," but unfortunately it cuts off just as it gets going.

Still, there's quite a nice amount of music here: about half and hour of them working up a deep groove, complete with a lengthy bass solo and lots of percussion. I wonder if the full broadcast exists in a vault somewhere?

Friday, July 20, 2018

Herbie Hancock - 1971-07-21, Nice, France

You'll know it when you get there...

After his run with Miles Davis' live group, and a stint as a bandleader on Blue Note, Herbie Hancock leaned hard into fusion and the sounds of Joe Zawinul and In A Silent Way Davis. Taking a cue from the Swahili word for writer, Hancock adopted the name Mwandishi, which extended to his group: Buster Williams, Bennie Maupin, Billy Hart, Leon Chancler,  Julian Priester and Eddie Henderson. Their music was dark, swirling and took cues from rock instrumentation - note the electric piano - and what Miles was calling "directions in music." There's an interesting similarity here, I think, to the similar dense sounds of early Weather Report, especially in the way things swirl around and slowly build up the tension, giving the band ample space to improvise. I'd argue there's a little more funk in here, but that goes more towards Buster Williams' playing than as a slight to Miroslav Vitous' playing.

I'd have to go through this again to double-check the exact lineup, but I'm reasonably confident that the whole Mwandishi lineup is present on this very nice gig from July, 1971. The sound's as good as you'd want it, and the set is packed with good stuff. Only three tunes - "You'll Know It When You Get There," "Toys," and "Be What," but each is stretched out for about 20 minutes, so there's a lot to take in. Definitely not yhe

Tuesday, July 10, 2018

Neil Young and Crazy Horse - Back on the Saddle (Spring '76)

Old man, look at my jeans
With news that there's (maybe? sort of?) a new (old) Neil Young album on the way, I was reminded of another Young mix I made. This one came after I decided to clean up my hard drive, but couldn't do without any of Young/Crazy Horse's spring 1976 tour.

After all, this was their first tour as a unit - I'm not counting those weird California shows they did in 1975 - and the music is loose, ragged and a lot of fun. And every show has it's moments, but they took up a ton of space. So I took my fave moments, arranged them like a show would've gone, and here ya go: an acoustic set, then a lengthy electric one. I cheated a little, and stuffed it with a little of everything they played - including a super rare version of "Last Trip to Tulsa" which I think they only played once. "Sad Movies," meanwhile, was played a few times and then Young didn't play it again for 30 years. Still hasn't released it, either.

Acoustic Set
01 Tell Me Why (03_08_76 - Fukuoka, Japan)
02 Let It Shine (Osaka 3_6_1976)
03 Cowgirl In The Sand (3_26_1976 - Paris)
04 Sad Movies (1976-03-26, Jaap Edenhal, Amsterdam, The Netherlands)
05 Mellow My Mind (03_19_76 - Offenbach, Germany)
06 Only Love Can Break Your Heart (3_08_76 - Fukuoka, Japan)
07 Ohio (3_19_76 - Stadthalle, Offenbach, Germany)
08 No One Seems To Know (3_11_76 - Tokyo, Japan)
09 Heart of Gold (3_20_76 - Koln, Germany)

Electric Set
01 Country Home (3_23_76 - Paris)
02 Don't Cry No Tears (3_20_76 - Koln, Germany)
03 Down by the River (3_20_76 - Koln, Germany)
04 The Last Trip To Tulsa (3_21_76 - Hamburg, Germany)
05 Lotta Love (3_19_76 - Offenbach, Germany)
06 Like A Hurricane (3_25_76 - Paris)
07 Let It Shine (1976-03-26, Amsterdam, The Netherlands).mp3
08 Barstool Blues (03_19_76 - Offenbach, Germany)
09 Cortez the Killer (3_20_76 - Koln, Germany)
10 Southern Man (3_08_76 - Fukuoka, Japan)
11 Cinnamon Girl (3_26_76 - Amsterdam, The Netherlands)

Monday, June 25, 2018

Clifford Jordan - 1974-04-05, Half Note, NYC, NY

Generally, I remember Clifford Jordan as the other reed player on Charles Mingus' 1964 tour though Europe. You know, the tour with Dolphy that's been bootlegged extensively and was recently subject to a lavish Mosaic box set.

But on his own, Jordan was a remarkable tenor player, who spent most of the 70s and beyond working with European labels like Steeplechase and Soul Note. And it was on Soul Note that he released a live album from a show at the Half Note from April, 1974. He was joined by a crack band: bassist Sam Jones, pianist Cedar Walton and Albert Heath on drums.

That record, which I haven't heard, has a basically identical setlist to this show. But there's also some stuff here that isn't on that record, which makes be suspect they might be different sets, or that this has a different origin (a FM broadcast, maybe?). I don't know. I do know that you can buy the long out-of-print record on Discogs and you can listen to this show via me.

Saturday, June 16, 2018

Carlos Santana and John McLaughlin - 1973-09-05 - Berkeley, CA

It goes to 11, Carlos

In the summer of 1973, Carlos Santana and John McLaughlin did a short tour to promote their new album Love Devotion Surrender, which was somewhere on the spectrum of spiritual jazz and guitar madness. Imagine if A Love Supreme had a supercharged rhythm section and a bunch of distortion pedals, and you're halfway there.

The album's aged pretty well, and sounds a lot better in the wake of stuff like Sonic Youth, Grand General and Rush's more guitar-heroic moments. But live they were a different beast. McLaughlin got Billy Cobham to join him - as I recall, Jan Hammer and company took a small vacation from the Mahavishnu's heavy touring schedule - while Santana brought over a few percussionists of his own. And Khalid Yasin, who used to play with McLaughlin in Tony Williams Emergency, came aboard to provide organ.

The shows are generally completely insane. Songs - most of them John Coltrane covers, with a few originals sprinkled in - go on for over 20 minutes, and there's guitar pryotechnics all over the place. Cobham drums like a man possessed and McLaughlin plays, as Frank Zappa once put it, like a machine gun, spraying notes with reckless abandon. Santana's guitar playing is as tasteful as ever, which is a nice balance against McLaughlin.

This show comes from a show in Berkeley, and has good (if occasionally distant) sound. I think it's a FM recording, but it could be a soundboard. Either way, turn it up and get lost in these two at their most expansive.

Monday, June 11, 2018

Neil Young - 1978 Boarding House Compilation

The other day, news broke that Neil Young will be (or maybe not, you never know with him), releasing an acoustic album from a tour in 1976. Well, it got me thinking. You see, shortly before hitting the road with Crazy Horse in 1978, Neil Young played a series of shows at the small, acoustic-oriented Boarding House in San Francisco. It was filled with new songs, including "Shots," "Thrasher," and "Ride My Llama."

The thing about Neil which makes him so compelling to me is that he's always followed his muse and been in a position where he's able to do so, no matter where it takes him. For most of the 80s - for my money, his most creative period - he dabbled in proto-techno, 50s greaser rock and honky-tonk, not to mention the wonderful This Note's For You. The 70s are probably most people's fave Young period, and he made all sorts of weird turns there, too. A weird one-off show with like five guitarists, the shambling Tonight's the Night tour, even a Crazy Horse show where they played mostly stuff they, and not Young, wrote.

These Boarding House shows fit neatly into this pattern. Even as Neil was listening to punk and writing tunes with a sharp, harder edge to them, he was also leaning back into his folkie days: just about all the new songs here wouldn't sound too out of place on Live at the Riverboat. I like how whomever put this mix together thought to include two versions of "Thrasher," including one where Young fucks up and stops the song. "These songs have so many words," he says.

The tape (tapes?) here are all audience-sourced, and have great sound, making you feel like you're right there in the club. Did Young tape these shows? Well, there is a notch for them on the online archives, so.....

Thursday, June 7, 2018

Carla Bley and Steve Swallow - 1998-10-31, Theaterhaus Gessnerallee, Zurich, Switzerland

It's June, which means I'm busier at work, and when combined with cool coming-out-as-trans stuff, my free time is stretched as thin as it ever gets. So there's less time to relax and listen to bootleggy goodness.

But I still have some time, and this is a show I've been digging lately. It's a nice gig featuring just Carla Bley and Steve Swallow playing as a duo, and there's some nice moments: an opening improvisation, a working of "King Korn," and the lengthy "Blues in Twelve Bars." This is a period of her music I'm not overly familiar with: I know Are We There Yet was recorded on this tour, but I don't think any of the material on that is present here.

Bley's piano playing is in fine form here, and meshes with with Swallow's bass. As it should: they've been playing together for a very long time, and by 1998 had recorded two duo albums. But what makes this era neat is the amount of material Swallow brought to the table: "A Dog's Life," and "Satie For Two" are both his. So in all, tons of fun for Bley fanatics!

Tuesday, May 29, 2018

Gary Burton - 1976-03-04, Greenwood Inn, Olympia, WA

An All-Star ECM Lineup...

Throughout the 70s, Gary Burton did as much as anyone to popularize Carla Bley's music. Her tunes weren't just scattered throughout his live sets, but Burton did an entire album of them: Dreams So Real. I mention it because, for me, it's his high-water mark from the most fruitful period of his career.

Indeed, the mid-70s has Burton taking several interesting musicians into his band and making some compelling music. Not exactly fusion, but definitely something more rhythmic than the more free stuff other ECM groups were playing at the time. And with Bley's music at the centre of his setlists, he made the most of his gigs.

This one come from a FM broadcast of a show in Olympia, Washington. There's one of the all-time 70s ECM lineups here: both Pat Metheny and Mick Goodrick on guitar, both Steve Swallow and Eberhard Weber on bass and Bob Moses on drums. And Burton, too, naturally. It opens with a nice medley: "Sea Journey > Eyes of the Cat," which has everyone taking some turns at the helm, Moses going nuts on his kit, and a nice bass solo as something of a segue. The version of "Eyes of the Cat" might be one of my personal fave moments of any Burton gig: they work themselves up into a nice groove, and there's a great bass solo. How often does one say that?

And that's just the first 20 minutes. Elsewhere, Metheny takes charge on "B&G (Midwestern Night's Dream)," and Burton gets some alone time on "I'm Your Pal." It's a nice show throughout, with generally good sound. There's some hiss, and the stage banter is a little distant, but the music itself comes through nicely, with Burton's vibes especially getting a nice sense of ambience. I've heard shows where they sound stale and harsh, but it's not the case here.

Monday, May 14, 2018

Carla Bley - 1984-07-16, Schauberg, Bremen, Germany

A belated birthday...

I always forget about it until like some European blog mentions it, but Carla Bley's birthday is May 11. And since she's one of my fave musicians out there, it seems about right to post some more of her music.

This show comes from summer 1984, which is right around what the Penguin Guide might argue was the lo ebb of her career. They certainly don't care for stuff like I Hate to Sing, and I see where they're coming from. This set has her and her band in fine form, however, working on older tunes like "Song Sung Long" and "Fleur Carnivore," not to mention her arrangement of Monk's "Misterioso," which I believe was commissioned by Hal Willner around this time.

Not long after this, Bley would go in two directions almost at once: smaller, more intimate groups, then what she'd dub "The Very Big Band," which was about what it sounds like.

Friday, May 4, 2018

Circle - 1971-03-04, Jazzhaus, Bremen, Germany

From the Radio Bremen archives...

Dave Holland's lumberjack phase
In the early 70s, free jazz was a little more open than it is now. And by that I mean it was something you could hear on the radio (on public radio, anyway), that major labels were investing in it and big names in jazz were trying it out. Today's share actually covers all three of these.

Circle was a short-lived group featuring Anthony Braxton, Chick Corea, Dave Holland and Barry Altschul. Both Holland and Corea were fresh out of Miles Davis' band, while Braxton had just made a name for himself with the seminal For Alto. Altschul, meanwhile, had been associated with Paul Bley, himself a pioneer in the free jazz/creative music scene.

This show comes from early 1971, which I think was nearly the end for the band. By the time Paris Concert was released the next year, the group was a thing of the past. Fittingly though, this show was recorded a few weeks after that album, and two Holland compositions appear on both: "Toy Room," and "Q & A." There's also a handful of Braxton tunes, all under the heading of "Composition 6," which is the sort of thing I'd explain if I understood it at all. \

Musically, it's a little abstract, with jutting figures and sections that are rather dissonant. At the same time, there's moments where everything comes together and the band clicks. I think that throughout, Corea's on the top of his game, and Altschul's percussion adds a lot of flavour to the music. Braxton, at this point, I respect although I find  a little rambley at times, and Holland's playing is, as usual, tasteful and interesting arco textures. They actually compliment Braxton's overblowing.

Circle was a group not long for this world; Corea would move away from purely free playing and get into more mainstream stuff with Return to Forever and his duo albums with Gary Burton; Braxton  and Artschul would release some of the wildest music ever to come on a major label with his run at Arista; Holland would work as a session player (including a memorable turn on a Bonnie Raitt record) and release records on ECM.

Sunday, April 29, 2018

Waylon Jennings - 1974-xx-xx, Abbott, TX

No reason in particular, just because I like Waylon a lot and his mid-70s stretch especially. This set's got a nice cross-section of his music. Shame there isn't much on the date or anything, but the music's great. Right at the Honky Tonk Heroes peak.

Saturday, April 21, 2018

Ratdog - 2006-03-01, KPFA Studio, Berkeley, CA

I'll be the first to admit I can't keep track of all the post-Grateful Dead side projects. I understand all the members have their own bands, and occasionally play with each other in some other bands, but quite frankly I feel like Charlie Kelly when I try and keep track of them all:

But of the ones I do know, and actually listen to, Ratdog is the best. Actually, they're the only one, actually. Why? Because, as this live broadcast shows, they're heavy on loose, Blues for Allah era jams that are just the right amount of light fusion. They take the tricky rhythms of "Slipknot" and whip through them like it's nothing special, then work themselves into a nice, slow groove. The saxophone and wah-guitar give them a nice 70s vibe, and I like the way Bob Weir and Mark Karan's guitars mesh. It's maybe a little slow-going for some people's tastes, but I think it's just about perfect for a lazy afternoon where I sit around doing nothing.

Sunday, April 15, 2018

Bill Laswell, Bernie Worrell and Material - 2012-10-24 - Milan, Italy

One World Music...

I've been on a bit of a Laswell kick as of late, listening to his solo record Means of Deliverance and a bunch of Material. Why? Because they've all been re-released on Bandcamp, often with new cover art and great sound. It's tempting to just buy them all, especially after a couple of drinks, but since I own a few of them already, and a few don't really do much for me, I've just stuck with his Material albums: One Down, Seven Souls and The Third Power. 

One thing I've noticed is that there isn't a lot of Live Laswell out there. I guess there's a few EPs, but generally it's just lots and lots of studio recordings. Which makes today's share all the more interesting: it's a Material show from 2012, and at this point Laswell was on something of a jazz kick. He'd also brought along sometime-compatriot and P-funk legend Bernie Worrell on keys, which immediately makes this a must-listen

And it's a rewarding one, too. It opens with a lengthy Worrell solo, then the band hits into a laid-back groove for "Volunteered Slavery." From there's the electric funk of "Goodfellas," the spacey almost dub of "Tendi" and some guitar heroics on "Thinking of Hendrix." There's a lengthy percussion solo, which would almost put the Dead's Kreutzmann/Hart to shame and lots of dub/reggae grooves in the show's back end. It sort of promises what the bootleg title delivers: One World Music, as many ideas from what we'd call world music all happening at once.

I'm not sure exactly the details of this recording; it's taken from a radio broadcast, and I don't really know if all the titles are correct. According to one site, the lineup is:
  • Bill Laswell, bass
  • Bernie Worrell, keyboards;
  • Dominic Kanza, guitar;
  •  Hamid Drake, drums
  • Ayib Dieng, percussion
  • Steven Bernstein, trumpet
  • Peter Apfelbaum, tenor sax

Monday, April 9, 2018

Ralph Towner - 1974-03-12 - Postaula, Bremen, Germany

From the NDR Archives...

Is Ralph Towner jazz? He doesn't make music that swings, and even in a full band context (Oregon, for example), calling them jazz seems to take the label to a breaking point.

Regardless, I like Towner's playing a lot. When he plays guitar, he makes it sound like a thousand instruments, alternating between crashing chords and lightning-fast runs up and down the fretboard. I don't think it's too unfair to compare him to John McLaughlin, although I'd argue Towner's a more atmospheric player, in that his playing fills the room with emotion and feeling; McLaughlin's as impersonal as a machine gun at times.

This set was recorded live in 1974, I believe by NDR. Or perhaps Radio Bremen? I'm not sure, and if I spoke German I could probably look it up. What that means for you, is the sound is crystal-clear, sounding like you're right in front of his guitar (or, for "Rainmaker," his piano). He takes standards and twists them on their head (wonder what Mingus made of his "Goodbye Pork Pie Hat",) while originals are cast in a new light: "Nimbus" is all tension and a cloud of notes, while "Rainmaker" shows off his underrated piano skills.

So: is Ralph Towner jazz? My answer: does it really matter when the music's so good?

Thursday, April 5, 2018

Kip Hanrahan - Sex, Romance And Passion. Anger, Lies And Deceit

He's the wardrobe master of paradise...

In a more just world, I wouldn't have annoying dysphoria issues, Trayvon Martin would still be alive and Kip Hanrahan would be more well known, or at least to the same extent that Hal Willner or Bill Laswell are.

That ism there's a good chance that you've heard of Laswell or Willner, and even if you haven't, you know the stable of musicians they're able to call upon: Ginger Baker, Sonny Sharrock, Elvis Costello, and Lou Reed, among others. And Hanrahan, during his American Clave prime in the 80s, was able to call in some big names: Byard Lancaster, David Murray, Jack Bruce and even Laswell himself.

But not everything in life is peaches and cream, and I think Clave went out of business a few times over the years. Or at least garnered an impression that their records are hard to find. I've only seen one in the wild, and I've been to record stores literally all across Canada. Which is interesting, since on Discogs you can find his stuff for pretty cheap!

Anyway, this share is a mix made by - and I'm going from memory here - a guy named Miles on a long-defunct blog called Birds With Broken Wings something like a decade ago. I grabbed it from another long-gone blog a few years ago, and not only have I not seen it anywhere else, I can't even find anything on Google about it. Go figure.

The music is what you'd expect from a Hanrahan release, but if you're not familiar it's something like this: smoky, back-room jazz, with speak-singing that's closer to a poetry recital than anything; Latin-infused rhythms and horn riffs; ECM-style jazz guitar; jazz that's maybe a little pretentious, but always interesting and never demands much more than an open mind from the listener.

I'd list the sources and players, but honestly I don't have them. Mostly, it's from 90s records like Exotica, A Thousand Nights and A Night, and a few others; there's nothing here from his first couple of records, which are also very cool and recommended. I hope you enjoy, and thanks again to Miles, wherever you are.

Monday, April 2, 2018

Arthur Blythe - May 4, 1979, Public Theater, New York, NY

Back to the Beginning...

In 1979, Arthur Blythe looked like he could've been the next big name in jazz. He'd built up an impressive run as a sidesman and a leader on small labels. And when CBS released Lenox Avenue Breakdown, the Village Voice's Gary Giddons wrote a long, positive review. To wit:
For me, he is one of the four or five most stimulating jazz musicians to come to the jazz fore in the past decade... If Columbia can tap into Blythe's potential audience, the album could be the wedge with which other loft veterans break through to larger audiences.
No small feat considering he was compared against peers like David Murray, Ray Anderson and Butch Morris, among others.

What happened next, and how his records all sort of slipped into the cutout bins, is a story for another time, so let's reward the clock back to the late 70s, when Blythe was gigging with James Ulmer, Abdul Wadud, Bobby Battle and Bob Stewart in New York and radio stations would play his sets over the airwaves.

This one comes from May 4, 1979. It's from early in his career as a bandleader, and if this site can be believed, it's the earliest circulating show of his band. Which is neat, but wouldn't mean too much if the music wasn't so good. Take a listen and think about all the potential and talent, and you know, the stuff that made seasoned critics like Giddons start salivating.

Sunday, April 1, 2018

Horace Silver - 1987-06-30, St. Denis Theatre, Montreal, Quebec

From the CBC Radio archives...

Throughout most of the 50s and 60s, Horace Silver was on a hell of a streak. Just about all of his Blue Note records - and there's a lot of them - just about defined what hard bop was supposed to sound like. And they're just dripping with cool: Song for my Father mixes in Latin grooves, while Tokyo Blues opens with jutting horns. And througout, Silver's piano has more hooks than the average pop song. It's no wonder he hasn't just been sampled like a million times, but even been ripped off Steely Dan (see: "Rikki Don't Lose that Number").

Anyway, even if his commercial and artistic peak was a good two decades behind him by 1987, Silver and his band still could bring it when playing live. I've got something like a dozen bootlegs of him from all kinds of places, ranging from the late 60s to the late 80s, and the genius of his songs (and band arrangements, too) has each of them sounding as good as anything from his Blue Note records.

In fact, I'd argue this show from the Montreal Jazz Festival sounds not only as good as any of them, but at moments sounds even better. Think I'm kidding? The way him and his band blast into "Tokyo Blues" sounds like the opening theme to a forgotten 70s cop show, giving the music a harder edge than the laid-back original. Must've been a blast to see in person.

The rest of the show isn't a slouch, either.  Take "The God of Aruba." Through as a few extended solos, the band stretches out while remaining pretty accessible: solo, theme, a few more choruses, then the theme again and repeat. Compare this to, say, the stuff David Murray or Ronald Shannon Jackson were doing at about the same time, and you'll see what I mean. And, unlike Wynton, who at the same time was all about doing jazz as a museum piece, Silver's music remains playful and fun.

Friday, March 30, 2018

Sam Rivers and Friends - 1978-10-15, Keystone Korner, San Francisco, CA

A little free jazz for the birds...

Rivers, Daley and "friend"
To some, the San Francisco club Keystone Korner is maybe best remembered a place where Jerry Garcia gigged all the time. Except, you know, the Keystone Garcia gigged at was the other Keystone, located in Berkley. Confusing, I know!

The Korner was a jazz club, somehow improbably successful throughout the 70s at a time when jazz clubs were largely a thing of the past. An insane number of live records were recorded there, my personal fave being Keystone Bop featuring Freddie Hubbard, Joe Henderson, and Bobby Hutcherson, among others. And it played host to all sorts of jazz: electric Miles, various Art Blakey lineups (including one with a young Wynton Marsalis) and even the occasional free jazz show.

Today's share comes from one of those gigs. This one came to me under Sam Rivers leadership, and who knows, maybe he was considered the headliner here. But the lineup also includes Anthony Braxton, Dave Holland, Joe Daley and Thurman Barker. And by this point, both Holland and Braxton were established leaders of their own, with records on ECM and Arista. Rivers, meanwhile, was releasing stuff like Sizzle for Impulse, and most probably, the cutout bins.

And of course, one may remember that Holland, Rivers and Braxton all recorded the seminal Conference of the Birds a few years previous. And that Holland and Rivers had been gigging as a duo occasionally. And that Braxton had been dabbling in his own NYC-based experiments. And that... but I'm rambling.

The music here is probably one long piece, mostly improvised. I say probably because for one, there's a few dropouts and cuts through the one long file. And second, I think there's a few moments where they sound like they're building on some themes or ideas. I'm hardly an expert on free jazz, so please feel free to sound off below and tell me they're all, I dunno, playing an arrangement of Charlie Parker solos. That's another thing Braxton was doing around this time, you know. Still: it's about an hour of some pretty cool music, no matter the content or whose name got top billing. Hope you enjoy!

Thursday, March 29, 2018

Lucinda Williams - House of Blues, West Hollywood, CA; July 30, 2001

One more for International Women's Month...

Maybe you noticed a theme here this month: I posted only boots by female musicians. Because hey, it's international women's month and because it wasn't really all that hard. And there's plenty of good music to share.

The last one I've got for this month is a nice show from Lucinda Williams. It's a lengthy show from the House of Blues in Hollywood from 2001, and features a nice band:  
Lucinda Williams - vocals, acoustic and electric guitar
Doug Pettibone - electric guitar, electric mandolin, steel guitar
Bo Ramsay - electric guitar
Taras Prodaniuk - bass
Don Heffington - drums
Honestly, I can't say I'm overly familar with her music, at least enough to say if this is like the Cornell '77 of Williams bootlegs or anything, but it's a fun listen and that's usually enough for me. Hope you enjoy, too!

Monday, March 26, 2018

Diana Krall - 2004-06-24, Black Orchid Supper Club, Chicago, IL

Almost blue...
Cor baby, that's really her

I can hear it already: this is too smooth, too easy listening, too mainstream, blah blah blah. I can understand why some people might not like Diana Krall, but I don't really agree with it.

Maybe it's because she's such a crossover success that it's almost impossible not to find her records in thrift-stores and second-hand CD shops. Maybe it's because she doesn't play outside/free jazz or records for a hip, small indie jazz label. Maybe it's because (gasp!) she's a woman who leads her own band. I dunno. But I think that in a vacuum, Krall's a remarkable talent. She possesses a husky voice that drips smokey vibes and emotion and it able to not only turn a song like Elvis Costello's "Almost Blue" into a standard, but make you think it's been one all along. I mean, people love Chet Baker for almost doing the same thing and he threw away most of his talent. And he couldn't play and sing at the same time, like Krall does.

This set was recorded live in 2004, but as per the notes on Ousterhout, it wasn't broadcast until 2008. I grabbed this off a long-vanished blog a few years ago, so any details on the broadcast are long gone, but Krall was touring with a crack band (that's Peter Erskine on drums, who you may remember from his stint in Weather Report) and had an interesting setlist this evening. So: it's a great sounding recording, a good band and a nice setlist. Maybe take a listen, will ya?

Saturday, March 24, 2018

Cat Power - 1999-05-14, Bellingham

One of her better nights...

My sister's fiance used to work at a radio station, and even though he's not a music guy, he's been to a lot of shows over the years. I asked him about Cat Power once, and he said she was not good: withdrawn, rushed through her set and was gone after like 40 minutes. He wasn't alone; the New Yorker once wrote about how bad she was on stage; little did they know she was an alcoholic who drank to excess to combat stage freight.

This share isn't one of those nights. On this night in Bellingham, she mostly played covers (all from the then-new The Covers Record), a few originals and even a cover that she'd get around to releasing a few years later. It's an intimate show, just her and a guitar (or piano), her voice occasionally a little hoarse, but still carrying emotion. At the time, she was easily capable of creating a tender, fragile performance. And when she performs solo, it's a lot easier to hear her connection to the blues, often a source of influence in her music. It reminds me more than a little bit of Songs: Ohia actually, but unlike Molina, she was able to overcome her personal demons.

The way she takes apart covers is interesting, too. "Satisfaction" is stripped to the sinews, like it might've been performed by Elmore James; "Wild is the Wind" is similarly bare and stark, with just her voice and a booming piano. The whole set is like this. It's not a fun time, but it's a compelling time.

Thursday, March 22, 2018

Sleater-Kinney - March 20, 2015, Paris, France

Outtakes, of a sort...

Last year, my favourite band band released their first live album and it was one of my fave records of the year. I suppose Sleater-Kinney's Live in Paris didn't really make a splash the way any of their other records have, but as someone who's never gotten to see them live and thinks they're a great live act (there's a reason I collect bootlegs of theirs, ya know), it's a nice memento to have and cherish and hopefully one day I'll get to see them live. Not holding my breath though.

Anyway, this brings me to today's share: a NPR broadcast from 2015, featuring a live show in Paris. Sound familiar? I assume that when they recorded the live album, the NPR people got dibs on a selection of material for their World Cafe program. I think? I truthfully haven't A/Bed these performances, and anyway there's some stuff here that's not on the official record: a lengthy interview and a nice performance of "Fangless." It's short, it's sweet and if you haven't bought Live in Paris yet, hopefully it convinces you to do so.

As a bonus, I attached an unrelated session at KEXP to this. I forget where it came from. Might have been a promo EP at one point? Or something I downloaded somewhere? It's also good, showing them right before their hiatus. So now you get both sides of the story, as it were...

Tuesday, March 13, 2018

Carla Bley - 1978-03-27, Armadillo World Headquarters, Austin, TX

Keeping the women's month vibe going, here's another great set from Carla Bley in her prime.

This set has some nice tunes: "440," which you may remember from music class is A note you tune your instrument against, "Ida Lupino," and my fave of the bunch, "Wrong Key Donkey."

As you may have guessed, this is a nice slice of the less serious side of Bley's music. She toys with key signatures and tones, making music that doesn't take itself seriously, but is far from a joke. In a few years she'd take this to an extreme: Nick Mason's Fictitious Sports was packed with a sharp, hilarious wit. But even here you can see the seeds of that great record.

I think this is also a nice example of the Austin scene in full effect: the Armadillo hosted all kinds of music, from Willie Nelson to Frank Zappa. I can't imagine too many other venues in Texas would've hosted Bley's euro-centric jazz at the time, so it's very cool to see that she made inroads here.

  1. talk
  2. 440
  3. Ida Lupino
  4. Jesus Maria and Other Spanish Strains
  5. Drinking Music
  6. Wrong Key Donkey

Monday, March 12, 2018

Sleater-Kinney - BBC Sessions 1998-2000

I'm going to to keep the women's month posts going here with a look at some great tunes by my fave group, probably ever.

Between 1998 and 2000, Sleater-Kinney had three sessions broadcast over the BBC. This set includes dates, but I've found other dates that match this setlist so who knows? But you know what's great: this music. It's got a little of everything: stuff from Call the Doctor through All Hands on the Bad One, plus a nice CCR cover, which if you were around a good 18 years ago, had a resonance with the then president-elect.

The thing about Sleater-Kinney for me is that besides the badassery of them all, is that I love the way Corin and Carrie's guitars mesh and Janet's propulsive drumming. They're one of those bands I listen to when I'm not sure what I want to listen to. I think this shows them in their live element, and is a little more concise than a full gig. Is there more in the BBC archives? Or in some college radio, or CBC Radio archives? I hope so, because I'm always looking for more live Sleater-Kinney!

Thursday, March 8, 2018

Carla Bley - 1977-08-24, Chateauvallon, France

Boo to you too!

Today, March 8, is international woman's day. It seems like as good a time as ever to share some music by one of my favourite jazz composers: Carla Bley! I've got a ton of her music, but if I'm being honest, I like the late 70s/early 80s period the most.

Today's share comes from a FM broadcast in France, right at the start of this run. I'm not sure of the details, but make sure you stick around for the star-spangled finale, where Bley and company work their arrangement of the American anthem, among other songs.

Friday, February 16, 2018

Sonny Sharrock - 1987-10-29, Schauburg, Bremen, Germany

This one comes from another dive into my Sharrock archives, and it's a corker. By 1987, Sharrock's celebrity was established via Last Exit and their noise madness, not to mention a stint with Ginger Baker's short-lived No Material band. I think they lasted like three gigs, which has to be some kind of record.

Anyway, when he wasn't ripping frets off alongside Bill Laswell, he was making some compelling solo records. Guitar is a solo record, picking up where he'd left off and giving things a bluesy, reverb-drenched vibe; Seize the Rainbow has a full band and some of his most magical moments as a player. Is it too obvious to cite the way he works up and down on "Dick Dogs," making his guitar ring like a church bell, shriek like a wolf and roar like a lion? It's some of the wildest playing on record, and Sharrock makes it seem easy.

This show is somewhere between those two poles. At times, Sharrock's playing is slow, deliberate and moody, at others it roars and sizzles with as much power as anything Neil Young's ever cooked up. And throughout, it showcases what a tasty blues player Sharrock was, easily as exciting as James "Blood" Ulmer ever was, and not as far removed from Elmore James as one may think: witness the way the both use an overdriven guitar and a slide to blast riffs like they're a wrecking ball.

There's exciting moments throughout: the lengthy Fourteen, she slow-burning "Seize the Rainbow" and a full-band working of "Princess Sonata," the four-piece suite from Guitar. The only bummer: the way "Dick Dogs" fades, right as Sharrock's playing hits the stratosphere. I blame NDR.

Wednesday, February 7, 2018

Azimuth - 1978-02-06, Bremen, Germany

Vaporwave, decades before that was a thing?

College faculty or jazz band?
Throughout the 70s, ECM released some pretty wild stuff: albums by free jazz groups like Circle, minimalist works by Steve Reich, and box sets of Keith Jarrett piano recitals. It was pretty heady stuff!

But for my money, the most fascinating thing they released was the first Azimuth record. It combined John Taylor's keyboards, Kenny Wheeler's trumpet and Norma Winstone's wordless vocalizing. To call this jazz is really taking the term to the breaking point: it doesn't swing, or sound like anything Duke Ellington might have recognized. It's not exactly ambient - it's nowhere near passive enough - but it's plenty atmospheric.

If I'm being totally honest, the music reminds a lot of what the kids call vaporwave: the hazy, atmospheric electronic music builds and valleys, working through old forms and blah blah blah. It's one of those micro-genres which pop up, then go away after a few years (see: chillwave). But the way pulsating keyboards, hazy siren-like vocals and the blasts of trumpet ramp up the tension, letting it climax and collapse... their first record is ripe for re-discovery.

Anyway, today's share is the lone live session I've come across from this incredible lineup. Recorded live in Bremen, presumably for NDR, this is largely drawn from the first record. The version of "Azimuth" predictably is compelling, with Taylor's keyboards building up as Wheeler and Winstone call and respond to each other.

Wednesday, January 31, 2018

Soft Machine - 1975-11-26, Cinema Varietes, Marseille, France

The band who waved at trains?...
 As noted previously, I'm not an expert on Soft Machine. A Softie, if you will. I'm just someone who likes jam/jazz fusion stuff and has a ton of bootlegs. Like this one, taken from a late 1975 show in France.

By this point, nearly all the original members of Soft Machine were gone; Mike Ratlidge, the lone leaf still on the tree, would be gone in a few months. Sadly, Allan Holdsworth had also split by this point; I think he'd hooked up with Tony Williams, but I might have my dates wrong.

Anyway, John Etheridge had joined the band, and with them in full fusion mode, he rips it up. Which means: long jams, lots of guitar shredding, and cool 70s experimental stuff. One jam leads into a Karl Jenkins synth freakout, another into John Marshall delivering ten minute drum solo; "Drumsies," as it's artfully labelled on my copy. It's interesting stuff: something very much of it's time, yes, but also with more than a few shades of their psychedelic past. And when they start riding a groove, things are admittedly compelling. For me, anyway.

The sound's not exactly the best, admittedly. It's a tad muddy, and sounds like it's a few generations from the master. But it's more than listenable, and if you're into 70s fusion, there's a lot to chew on here. Hope you enjoy!

Monday, January 29, 2018

Soft Machine - 1971-03-15, Het Turfschip, Breda, Netherlands

Soft Machine and fan
Soft Machine's one of those bands I think people might know about, but not really know the music of. I know I'm hardly an expert on them. I just have a few bootlegs and I like them.

Today's share comes from early 1971, when Soft Machine was touring Europe. I believe Robert Wyatt was still drumming for them, but by this point Kevin Ayers and Daevid Allen were long gone. So what started as a sorta hippie band had quietly changed into a progressive rock/jazz fusion quartet, one who played long jams and was one of the first groups to really push ahead with a guitar-less lineup and long, complex jams .

After all, around this time ELP was just getting going, while King Crimson was moving forward as Fripp's baby; Mahavishnu Orchestra's John McLaughlin was his turning amps up to 10 and even Miles Davis was using guitars all over his records. Really, the only other guitar-absent group of note at the same time coming to mind is Weather Report, and I guess they're a good comparison for Soft Machine. So is Frank Zappa's Mothers of Invention: plenty of these long jams remind me of when the Mothers would stretch out on songs like "King Kong," too.

But Soft Machine was a different group: they didn't have the same chops as Wayne Shorter, nor the sense of irony that infused Zappa's music. Which isn't a bad thing: I like this tape a bunch. It's just different. And yet, the band would go though major changes within a year, firing Wyatt and bringing in more electric instruments. Which makes this a nice snapshot of a short-lived era. Hope you enjoy.

Friday, January 19, 2018

John McLaughlin & Jonas Hellborg - 1987-08-11, Nightstage, Cambridge, MA

A little night music...

I guess you could say John McLaughlin's always the same guy, no matter what kind of guitar he's playing. He's fast, he's sharp and he's spellbinding. Frank Zappa called him a machine gun one time and Carlos Santana was (and as far as I know, still is) a friend of his.

One could argue he peaked in the 70s, with a great run of records: a handful of Mahavishnu releases, not to mention Electric Guitarist, Extrapolation and Electric Dreams. But in the 80s he dabbed in some interesting stuff: a guitar trio with Al Di Meola and Paco de Lucía, a resurrection of Mahavishnu and cameos on Miles Davis records.

My fave of the bunch is the series of dates he did with Jonas Hellborg. Hellborg, a Swedish bassist who moved in the same New York circles as Bill Laswell, provided a welcome foil for McLaughlin's acoustic guitar. No slouch himself, Hellborg's electric bass has a distinct Jaco influence, in how he's also playing leads, not just the root note or a walking bass line. The two play off each other well, especially when they really get into a groove. Too bad they never managed to get into a recording studio alone together.

On this set, the two work though a spade of old McLaughlin tunes: "Guardian Angel," off Electric Dreams, "You Know You Know" and "Trilogy," both from McLaughlin's Mahavishnu days. I'm sure both "Blues for L.W." and "The Dolphin" are old, too, but I'm not certain. It's also a bummer the tape ends so abruptly. But there's more than enough music to satisfy any McLaughlin fan, especially those who like his unplugged side.

Tuesday, January 16, 2018

Billy Cobham & George Duke Band - 1976-02-18 - McAlister Auditorium, New Orleans, LA

Frankenstein goes to the disco...

Billy Cobham gets sort of a bum rap. I bet if I asked ten people what they thought of him, nine wouldn't know anything and the tenth would suggest he's that guy who drums really fast for Mahavishnu Orchestra. But there's a lot more to him than that. There's his solo records, where he shows a deft touch: never dominating the scene, but always propelling the groove forward. There's his time backing up Jack Bruce, Miles Davis or Bob Weir. And don't forget his composing chops: "Stratus" or "Red Baron" aren't exactly standards, but are highlights of the fusion era.

My favourite period, however, is when he played alongside George Duke, John Scofield and Alphonso Johnson. This short-lived lineup toured the world and had a live record, the underwhelming "Live" on Tour In Europe. Says the Penguin guide to jazz: "It hasn't aged at all well." I get where they're coming from.

However, as a live unit this band is compelling and exciting. On record, they're chopped up and fitted with questionable song choices. On bootleg, they're full of long, interesting jams, tricky rhythmic passages and some really great grooves. Scofield still had hair back in '76, and he played with a reckless abandon he's never really had since. Johnson plays like he's happy to have gotten back to playing fun, funky music and not listening to Weather Report play pop-jazz. Duke was fresh off a stint with Zappa, so he was game for tricky rhythms and was more than willing to goof off into the microphone. And Cobham? He's everywhere, and nowhere. His fingers are everywhere, and if you focus in on him, his playing is outstanding: quick, tricky and precise. But he never overwhelms the music. A true drummer's touch, I'd say.

This show is from early in their tour. Compared to a more popular bootleg from a month later in New York, the band hasn't quite gone into warp drive yet, but they're still cruising at full impulse. Expect long jams, a few familar themes and some general goofing off by Duke and Cobham. Why Atlantic hasn't released a full concert by this lineup is beyond me.

Monday, January 15, 2018

Ronald Shannon Jackson - Berlin, 1984

Somewhere between Prime Time and Last Exit...

I only really know Ronald Shannon Jackson from his time with two groups: Ornette Coleman's late 70s Prime Time band and the infamous free jazz ensemble Last Exit. One is pretty wild, the other is, uh, extremely wild. Both of them, in fact, have had people ask me if I'm actually listening to music.

Anyway. Jackson, the common element of those two bands, was a talented drummer and someone who led an interesting career on his own: he was associated with Mingus, Ayler and Cecil Taylor at various points. In the 80s, he struck up an association with New York's avant-garde scene, with led to him playing on records by John Zorn, Bill Laswell and being part of Last Exit. And he formed his own group, The Decoding Society.

I'm not exactly a jazz scholar, so I'll defer to the Penguin Guide to Jazz, who compares this group favorably to Mingus and Coleman: "dark, swampy vamps... and sudden outbursts of white noise." I don't disagree, but I'm only really familiar with Mandance. I will say, the music's fascinating and definitely free jazz, but isn't as esoteric as Last Exit. If anything, it's like mid-70s Miles Davis kept going into darker, freer grooves.

This show comes from Berlin sometime in 1984. I don't have any details on the tracks, or if they're all improvised or whatever, but it's something I've been meaning to share for a while. If only because I like it, and it's not something I see online very often. Maybe someone more knowledgeable can enlighten me as to the details?

Tuesday, January 9, 2018

Miles Davis - 1969-11-02 Ronnie Scott's, London, England

A Tipping Point or Two...

Shiny horn, shiny pants
A fun thing you can do if you want to get mad is look up Stanley Crouch's remarks on Miles Davis. Even as Davis was settling into a role of elder statesman of jazz - you know, the period where he was showing the common roots of pop and jazz by seamlessly working Cyndi Lauper covers into setlists - Crouch was saying he was only good before he got into rock.

By which he means: I dunno. Is there a demarcation line somewhere? I guess maybe On the Corner, but even before that came works like Jack Johnson or Live Evil. And I'd argue you can go as far back as Miles in the Sky to find a direct rock influence on his sound. And that came out in 1968!

Today's share comes from late 1969, right when Miles and band were rewriting the rules every night. Could jazz be electric? Could you work in straight-ahead rhythms? What if ideas like melody didn't apply in the sense they used to? Chick Corea's electric piano adds jagged, shiny edges to the music while Jack DeJohnette's propulsive drumming pushes everything forward. Dave Holland's playing on home court (both literally, and figuratively: before long, Miles would have him ditch the standup bass in favour of a Fender) and Wayne Shorter's sax twists and turns, like he's inspired by the direction the music's going. And Miles? He's the guy behind the whole thing: even when he's not playing or writing, he's acting like one of those late 60s/early 70s directors (Coppola, Truffaut, Kurosawa) who lent films a distinct personality. You can listen to almost anything Miles did between 1968 and 1975 and know immediately it's his work.

This set was recorded by the BBC at Ronnie Scott's, and was allegedly broadcast on TV. What a sight that must've been; Miles wouldn't be on American TV at all during this period, at least to my knowledge. The tapes were lost or wiped at some point, but this audio document survived, and it's a worthy companion piece to the Bootleg Series Vol. 2: Live in Europe 1969 set from a few years ago. I like this set a lot. And I've got a lot of Miles.

Monday, January 8, 2018

Steve Miller - 1972-03-27, Ultrasonic Studios

From the Ultrasonic Archives...

Flashy suit, flashy guitar... must be the late 70s
I'm not sure just why, exactly, but some studios have a distinctive sound. Stax, Fame, Gold Star: the stuff that came from those studios is still highly regarded.

For me, Ultrasonic is right up there. Throughout the 70s, more than a few live-to-air broadcasts came from this Long Island studio and almost every one of them has a great, crisp sound. And, more interestingly, the bands usually brought their A game to these sets. I grab these boots whenever I come across them.

Today's share is perhaps my favourite of the bunch: a killer live-to-air set from Steve Miller Band in early 1972. It's from when he was right on the cusp of fame, with a solid back catalogue of songs, guitar chops and a tight band. But none of the songs that you've heard on FM radio a billion times or more.

At this point, the blues were still an influence on Miller's sound, but the band was leaning towards straight-ahead rock. Kind of like mid-70s Fleetwood Mac, now that I think about it.  There's lots of organ and pounding rhythms, but Miller's guitar playing still has a sharp bluesy edge and he doesn't use all kinds of spacey effects like he would a few years later. He opens with "My Dark Hour," whose riff he'd later recycle into a much more popular song, but quickly takes off into space with a tasty solo. Later, "Blues With A Feeling" goes back to his Chicago-style influences, while "Space Cowboy" goes way out there with some powerful jamming. I'm not even really a big Miller girl, but this set slays and more than scratches the itch when I want some blues rock.

Monday, January 1, 2018

Sleater-Kinney - Dig Me Out: Live

Words and guitar...
 Here's a little something I threw together. Why? Well, Sleater-Kinney is probably my favourite band, for one. And they're a great live act who've only recently been documented on record: Live in Paris, taken from their 2015 reunion tour. But before that, when they were an act who toured all over, on a regular basis? Not much. A couple b-sides, that's about it.

On the tape-trading circuit, Sleater-Kinney is weirdly represented. I've seen that many shows circulate, but I'll be damned if I can find more than a handful on the internet. But one thing that's out there is a large Sleater-Kinney live archive, a huge collection of mp3s that span their career as a live band, but are only stray tracks.

But it was good fodder for this: a re-creation of Sleater-Kinney's career-making record Dig Me Out.  It covers all their years as a live act, from their final shows in 2006, all the way back to 1997, when they still preformed some of the album's deeper cuts. I mean, it's not like fans were clamouring to hear "Heart Factory," except hey! Maybe some of them were. I probably would have been.

Anyway, since they're not currently touring (and who knows if they ever will again), and the possibility of another archival release seems slim at best, this fills a gap for me. And maybe for you! Until they release a 25th anniversary box set or something, anyway.